Final Destination

VROOM! A car indeed makes a right, TEARING through the intersection. Once

past, Alex takes Clear by the arm and hustles them across the street.

CLEAR

You're sounding like those people

who, you know... "Oswald shot Kennedy

from a warehouse and hid in a theatre

and Booth shot Lincoln in a theatre and

hid in a warehouse."

CAMERA HOLDS REVEALING an unmarked sedan parked across and down for

Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes

coolly locked on Alex and Clear.

DOWN THE STREET - HEADING WEST

Billy Hitchcock rides toward the Starbucks on his bicycle.

EXT. STARBUCKS - DAY

sitting outside, Alex hunches over the table, increasingly anxious. Clear

listens; expressions skeptical.

ALEX

I'm not just layin' down a bunch

of math here, with this. I'm talking

about indications... omens... that

day, that we were meant to die. That,

if, we have been aware of... would have

saved everyone on the plane.

CLEAR

That's total bullshit. You can find

death omens anywhere you want to.

She picks up her paper coffee cup.

CLEAR (CONT'D)

Hey, look! "Coffee" starts with a "C"

and ends with an "E." So does the word

"choke!" We're going to choke to death!

Oh no! Starbuck was a whaler. We're going

to be harpooned!

Alex angerily glares at Clear. Clear drops her tone.

CLEAR (CONT'D)

You'll go nuts if you start with

that shit.

Ms. Lewton appears from around the corner. She starts toward the entrance,

but pauses, tensing when she sees Alex.

He cautiously flashes a greeting smile. The teacher, however, averts her

eyes and continues into the coffee shop. Alex sighs, guiltily. Clear

sympathizes with both of them.

CLEAR

She's leaving the school. Moving

away.

Alex studies, appealing to her...

ALEX

Clear, how do we know that by

just sitting here, breathing this

air or sipping the coffee, having

crossed the street... we havn't started

in motion the events that will lead to our

death? Fifty years from now. Ten years. Tomorrow.

(beat)

You son't unless... you're able to open

yourself to the signs I's willing to show you.

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

CLOSE - ALEX'S HAND

slides across the table. Opening his hand REVEALS the piece of paper

reading, "... Tod..." Clear's hand ENTER'S FRAME to take the paper. CAMERA

FOLLOWS AS SHE raises it, he expression obviously puzzeled. As she eyes Alex

for an explanation, CAMERA CRANES DOWN QUICKLY to the empty paper cups on

the table...

... a slight approaching BREEZE knocks them over.

DOWN THE STREET - HEADING WEST

A somewhat cherry 70's muscle car speeds in the direction of the Starbucks.

Carter Horton is driving. Terry Chaney rides shotgun. Carter looks out the

window.

CARTER'S POV - MOVING ALEX AND CLEAR

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

CARTER'S CAR

CARTER scowls, his anger rising as he slows, starting at the perceived

reasons for his problems.

ALEX AND CLEAR

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

CLEAR

I don't understand... did you

see Tod die? Did it happen agian,

like on the plane?

ALEX

No, but it might as well be the

same thing. This was a message...

from someone, or something...

hinting... at the design.

CLEAR

Alex, on the plane... you must

have experienced... some kind of

hyper awareness. But here... you're

suggesting Tod's death... and maybe

our own... will happen because of...

an active Presance.

Alex nods, feeling she's understanding.

ALEX

The mortician said Death has a design.

Now... if you, me, Tod, Carter, Terry,

Billy, Ms. Lewton messed up that design,

because, for whatever reason, I was able

to see Death's plan... then we cheated it.

(beat)

But what if it was our time, what if we

were not meant to get off that plane? What

if it is still is our time? If... It... is

still not finished with us? We will all still

die; now, not later.

Troubled and deeply concerned, Clear studies Alex.

ALEX (CONT'D)

Unless... we find the pattern.

And cheat it again.

Clear sets the paper down, looking sadly at Alex.

CLEAR

After hearing you, just now...

I do believe...

Alex leans back and sighs, relieved...

CLEAR (CONT'D)

... that Tod killed himself.

Alex is taken aback, hurt and angery.

ALEX

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

CARTER'S CAR

His eyes having never left Alex, Carter suddenly cranks the wheel hard to

the left to make a tight U-Turn.

BILLY HITCHCOCK

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

BILLY HITCHCOCK'S POV - CARTER'S CAR

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

the U-Turn.

WIDER

Billy SWERVES to the left, directly in front of an oncoming car. The car

SWERVES right, as does Billy, avoiding a certain fatal collision for the

cyclist. The oncoming car HONKS!

Carter's car pulls up to the curb. Oblivious to the accident he almost

caused, Carter get's out strutting toward the tables outside the coffee

shop. Inside the car, Terry sighs...

TERRY

Baby, come on... not now.

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

ALEX AND CLEAR

Their attention drawn by the commotion, Clear and Alex watch Carter Horton

approach them, followed by Terry, who stops, irked, near the curb at the

crosswalk.

TERRY

Carter...

At that moment, Ms. Lewton exits with an ezpresso drink. Sensing trouble,

she has no energy or desire to involve herself.

CARTER

Kind of have a reunion, here.

