Marker

Final Destination

 Tyler Maxin 

            ∎

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. 

“Alexander Chance Browning II.” 

“And When I Die” Continues 
throughout the MAIN TITLES: 

“C” and ends with an “E.” So does 
“FINAL DESTINATION”
“Intervention?” What are you, God
“It?”
“Listen to me! This plane will
“Middletown - 25 mi. New York City - 105 mi.”
“Mt. Abraham High School, New York. The Fighting Colonials!” “Next?” “PARENTS TO ESTABLISH MEMORIAL SCHOLARSHIPS.” Besides the headline are two yearbook photos; Christa Marsh and Blake Dreyer. ‘Cause if you say another word, ‘n’ rock ‘n’ roll, but you’ve really (a greeting) (a warning) (a whisper) (a whisper) (almost to himself)’ (as if to Death) (beat) (beat) (beat) (beat)
(beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (beat) (breaking down) (checks notes) (composed)
(defiant)
(he’s had it) (interrupting)
(into radio)
(mocking Alex)
(mouths)
(mouths)
(nervous)
(ominous)
(overlapping)
(pause, guiltily)
(pissy)
(quickly)
(quietly)
(re: MURNAU)
(re: victims)
(sadly)
(sarcastic)
(sarcastic)
(shrugs)
(sighs)
(smiles)
(to Alex)
(to Billy)
(to Carter)
(to Carter)
(to Carter)
(to Clear)
(to Clear)
(turns to Alex)
(whispering)
... a slight approaching BREEZE knocks them over.
... fluid drips inside the circuitry.
... may have ignited the fuel line. And
... there are no accidents. No
...caught when the Time falls
...like these the children of men...
...or birds trapped in the snare... ...that Tod killed himself.
13th of May... 4:25 p.m.
4:25. 7-11 for cigerettes. I guess he heard A COFFEE MUG A CRACK OF THUNDER! 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.
A HOME PREGNANCY TEST A LOUD BANG turns Alex’s head to the window! A METAL CAN A P.A. ANNOUNCMENT breaks into the song... A PIECE OF PAPER A POWER LINE A Paris guidebook is tossed atop the plane ticket. CAMERA PUSHES IN ON THE BOOK as the fan’s breezes flip through the pages. A REALLY fucked-up God. 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. A computer graphic illustrations the area of the lower fuselage. A couple of weeks. 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. 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.. 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.
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.”
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. A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes. Head shaved and a mark on his nose.
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...
A little more. Little more!
A locomotive headlight arcs across the trees... approaching.
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.
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...
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.
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. 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. 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 presence.
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.” A piece of debris... from the plane. A pink circle fills THE ENTIRE FRAME.
A place where our friends are still
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...
A raw nerve, Alex stands.
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. 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 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. A spark in the fuel switch... A student with a guitar and harmonica stands at the microphone. Without introduction, he begins Neil Young’s ‘Long May You Run.’
ABOVE
ABOVE GROUND POOL
ACROSS THE TRACKS
AIRPORT P.A. (V.O.)
AIRPORT P.A. (O.S. CONT’D)
AIRPORT P.A. (V.O.
AIRPORT P.A. (V.O.)
AIRPORT P.A. (V.O.)
AIRPORT P.A. (V.O. CONT’D)
AIRPORT TERMINAL
ALEX
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ALEX                         CLEAR
ALEX                         CLEAR
ALEX                         BILLY
ALEX                         CLEAR
ALEX                         CLEAR
ALEX (CONT’D)
ALEX (CONT’D)
ALEX (CONT’D)
ALEX (CONT’D)
ALEX (CONT’D)
ALEX (CONT’D)
ALEX (CONT’D) ALEX (CONT’D)
ALEX (CONT’D)
ALEX (O.S.)
ALEX (O.S.)
ALEX (O.S.)
ALEX (V.O.)
ALEX - SPECIAL AGENT’S POV
ALEX AND CARTER
ALEX AND CARTER
ALEX AND CARTER
ALEX AND CLEAR ALEX AND CLEAR
ALEX AND CLEAR
ALEX AND KEN
ALEX AND THE GIRLS
ALEX AND TOD
ALEX AND TOD
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... ALEX’S POV - (FULL FRAME) FLIGHT INFORMATION BOARD
ALEX’S POV - (TIGHTER) FLIGHT INFORMATION BOARD
ALEX’S POV - 747
ALEX’S POV - A COVERED GURNEY
ALEX’S POV - ADJACENT YARD
ALEX’S POV - CAN
ALEX’S POV - CARTER AND TERRY
ALEX’S POV - CHRISTA AND BLAKE
ALEX’S POV - CLEAR RIVERS
ALEX’S POV - CLOSE - TOD’S NECK
ALEX’S POV - FLIGHT 180
ALEX’S POV - NEAR THE FLIGHT DECK
ALEX’S POV - NEWSPHOTO
ALEX’S POV - OUT OF WINDOW
ALEX’S POV - OVER HIS SHOULDER - LAST ROW OF SEATS
ALEX’S POV - OVERHEAD COMPARTMENTS
ALEX’S POV - PENNANT
ALEX’S POV - PIECE OF PAPER
ALEX’S POV - RAMP TUNNEL
ALEX’S POV - THE CABIN
ALEX’S POV - THE FLIGHT INFORMATION BOARD
ALEX’S POV - THE LEFT WING
ALEX’S POV - THE RIGHT WING
ALEX’S POV - THE ROOM
ALEX’S POV - THE SHADOWS
ALEX’S POV - THE SKY
ALEX’S POV - THE STORM
ALEX’S POV - THROUGH PORTHOLE
ALEX’S POV - THROUGH THE SEATS - CLEAR RIVERS
ALEX’S POV - TOD
ALEX’S POV - TOD ALEX’S POV - TRASH BAG
ALEX’S POV - TV
ALEX’S POV - TWO DOZEN LEAVES
ALEX’S POV - TWO GIRLS
ALEX’S POV - WINDOW
ALEX’S POV - THE RUNWAY ALEX, CLEAR AND BILLY
ALEX, CLEAR AND CARTER
ALEX, CLEAR, CARTER AND BILLY
ALEX, CLEAR, CARTER AND MS. LEWTON
AN OLD TABLE FAN
AND YOU AIN’T TAKIN’ ME WITH YOU!
ANOTHER PART OF THE FOREST - SCHRECK
ARC violently striking the ground and each other. Each line whips
After Billy... it’s me. And then you.
After hearing you, just now... I do Agents Schreck and Weine stand before Clear in her garage. Ahhh! fuck! You fucking...           Ohmygod! OHMYGOD! OHMYGOD!
Airline’s not taking this very well.
Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex angrily glares at Clear. Clear drops her tone. 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. Alex approaches the front of the house. From here, nothing appears to be wrong. As he catches his breath, sweating, visually examining the house. Alex charges out the front door, leaping over the steps. O.S., SEVERAL CARS APPROACH, headlights pan across the trees. Alex stops dead in his tracks and runs off into the woods, just as the F.B.I umarked sedan and three Sheriff 4x4s THUNDER up to the cabin, siren lights swirling.
Alex checks over his shoulder.
Alex climbs over Tod to take the window seat. Clear Rivers sits in the seat directly behind Alex.
Alex completes his question by raising his hand, a la Tod’s dead body. Bludworth nods, understanding...
Alex considers as Clear eyes him, conveying “this guys’s whacked!” Alex moves toward Bludworth...
Alex considers, mind racing... then realizes... Alex crames up into the aisles, making his way to Tod, sitting two rows up in 22 H. 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... Alex extends his hands. O.S., CARS approach THUNDEROULSY...
Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf.
Alex eyes the new tag hoping it’s “good luck.” As the clerk returns his ticket and passport... CLACK, CLACK, CLACK. Alex eyes them... hesitant to respond. Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial.
Alex flips the magazine open to a centerfold.
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
Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear...
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.
Alex grabs her arm, starting toward the door. Alex grabs the knife and pulls it out. He quickly removes another and another... yet there is no reaction from the woman. Alex hangs his head... 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 exterior. As he kicks the tires... an unmarked sedan SCREECHES up. Doors open...
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...
Alex hustles around the drivers’ side. CAMERA SWEEPS INTO THEM as Alex desperately tries freeing the seatbelt.
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.
Alex is increasingly uncomfortable with the subject, but eased by Clear’s apparent, somewhat, understanding. Lowering his tone...
Alex is insulted by the condescending tone.
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.
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... 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.
Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex is still considering the “messages...” Alex is stung, guilty. He averts his eyes. Schreck and Weine note this reaction. Alex is stunned, defensive.
Alex is taken aback by the question, yet even his best friend looks at him for an answer.
Alex is taken aback, hurt and angry.
Alex is unaware that Clear is watching him, searching for some answer that she will not now find. She looks up.
Alex leans back and sighs, relieved...
Alex looks at Bludworth...
Alex looks at Clear as if experiencing an intense epiphany.
Alex looks at Clear, her expression asking the same question...
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 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 looks to Clear, then kisses her with a passion that reflects the defiance of death. He pulls open her shirt and falls into her arms. CAMERA CRANES UP as the young man and woman make love in the sand... consciously and defiantly oblivious, to anything around them... including the stars, possibly Flight 180, up above.
Alex looks up ahead of the metal detectors... Alex looks up, stunned. He didn’t even recall this until now.
Alex looks within her, as a soft ocean breeze blows through Clear’s hair.
Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight.
Alex nods, feeling she’s understanding.
Alex notices Tod is in line behind him. Alex looks around for Tod’s father. He is not in line...
Alex quickly grabs the remote and turns up the VOLUME...
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...
Alex raises his eyes and looks across the ceremony...
Alex reaches the backyard. CAMERA PUSHES IN as he quickly tries to deduce the deadly situation. HE RUNS OUT OF FRAME...
Alex reacts, shocked and yet her impulsiveness is exciting...
Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage.
Alex remains riveted to the screen.
Alex remains silent, hurt.
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.
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.
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.
Alex rushes across the threshold as Ms. Lewton pulls the knives over the counter.
Alex sighs, eases.
Alex sighs, embarrassed.
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 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 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 stands and, with no urgency, moves off. He exits the room.
Alex stands near her, sympathetically, understanding her pain....
Alex stops, looks around. Behind the tree and in the shadows of the adjacent house, stands Clear Rivers.
Alex studies his mountain of research, increasingly obsessed.
Alex studies, appealing to her...
Alex takes a beat to consider...
Alex takes a nervous breath...
Alex takes off toward...
Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower.
Alex tears across the fenceless backyards towards Clear’s house. Blue ARC light glowing from the front yard.
Alex tenses, but Weine shakes his head.
Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician’s tools on the cart.
Alex turns his eyes to the glass.
Alex turns sickeningly disoriented. His eyes dart about, searching for evidence 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.
Alex turns to him, increudlously..
Alex walks quickly up the street. Smoke wafts before him. He turns to see a man burning leaves in the backyard.
Alex was right.
Alex winces from Carter’s breath...
Alex!
Alex’s Mother and Father lead by a group of parents into the room. Each moves with grief, yet relief, to their child.
Alex’s Nikes land on the carpet.
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’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.”
Alex’s mother, BARBARA, 45, walks in, excited and a bit anxious.
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...
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 tension increases as he continues up the aisle.
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.
Alex, Billy and Clear look at one another, equally frightened...
Alex, Knock it off. It’s alright.        Settle down, Alex.
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, cocks his eyebrow probably thinking, “a mess?” but tactfully shakes his head “no.”
Alex, get away from there!
Alex, on the plane... you must have
Alex, talk to me. What happened?
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.
Alex, you got our attentio.
Alex.
Alex. Alex! Easy, man. Take it... Sir, if this is a joke,
Alex...
Alex...
Alex... can you promise me that?
Alex?
Alex?
Alex? Qu’est-ce se?
A light CLICKS on REVEALING an old, ‘20’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.
All I owe is these people.
All because of Browning.           be in danger...
All my wife and I will ever know is
Almost Autumn.
Almost like bein’ able... to see the
Alright, Browning, you fuckin’
Alright, go on. Get outta here.
Alright, you guys got everything?
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.
Although the words are comforting, being in the position of having to hear them macabre. Ms. Lewton reacts, snapping...
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.
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.
An airline ticket is tossed INTO FRAME beside a suitcase; “EURO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charles de Gaulle (CDG.) Departure: Thursday 13May. 16H25 - Arrival: Friday 14May. 05H40.” An ear splitting CRACKLE. SPARKS FLY! The electrical system of the small car erupts and the engine dies. The car stops. 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.
An image of Hell as jet fuel burns on the ocean. O.S., as if furious at the slight, THUNDER BANGS... 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.