TERRY

Let it go!

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

CARTER

When are you moving?

MS. LEWTON

A couple of weeks.

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

CARTER

We're losing our favorite teacher.

ALEX

Look, there's something you should

all know.

CLEAR

Alex...

Carter eyes Alex, continuing the taunt. He raises the volume of his words to

drown out Alex's words and incite conflict.

CARTER (CONT'D) ALEX (CONT'D)

Lived here her whole life. This'll be hard to believe.

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

CARTER (CONT'D) ALEX (CONT'D)

And now she has to move. Listen to me, we may all

All because of Browning. be in danger...

TERRY

Shut up! The both of you!

The two boys stop their heated exchange.

TERRY (CONT'D)

They died! We lived!

(beat)

Get over it! I won't let that plane

crash be the most important thing in my

life. I'm moving on, Carter, and if you're

gonna waste your life beating the shit out of

Alex everytime you see him, then you can just

drop fucking dead!

Head and shoulders remaining angrily in Carter's direction Terry takes a

blind step off the curb and into the crosswalk, WITHOUT A CUT... a bus

suddenly speeds INTO FRAME and, THUD! plows directly right into her...

ALEX, CLEAR, CARTER and MS. LEWTON

are SPLATTERED with BLOOD before they can even recoil.

CUT TO:

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

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

ALEX

has crashed, watching CNN. It's a tense recline. Red circles rim the lids of

his eyes. He sips from the glass to settle his stomach. Ken appears from the

kitchen, hand over the reciever.

KEN

It's that girl... Clear.

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

KEN

He's in the shower, Clear. Can

I have him get back at ya?

Sure... bye.

Ken returns to the living room, concerned about his son. Alex averts his

eyes, stressed and ashamed. Ken sits nearby.

KEN (CONT'D)

She's concerned about you.

(beat)

I'm concerned about you.

Alex turns his eyes to the glass.

KEN (CONT'D)

Why don't you want to talk to her...

or me?

ALEX

Dad... you and mom have helped me

out, so much. But there's... some

things I need to understand before

I can talk... to anyone about it.

The father respects this young man's wishes. Ken nods "fair enough." In the

silent moment, O.S., from the television...

CNN ANCHOR (O.S.)

The National Transportation Safety

Board has a new theory tonight on the

possible cause of Euro-Air Flight 180...

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

TELIVISION

A computer graphic illustrations the area of the lower fuselage.

CNN ANCHOR (CONT'D, V.O.)

Deterioration of silicon insulation

on an electrical connector to the

scavenger pump, may have leaked

combustible fluids.

ALEX AND KEN

Alex remains riveted to the screen.

CNN ANCHOR (CONT'D, V.O.)

A spark in the fuel switch...

TELEVISION

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

seat.

ALEX (O.S.)

That's Tod's seat...

ALEX

CAMERA PUSHES IN as he listens...

CNN ANCHOR (CONT'D, V.O.)

... may have ignited the fuel line. And

proceeded to the fuel pump.

TELEVISION

The high teach computer image traces the path of the explosion through the

plane. A red line representing the fuel line zigs through the body of the

plane, making a sharp turn forward to the fuel pump, which explodes. Jagged

lines show the direction of the explosion moving backwards toward the rear

of the plane.

MATCH CUT TO:

INT. ALEX'S BEDROOM - DAY - 747 SCHEMATIC

drawn in Alex's hand, and hundreds of steps down from CNN computer image,

yet accurate as Alex's finger traces the path, away from the seats marked

"ME" and "CLEAR." The path starts over "TOD," then moves to "TERRY." The

line moves forward away from "CARTER" toward the fuel pump.

The corresponding jagged picture of the explosion back is reminiscent of the

"hand of Death," seen earlier in the lightning. It is a graphic demonsration

of the arbitrary nature of Death.

ALEX

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

ALEX

The path of the explosion...

(a whisper)

That's Death's design.

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

CLOSE - SCHEMATIC

Alex's finger quickly moves along the fuel line. After "TERRY," the seat

intersecting the path of the fule line, over the fuel pump, is marked "MS.

LEWTON."

CUT TO:

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

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

MS. LEWTON (O.S.)

Some nights I'm woken up by the sound

of my own voice, you know, inside my

head, goin, "No, you know the whole

French thing. Get on the plane."

Moving boxes are stacked in the living room; organized disarray of

relocating. The house is old, been in the family forever. Dust marks the

walls where the framed photos and artwork were once displayed.

MS. LEWTON (CONT'D)

Everything here reminds me... of sending

Mr. Murnau back on the plane... Right, I'm

hoping a change will help... I lived here

my whole life and wherever I looked were great

memories, you know... but now all I can see

Mr. Murnau... those kids. Just looking out

my own front yard... makes me feel mothing but

fear.

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

expression alters... alarmed...

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

The figure is Alex Browning.

INT. MS. LEWTON'S HOUSE - NIGHT

Ms. Lewton steps away from the curtains.

MS. LEWTON

(quickly)

Laura, I gotta call you back.

She immediately hangs up and speed dials.

MS. LEWTON (CONT'D)

This is Valerie Lewton. I need Agent

Schreck...