And I fuckin’ HATED FRENCH CLASS! And I’m not sure yet how... but I
And don’t pass on the right.
And no... escapes.
And now she has to move. Listen to me, we may all...
And so before we can heal, before we
And so, anyway... I’ve thought of
And that is the only way we can beat
And then the cabin banged and the
And they say that he got crazy
And you can still feel it, can’t
And you don’t even want to fuck with
And, let me tell ya, I had every
And... I believed him.
Any part of that line touches you,
Anybody in the aisle is off the
Anyone seen Billy Hitchcock?
April 25th. Four-twenty-five...
Are they up there?
Are you?
Arms crossed, Carter remains in the front seat. As the interior fills with light from the headlight of the oncoming train, Carter turns and looks at them with a smart ass smile, pleased that he’s shown how brave he truly is. With a beam of cocky definace...
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.
As “Long May You Run” OVERLAPS...
As Alex and Clear approach...
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...
As Alex sits, the tray table falls from its upright position.
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.
As CAMERA PUSHES INTO HER... considering life. Then, now and what is to come.
As CAMERA SWEEPS IN to ALEX and he releases a deep GROAN...
As Carter and Billy feel the chill of their inner fears...
As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move...
As Tod longs for his brother, then looks at his friend.
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.
As an American passport is dropped beside the guidebook...
As each day passes without a...
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.
As he looks back, searching for the nearest flight attendant...
As he speaks, the sunlight suddenly turns to shadow.
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.
As he turns away from them, Carter sees something in the rearview mirror...
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.
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. As in flannels and plaids?
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. 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.
As she senses the agents’ sincerity...
As she turns her back and continues down the terminal...
As the Corolla lurches away from the house down the sloped driveway...
As the Introduction closes, RESONATES... A FLASH OF LIGHTING!
As the breeze passes Tod, he pauses... as if sensing, but not
As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation.
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.
At that moment, Clear doesn’t understand. She looks to him, scared...
At that moment, Ms. Lewton exits with an espresso drink. Sensing trouble, she has no energy or desire to involve herself.
Atencion senores pasajeros. No
Attention airline travelers...
Attractive and they know it, CHRISTA MARSH and BLAKE DREYER appear clearly out of Alex and Tod’s league.
Autumn coming.
Avis aux passagers...
Awaiting......each of us; a cold...dark...lonely place.
Aww, fuck... really?
BACK OF THE TOILET TANK
BAM! In reverse, the Corolla SMASHES through the garage door.
BARABRA (Cont’d)
BARBARA
BARBARA
BARBARA
BATHTUB
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY
BILLY (CONT’D)
BILLY (CONT’D)
BILLY HITCHCOCK
BILLY HITCHCOCK’S POV - CARTER’S CAR BRAKING LOUDLY, startlingly, a public bus PULLS INTO CAMERA and stops. The doors HISS open. Baby, come on... not now.
Barabra places a cool wet cloth on Clear’s forehead...
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.
Barbara moves towards the suitcase to help him pack. Alex’s father, KEN BROWNING, 48, appears, leaning against the door threshold, smiling enviously at his son.
Barbara shakes her head as Alex smiles at his dad.
Because I didn’t believe him.
Because I saw and I heard Alex.
Because he knows which one of us...
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.
Because of you, I gotta sit here and...
Because of you... I’m still alive.
Because... I... never thought it
Been on many planes that blew up,
Before that day, you were just
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.
Billy Hitchcock rides toward the Starbucks on his bicycle.
Billy Hitchcock walks backward from the window, shocked by a shocked step. Ms. Lewton drops to her chair as her legs give out.
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!
Billy begins backing away from the others.
Billy collects himself...
Billy continues backing away, horrified.
Billy looks out the window, despondent.
Billy opens the door and pours out. Clear and Alex are quickly behind him. Carter remains in the drivers seat.
Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER...
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.
Billy told the F.B.I. he saw you
Billy! I’m gettin’ a vision!
Billy, get out! Blake and Christa are flipping through Parisian fashion magizines... Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals Board has a new theory tonight on the... Both are jolted again with shock, turning toward the voice...
Bullshit. He saved your life... again!
But I saved him. I intervened.
But at that moment... on the plane...
But beware the risk of cheating the...
But her boyfriend continues. She gets out and hustles after him. But my dad doesn’t understand. But that place might only exist in...
But what if it was our time, what if
But when we say this, we imagine
By James Wong and Glen Morgan
C’mon, man, like you really thought CAMARA CREEPS IN on his dawning paranoia...
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.
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.”
CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. 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 ADJUSTS, LEADING George, Alex and Tod through the aisles. Alex and Tod wince at the screaming child. George, however feels comforted.
CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school “everyman.” 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 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.
CAMERA CONTINUES THE MOVE on Tod... as if just realizing...
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.
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... 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. CAMERA CREEPS IN as, oddly, the words strike him portentously... CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again.
CAMERA CREEPS TOWARD HIM, face to the glass; eyes scanning the plane and outside area. CAMERA CREEPS toward it... lit to cheat a feeling of no return.
CAMERA EASES IN on the agents, exchanging rattled expressions that convey their unease in the proof that Alex was right. CAMERA FOLLOWS ALEX’S HAND as it rises. CAMERA SWEEPS IN EXTREMELY CLOSE to the ATTENDANT CALL BUTTON. As Alex’s finger engages the button, it lights up orange.
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.
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.
CAMERA HOLDS as ‘Long May You Run’ CONTINUES... RETURNING each of us to the awaiting darkness.
CAMERA INCHES IN ON “Row 25. Seats H, I, and J.”
CAMERA INCHES IN ON HIM as he takes in deep breaths of the stale air. He presses his face to the window.
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...
CAMERA INCHES IN as Alex considers, confused, emotional...
CAMERA INCHES IN as she looks up. With total resolve...
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.
CAMERA INCHES IN as, troubled, he looks back to Tod...
CAMERA INCHES INTO KEN as he winks at his son...
CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth’s tone, appearance... he could easily be mistaken for a personification of the subject.
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...
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...
CAMERA MATCHES THE MOVE TO HIM AS TOD and Mr. Murnau attempt to calm him down. 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.
CAMERA MOVES ALONG the awaiting passengers... Carter and Terry are making out, a step away from heavy petting...
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.

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.”
CAMERA MOVES WITH Alex, blindly running through the forest, sheriffs’ flashlight beams crossing behind him... in pursuit.
CAMERA MOVES to an empty seat. Clear Rivers ENTERS FRAME and sits,
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...
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.
CAMERA PUSHES IN ON ALEX as he quickly considers, then moves toward the hood of the burning car...
CAMERA PUSHES IN ON Alex, relieved and thankful, as he turns to her...
CAMERA PUSHES IN ON CLEAR as she looks at the business card.
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.
CAMERA PUSHES IN ON HER, rattled, afraid, but aware of Alex as she is first to turn her eyes toward him.
CAMERA PUSHES IN ON HIM as he holds his mother tightly. OVERLAPPING... A CRACK OF THUNDER!
CAMERA PUSHES IN as he listens...
CAMERA PUSHES IN as he looks up, nervous... not about suspicion toward him, but trying to explain what even he doesn’t understand.
CAMERA PUSHES IN as he sighs, troubled... CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up...
CAMERA PUSHES INTO ALEX, stunned, but before he can ask any further questions, a METALLIC CLACKING draws his attention back toward the house.
CAMERA PUSHES INTO Billy Hitchcock, depressed as he watches the plane take off...
CAMERA PUSHES INTO HER, hearing Alex’s declaration.
CAMERA PUSHES INTO HIM as he takes his first step into the plane.
CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME...
CAMERA PUSHES INTO the mortician, pleased the message has been recieved.
CAMERA PUSHES into a TIGHT CLOSE UP...
CAMERA PUSHES, LOW ANGLE, INTO WILLAIM BLUDWORTH, an African-American man, early 50’s, dressed in dark suit and tie.
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...
CAMERA SETTLES, but her expression does not reflect fear. She knows Alex is here... and she smiles, tears welling in her eyes.
CAMERA SWEEPS INTO ALEX... stunned as he turns to the window...
CAMERA SWEEPS INTO HIM AS his EYES FLARE with tension...
CAMERA inches in on him.
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...
CAMERA, FACING the ocean, moves along the shore revealing a lone image sitting on the beach, looking into the Atlantic.
CAPTAIN (V.O)
CARTER
CARTER CARTER CARTER CARTER CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER CARTER
CARTER
CARTER
CARTER
CARTER
CARTER CARTER
CARTER
CARTER
CARTER
CARTER CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER
CARTER                TERRY
CARTER (CONT’D)
CARTER (CONT’D)
CARTER (CONT’D)       ALEX (CONT’D) CARTER (CONT’D)     ALEX (CONT’D)
CARTER AND ALEX
CARTER AND TERRY
CARTER HORTON CARTER scowls, his anger rising as he slows, staring at the perceived reasons for his problems.
CARTER’S CAR
CARTER’S CAR
CARTER’S CAR
CARTER’S POV - MOVING - ALEX AND CLEAR
CARTER’S POV - REAR VIEW MIRROR
CHOCKING, GASPING, face turning purple, reaches for the counter.
CHRISTA
CHRISTA
CHRISTA (O.S.)
CHRISTA (O.S.)
CHRISTA AND BLAKE
CLACK. CLACK. CLACK. Alex’s eyes flash toward...
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR
CLEAR                   ALEX
CLEAR                   BILLY
CLEAR                   ALEX
CLEAR (O.S.)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (CONT’D)
CLEAR (O.S.)
CLEAR (O.S.)
CLEAR - ALEX’S POV
CLEAR - OVERHEAD
CLEAR AND BILLY
CLEAR AND BILLY
CLEAR AND BILLY
CLEAR RIVERS
CLEAR RIVERS
CLEAR RIVERS CLEAR RIVERS
CLEAR RIVERS - ALEX’S POV
CLEAR’S EYES
CLEAR’S POV - GARAGE WALL
CLEAR’S POV - GUIDEBOOK
CLEAR’S POV - ON THE WALL
CLEAR’S POV - THE BABY
CLEAR’S POV - THE DOG
CLEAR’S POV - THE FAN
CLEAR’S POV - THE FLOWERS CLEAR’S POV - THE ROOM
CLEAR’S POV - THE TREE BRANCH
CLEAR’S POV - THE WINDOWS
CLEAR, KEN AND BARBARA
CLEAR, KEN AND BARBARA
CLOSE - (MOTION SLOWED)- ALEX’S LUGGAGE
CLOSE - AIR FLOW VALVE CLOSE - AIRLINE CABIN FLOOR
CLOSE - ALEX
CLOSE - ALEX’S HAND
CLOSE - ALEX’S TERRIFIED EYES
CLOSE - AN OLD PHOTOGRAPH
CLOSE - BILLY’S DOOR HANDLE
CLOSE - CARTER’S SEAT BELT
CLOSE - COFFEE MUG
CLOSE - COMPUTER MONITOR - THROUGH THE VENTS
CLOSE - FAUCET
CLOSE - FLOOR
CLOSE - IGNITION
CLOSE - MEMORIAL
CLOSE - MEMORIAL
CLOSE - SCHEMATIC
CLOSE - TOD’S EYES
CLOSE - TRAIN TRACKS
CLOSE - TRAIN WHEELS
CLOSET FLOOR
CNN ANCHOR (CONT’D, V.O.)
CNN ANCHOR (CONT’D, V.O.)
CNN ANCHOR (CONT’D, V.O.)
CNN ANCHOR (O.S.)
CNN broadcasts video footage of the disaster. Seat cushions and personal belongings float in the harsh floodlights.
CO-PILOT
CO-PILOT
COFFEE MUG
COFFEE MUG - OVERHEAD
COLEMAN LANTERN COROLLA
COUNTER TOP
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CUT TO: Can’t you open the door?!       Easy, Billy, just open it.
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.
Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter’s grip. Terry finally gets him to release.
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 bares down on the wheel, hits the GAS...
Carter barrels through the intersection as a car makes a left turn at the intersection.
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...
Carter drives. Billy rides shotgun. Alex and Clear are in the back. Everyone anxious, looking for cops.
Carter eyes Alex, continuing the taunt. He raises the volume of his words to drown out Alex’s words and incite conflict.
Carter eyes Clear in the rearview mirror.
Carter has an angry reflexive reaction, grabbing Alex threateningly by the forearm. Terry immediately tries to get Carter to release his hold.
Carter lies on the road, urine stains around his crotch, hyperventilating and near tears. Carter looks at the piece of seatbelt.
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.
Carter pulls put a heavy pocket knife and starts attempting to cut into the stone.
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.
Carter scoffs while moving aggressively toward Alex.
Carter steps before Ms. Lewton, blocking her exit...
Carter straightens and nods, then begins to walk away. He hesitates, then turns back to Clear.
Carter takes his hands off the wheel and raises them in the air, like a terrorized child on a roller coaster...
Carter turns off the engine, then sits back into his seat and folds his arms, indicating he has no intention of moving.
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.
Carter turns to them; it’s as far as he will go to admit he believes... or will help...
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...
Carter’s expression becomes frightened, but he cannot have this. He counters with an irrational bravado.
Carter, Terry, Billy, Ms. Lewton
Carter, get out!
Carter, however, continually glances into the rearview mirror, checking Alex. Finally, hotheaded and unable to withhold it any further...
Carter, stop it, you...           Get control of yourself!
Carter...
Carter hooks his elbow on the window and his right arm around the front seat, driving; no hands.
Causing a startle, the DOOR OPENS. Everyone’s head whips reflexively toward the entrance. The strange event of the flickering lights is quickly forgotten.
Checking the air in her tires
Chemicals in the vascular flush
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...
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.
Clear Rivers appears from the shadows.
Clear Rivers approaches, barefoot in the sand. He neddn’t turn to know who is behind him.
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...
Clear Rivers sits in her seat, legs crossed, alluring and sexy and
Clear can see the flames, her instinct is to grab the handle to get out.
Clear closes the door. Carter and Billy drive off. As she looks to the beach.
Clear considers the danger of venturing out to get the dog.
Clear drops the chain and hits the dog on its backside.
Clear eyes the two of them. With the memorial standing behind them...
Clear grabs Clear and touches her face.
Clear guns the small car in reverse.
Clear hasn’t met eyes with Alex, but she sits nearby, looking into the sky.
Clear holds baby Alex up to the monument, showing her son his father’s name. Carter stands, watching. CAMERA WIDENS to REVEAL the entire monument against the deep blue sky. At the base in readable, but understandable lettering... “FLIGHT 180.” Clear is gone.
Clear is touched by the action.
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.
Clear lifts her head up, still battling the pain of labor...
Clear looks down the beach, checking for any sight of Billy and Carter.
Clear looks up desperately to Alex.
Clear looks up.
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.
Clear moves quickly to the kitchen, holding the candle. Outside, BLUE ARC LIGHT CRACKLES. She looks out the backyard.
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 opens the driver’s side door and runs out, knocked to her feet as behind her the car EXPLODES.
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 pulls herself up to a tree branch. Lighting and THUNDER CONTINUE amongst the ARCING, CRACKLING POWER LINES. She searches for an escape. Clear scoots into the driver’s seat. She CLICKS the automatic garage door opener...
Clear sets the paper down, looking sadly at Alex.
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...
Clear sighs, growing impatient with Alex.
Clear smiles. As she takes the baby out of the stroller...
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.
Clear takes a step off the sidewalk and onto the street. Alex tugs her back, looking both ways while outraged by her challenge.
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, how do we know that by
Could you trade seats with Blake
Could you trade seats with Blake so... Couldn’t you “predict” it?
Couldn’t you read his mind?
Cuticle lacerations.
DEAD!
DELIVERY ROOM
DISSOLVE TO:
DOCTOR
DOCTOR
DOCTOR
DOCTOR
DOCTORS AND NURSES
DOWN THE STREET - HEADING WEST
DOWN THE STREET - HEADING WEST
DROPS INTO FRAME ON HER KITCHEN FLOOR, hair and sweatshirt aflame. She desperately rolls on the floor and manages to extinguish the flames.
Dad... you and mom have helped me...
Dead students sit lifeless in their seats.
Death at its own game?
Death is not the end.
Death’s plan... then we cheated it.
Death, FUCK IT!
Death... by making something special
Deny its finality. Deride its totality. Dread the inescapable. Design?
Deterioration of silicon insulation.
Did this “weird feeling” have
Did you know she was going to be
Did you pack these bags yourself?
Did you take any seditives before
Didn’t you... “see” it?
Directly across the aisle, Carter Horton and Terry look at him with severe expressions.
Distant THUNDER ECHOES. Alex kindles a fire in the fireplace, balling up old newspapers. He begins to crumble the local news... then pauses.
Distant flashlights reflect in a small stream, barely two inches deep. Alex’s foot splashes in the water. THUNDER RUMBLES.
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...
Do you know when I was born?
Does that mean “go?”
Doin’ somethin’ I’m not supposed to.
Don’t do it! Don’t do it!       It’s coming! It’s coming!
Don’t ever fucking again tell me
Don’t hurt him.
Don’t move!
Don’t talk to me. You scare the hell
Drenched with sweat, trembling in his seat, his eyes dart toward Christa and Blake. They look great and they’re workin’ the sex appeal.
Dude, I so worked the ticket clerk
Dude, get wisdom. We’re about to
Dude, if we don’t get someone
Dude, let’s take a dump.
Dude, what up?
During these negotiations... CAMERA MOVES PAST Ms. Lewton and the Co-Pilot to the boarding ramp door...
ELECTRICAL SOCKET
ENTER’S FRAME, on the phone, wearing a t-shirt and sweats.
ENTERING FRAME, Clear peeks out the window, careful not to be seen.
ENTERS FRAME... displaying the logo of the Mt. Abraham Fighting Colonials.
EXPLODE!
EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT
EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT
EXT. AN INTERSECTION - NIGHT
EXT. ANOTHER INTERSECTION - NIGHT
EXT. BACKSTREET - NIGHT
EXT. BACKYARD - CLEAR RIVER’S HOUSE - NIGHT
EXT. BACKYARD - CLEAR RIVER’S HOUSE - NIGHT
EXT. BACKYARD - CLEAR RIVER’S HOUSE - NIGHT - CLEAR’S FEET
EXT. BACKYARD - CLEAR RIVER’S HOUSE - NIGHT - CLEAR’S POV
EXT. BACKYARD - CLEAR RIVER’S HOUSE - NIGHT - CLOTHESLINE
EXT. BACKYARD - CLEAR RIVERS’S HOUSE NIGHT
EXT. BEACH - NIGHT
EXT. CABIN - NIGHT
EXT. CABIN - NIGHT
EXT. CABIN - NIGHT - WEINE’S POV - THROUGH CAR WINDOW
EXT. CLEAR RIVER’S HOUSE - NIGHT
EXT. CLEAR RIVER’S HOUSE - NIGHT - CLEAR’S POV - POWER LINES
EXT. CLEAR RIVER’S HOUSE - NIGHT - POWER LINE
EXT. CLEAR RIVER’S HOUSE - NIGHT - POWER LINE
EXT. CLEAR RIVER’S STREET - DAY - CLEAR’S POV
EXT. EDGE OF THE WOODS/BACKYARD - NIGHT
EXT. FOREST - NIGHT
EXT. FOREST - NIGHT
EXT. FOREST - NIGHT - CLOSE - ALEX’S EYES
EXT. FOREST - NIGHT - SMALL CREEK
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
EXT. GATE 39 - AFTERNOON - CARTER, TERRY & BILLY’S POV
EXT. HIGHWAY - NIGHT
EXT. LEWTON’S HOUSE - NIGHT
EXT. LEWTON’S HOUSE - NIGHT
EXT. LEWTON’S HOUSE - NIGHT - MS. LEWTON’S POV - FRONT YARD
EXT. LEWTON’S STREET - NIGHT
EXT. MAIN STREET - DAY
EXT. MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM
EXT. MT ABRAHAM HIGH SCHOOL - DAY - CLOSE - ALEX
EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - MONUMENT
EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT
EXT. NEIGHBORHOOD - DAY - CLOSE - LEAVES ON TREES
EXT. NEIGHBORHOOD STREET - NIGHT
EXT. POLICE STATION - NIGHT
EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT
EXT. STARBUCKS - DAY
EXT. TRAFFIC LIGHT INTERSECTION - NIGHT
EXT. TRAIN TRACKS - NIGHT
EXT. TRAIN TRACKS - NIGHT
EXT. TRAIN TRACKS - NIGHT
EXT. TRAIN TRACKS - NIGHT - CARTER’S POV - THE TRAIN
EXT. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS
EXT. WAGGNER HOUSE - NIGHT - ESTABLISHING
EXT. WINDOW - CLEAR RIVER’S HOUSE - NIGHT
EXTREMELY CLOSE - CLEAR’S EYES
EXTREMELY CLOSE - COFFEE MUG
EXTREMELY CLOSE - COMPUTER MONITOR VENT EXTREMELY CLOSE - THE AIRLINE BAGGAGE MARKER
EXTREMELY WIDE - ACROSS THE TRACKS Ecclesiastes tell us, “Man no more
Entendez classe, qu’est ce que
Entering the garage, Alex gets a closer look at her artwork. It’s abstract sculpture and canvas work and pretty bad, at that.
Even as blood squirts on him from her open wound, he appears to realize she is “seeing” the moment of death.
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...
Every night... it seemed.
Every passenger hangs on as the car BOUNCES from the next dip.
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.
Everybody just stay where you     Mr. Carpenter, keep an eye on
Everyone begrudgingly stops to listen.
Everyone recognizes the eerie, yet beautiful coincidence. Clear leans her head back, relieved, euphoric...
Everything here reminds me... of
Exactly a year... to the minute.
Exactly how everything goes.
Excited, Tod speaks in a covert tone over Alex’s shoulder.
FADE IN:
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.
FISHING HOOK
FIZZLES in the glass, while O.S., a PHONE RINGS...
FLIGHT 180 departs 4:25. Gate 39.
FLIGHT ATTENDANT
FLIGHT ATTENDANT
FLIGHT ATTENDANT
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.
FLOOR
FRONT YARD
FUCK YOU, BILLY! I’M NOT DEAD!
FWOOP! The metal tears ACROSS FRAME, ripping Billy’s head from his
Fag.
Fasten seat belts... put on oxygen
Flames leap from the stove to the curtains, which catch fire.
Flames ride the small trickle of vodka back toward the kitchen...
Flight 180 pulls out of the gate, taxiing toward the runway.
Flight 180 to Paris through gate 39.
Flight Attendants prepare for
Foot to the floor, Clear SCREAMS for the car to move.
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.
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.
From INSIDE, a hoarse, macabre SCREAM! CAMERA PUSHES IN ON ALEX, stunned, before he races off toward the house. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK!
From our group? From the direction... there’s only
From the rear of the house appears Alex. CAMERA SWEEPS IN ON HIM as he reacts to the situation...
Fuck off, Horton.
Fuck off.
Fuck you! I’ll remove myself!
Fuh-ck, do we have to put up with
Full sprint, Alex disappears into the dark forest.
GARAGE DOOR
GARAGE DOOR OPENER MOTER
GARAGE FLOOR
GATE 39
GEORGE
GEORGE
GEORGE
GEORGE
GULLY
Game over.
George staying on the plane that...
Get back! You’ll both die!
Get in the car.
Get on the plane.
Get out of the fuckin’ car!          car!
Get out! Get out of the car!         Get out! Get out of the Get outta here! Get over it! I won’t let that plane Gets in two hours later at DeGaulle. Gives me a rush... Good call. Very “Quincy.” Good point. Alex looks away. Good sign. Younger the better. Got a 70. Lowest score, but I
Got your whole life ahead of you.
Greenland, or something?
HARE KRISHANA HARE KRISHANA
HEADLINE - CRUMPLED NEWSPAPER
HIM! HE’S NEXT!
HIS FEET
Hare Rama.
Have they found any survivors?
Have you recieved any packages? Have your belongings remained in your
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.
He considers, owing them an explanation. Then he realizes...
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.
He could be anywhere from here to a
He didn’t do nothin’!
He didn’t say nothin’. Just drive. He died in a plane crash.
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..
He gestures... “and that’s all we know.” The group slips deeper into despair.
He leans foward, removing a peice of paper from his pocket.
He left yesterday behind him...
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.
He looks at her.
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.
He looks toward...
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.
He pauses only for a couple gulps of air... and is off.
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.
He reaches out and grabs the power line, falling back to pull it away from the hood of the car. The cable ARCS furiously.
He rolls and tumbles uncontrollably down the hillside. As he nears the base...
He said Death has a design. Even
He sits back, OUT OF FRAME, but quickly darts forward.
He slips again.
He stands at the gate window, looking out at the plane.
He told me to get off the plane.
He took his own life.
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.
He turns toward the aisle.
He turns, stands... and moves to the picture window, pulling the curtains aside as CAMERA PUSHES IN ON HIM...
He was born in the summer of his
He was born in the summer of his
He was trippin’ on formaldehyde.
He wouldn’t do it!
He’s here. A beautiful boy.
He’s in the shower, Clear. Can I
He’s not a witch.
He... he told me we would be friends
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...
Hello. I’m Howard Seigel, National
Helpless, chain wrapped around the tree. THUNDER RUMBLES.
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.
Her eyes turn from the paper to Alex, concerned about him...
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...
Here’s good.
Hey, Alex...
Hey, I won’t let it happen, okay.
Hey, look! “Coffee” starts with a
Hey, man, why’d you say that?!
Hey.
High...
His eyes having never left Alex, Carter suddenly cranks the wheel hard to the left to make a tight U-Turn.
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...
His father’s pretty fucked up with
His parents bought a ton of those
Hope you don’t think, Browning, that
How did you know that?
How many died on Flight 180?
How would I know? You think I’m
How’d we lose him?
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.
I DON’T NEED IT EVER! GET AWAY FROM
I almost believed him.
I already told you...
I am... so close to puking, you
I believe that... Ms. Lewton’s next.
I believe... that’s what Alex
I called your mom and dad and
I can talk... to anyone about it.
I can’t believe they let that
I can’t get out!
I can’t go home. After Lewton’s,
I crafted a reconstruction of the
I didn’t ask for what happened to me
I didn’t do anything! I have my
I didn’t see what you saw, but I
I didn’t think anything could
I don’t believe you have magical
I don’t know where he is. He’s not
I don’t know. I wish I could just see
I don’t mean that...
I don’t understand... did you see
I don’t want to sound gay, or
I don’t.
I experienced the plane exploding...
I felt him! When the baby was
I felt what you felt. I didn’t know
I go with you.
I got this... feeling... a weird
I gotta go. This thing Ms. Lewton
I guess, but my mom couldn’t deal
I have a few questions to ask you
I know what you’re doing! It’s
I know who you are.
I know you didn’t blow up that plane.
I overlooked it. You tried to
I sent him back on the plane.
I think. But why’d they make him
I took my driver’s test this week at
I was in the bathroom. The lock was
I wasn’t alive then my grandparents
I went to the shore off the crash
I will. Don’t worry.
I wish you were on the plane!
I would know.
I’ll miss you guys.
I’ll remove him.
I’ll see you soon
I’ll stay.
I’m concerned about you
I’m feeling.
I’m gonna fuckin’ kill ya!
I’m never gonna die.
I’m not a pyschic... I’ve never had
I’m not afraid! I DECIDE WHEN IT’S
I’m not joking! I’m not joking!
I’m not just layin’ down a bunch
I’m not suffering from Post Traumatic
I’m not talkin’ about if you did it. I’m not turning him in. There’s
I’m sorry we broke in.
I’m still here.
I’m... a friend of his. His best
I’m... really sorry.
I’ve never dealt with death before.
I’ve seen it rainin’ fire from the I’ve seen it rainin’ fire in the sky...
I... I saw it... like, I don’t
I... never moved. Christa asked
IN THE COROLLA
IN THE STREET
INDIVIDUALLY... this between the two of them.
INSIDE THE CAR
INT.  SECURITY AREA - AIRPORT - MONITOR INT. 747 - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY
INT. A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK & WEINE
INT. A ROOM - AIRPORT - NIGHT - TOD
INT. A ROOM - AIRPORT - NIGHT - WEINE
INT. A SECOND ROOM - AIRPORT - NIGHT - MS. LEWTON
INT. AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE 39
INT. ALEX’S BEDROOM - DAY - 747 SCHEMATIC
INT. ALEX’S BEDROOM - DAY - FLOWERS
INT. ALEX’S BEDROOM - LATER
INT. ALEX’S BEDROOM - NIGHT
INT. ALEX’S BEDROOM - NIGHT
INT. ALEX’S BEDROOM - NIGHT - CLOSE - BED
INT. ALEX’S BEDROOM - NIGHT - CLOSE - TABLE FAN
INT. ALEX’S BEDROOM - NIGHT - NEWSPHOTO - CLEAR RIVERS
INT. BATHROOM - CLEAR RIVER’S HOUSE - DAY
INT. BATHROOM - WAGGNER HOUSE - NIGHT
INT. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - TOD’S NECK
INT. BATHROOM - WAGGNER HOUSE - NIGHT - SHOWER CURTAIN
INT. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - RAZOR BLADE
INT. BEDROOM - CLEAR RIVER’S HOUSE - DAY
INT. BEDROOM - CLEAR RIVER’S HOUSE - DAY
INT. BOARDING AREA - GATE 39 - CLOSE - ALEX’S BOARDING PASS
INT. BOARDING AREA/TUNNEL - GATE 39 - DAY
INT. BROWNING LIVING ROOM - NIGHT - CLOSE - ALKA SELTZER
INT. CABIN - DAY - A SMALL TABLE
INT. CABIN - NIGHT
INT. CABIN - NIGHT - CRACK BENEATH DOOR
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CARTER’S CAR - NIGHT
INT. CHECK IN DESK - AIRPORT - DAY
INT. CLEAR RIVER’S HOUSE - NIGHT
INT. CLEAR RIVER’S HOUSE - NIGHT
INT. CLEAR RIVER’S HOUSE - NIGHT
INT. CLEAR RIVER’S HOUSE - NIGHT
INT. COROLLA - NIGHT
INT. COROLLA - NIGHT
INT. COROLLA - NIGHT
INT. COROLLA - NIGHT
INT. COROLLA - NIGHT
INT. COROLLA - NIGHT
INT. DELIVERY ROOM - DAY - CLEAR
INT. DOWNSTAIRS HALLWAY - FUNERAL HOME - NIGHT
INT. ECONOMY CLASS CABIN - 747 - AFTERNOON
INT. FUNERAL HOME - FOYER - NIGHT
INT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
INT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
INT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT
INT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT - DOOR OPENER MOTER
INT. GARAGE - CLEAR RIVER’S HOUSE - NIGHT - DOOR OPENER MOTOR
INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON
INT. HALLWAY - CLEAR RIVER’S HOUSE - NIGHT
INT. INTERROGATION ROOM - POLICE STATION - NIGHT
INT. INTERROGATION ROOM - POLICE STATION - NIGHT
INT. INTERROGATION ROOM - POLICE STATION - NIGHT
INT. JFK INTERNATIONAL AIRPORT - PRESS ROOM #10 - NIGHT
INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - NIGHT
INT. JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR
INT. KEN BROWNING’S CAR - NIGHT
INT. KITCHEN - CLEAR RIVER’S HOUSE - NIGHT
INT. KITCHEN - CLEAR RIVER’S HOUSE - NIGHT
INT. KITCHEN - LEWTON’S HOUSE - NIGHT
INT. LEWTON’S HOUSE - NIGHT - MS. LEWTON
INT. LIVING ROOM - BROWNING HOUSE - NIGHT - TV
INT. LIVING ROOM - LEWTON’S HOUSE - NIGHT - THE FLAMES
INT. LIVING ROOM - WAGGNER HOUSE - NIGHT
INT. LIVING ROOM - WAGGNER HOUSE - NIGHT
INT. MEN’S ROOM - AIRPORT - OVERHEAD INT. MORGUE - FUNERAL HOME - NIGHT
INT. MS. LEWTON’S HOUSE - NIGHT
INT. MS. LEWTON’S HOUSE - NIGHT
INT. MS. LEWTON’S HOUSE - NIGHT
INT. MS. LEWTON’S HOUSE - NIGHT - CLOSE - TEAPOT
INT. MS. LEWTON’S HOUSE - NIGHT - VALERIE LEWTON
INT. MS. LEWTON’S KITCHEN - NIGHT - SET OF CUTLERY KNIVES
INT. UNMARKED CAR - NIGHT
INT. UNMARKED CAR - NIGHT
INT. VALERIE LEWTON’S HOUSE - NIGHT - VALERIE LEWTON
INT./EXT. GARAGE - CLEAR RIVERS’ HOUSE - DAY - CLEAR RIVERS
INT/EXT. GARAGE - CLEAR RIVERS’ HOUSE - DAY
INTERSECTION
INTERSECTION
If I ask out Cynthia Paster, will
If Life is like a box of
If he should contact you, it
If that was the design for my
If that’s the case, Alex... why did
In Death...
In the DISTANCE, a TRAIN WHISTLE BLOWS, eerie, as if Death was punctuating the moment.
In the b.g. the 747 head and taillights suddenly, violently, ERUPT into a gigantic fireball of flame.
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.
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.
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.
Is everyone dead? Are there any
Is he alive?
Is knowing going to make it easier?
Is that something you’re “feeling?”
Is there a problem, sir?
It ain’t my time.
It broke!
It did skip us.
It doesn’t matter who’s next...
It instantly, frightfully, occurs to him, he now knows who will be next...
It is as if Nature is angry. Lightning BOLTS spiderweb across the sky. THUNDER BOOMS.
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.
It is raining. In the distance, MUFFLED THUNDER RUMBLES.
It is. But that didn’t stop me.
It makes it harder.
It may be valuable to our rescue
It never occurs to us that it has
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.
It will be for you if you harass
It would be a fucked-up God to
It’s alright. It’s alright. You’re
It’s alright. It’s not that big of a
It’s going to explode! It’s going to
It’s only the end of June.
It’s that girl... Clear.
It’s the Colorado Rocky Mountain
It’s the Colorado Rocky Mountian High
It’s you.
J.D.
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.
JOHN DENVER
JOHN DENVER (O.S.)
JOHN DENVER (O.S.)
JOHN DENVER (V.O.)
JOHN DENVER (V.O.)
JOHN DENVER (V.O.)
JOHN DENVER (V.O.)
JOHN DENVER (V.O.)
JOHN DENVER (V.O.
JOHN DENVER (V.O.
January 15, 1999
Jarred, he eyes her, frightened
Jesus fucking Christ!
John Denver..
Just arriving in the cabin, Billy Hitchcock tries to fight past
Just looking out my own front yard..
KA-BOOM
KEN KEN
KEN
KEN
KEN (CONT’D)
KEN (CONT’D)
KEN (Cont’d)
KEN (Cont’d)
KITCHEN DOORWAY
Keep off the highways, they’ll be
Ken returns to the living room, concerned about his son. Alex averts his eyes, stressed and ashamed. Ken sits nearby
Kennedy from a warehouse and hid in
Kid gives me the creeps. Kind of have a reunion, here.
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.
Knock it off!
Know what this is?
Know what this is?
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 POV - (LOOKING UP) - THE HAND TOWEL
LEWTON’S POV - THE SHADOW
LEWTON, CARTER, TERRY, AND BILLY
LIVING ROOM
Ladies and Gentlemen, thank-you for
Larry Murnau told me to get back
Laryngeal prominence region with
Laura, I gotta call you back.
Les estudients, allons en France!
Let it go! Let me choose how to deal with it.
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.
Lewton’s hand picks up the mug, oblivious to the crack. She moves off toward the living room, leaving a trail of alcohol.
Lewton, or what?
Lewton, you should’ve been next.
Lightning CRACKS a tree branch.   SPARKS FLY! The tree tumbles down the branches.
Like you, the sculpture doesn’t even
Like, um... you’re mad about
Like... 4:25.
Linda Krauss... Thomas Lewis... John McConnell.
Listen to me! This plane will
Live it up, Alex...
Lived here her whole life.         This’ll be hard to believe.
Looking back to check the postition of the agents, Alex blindly runs over the lip of a downward slope...
Look, I’ve seen enough T.V. to know
Look, there’s something you should
Looking fore in the cabin...
Lost him.
MATCH CUT TO:
MEMORIAL LINE
MENS ROOM ACROSS FROM GATE 39
MESSAGE (V.O.)
MINISTER (CONT’D O.S.)
MINISTER (CONT’D)
MINISTER (CONT’D)
MINISTER (CONT’D)
MINISTER (CONT’D)
MINISTER (CONT’D)
MINISTER (V.O.)
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH
MR. BLUDWORTH (O.S.)
MR. BLUDWORTH (V.O.)
MR. MURNAU
MR. MURNAU
MR. MURNAU
MR. MURNAU
MR. MURNAU
MR. MURNAU
MR. MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm.
MR. WAGGNER
MR. WAGGNER MR. WAGGNER
MR. WAGGNER
MR. WAGGNER
MR. WAGGNER
MR. WAGGNER
MR. WAGGNER (CONT’D)
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON
MS. LEWTON MS. LEWTON
MS. LEWTON
MS. LEWTON             MR. MURNAU
MS. LEWTON             MR. MURNAU MS. LEWTON (CONT’D)
MS. LEWTON (CONT’D)
MS. LEWTON (O.S.)
Man, he really is next.
Man, that is one George Michael
Man, they look great and they’re workin’ the sex appeal.
May as well go out under my own
Maybe there’s no way to win...
Me, right? That’s why you’re not
Me, too.
Most kids do, I guess.
Most kids never have it happen. Move it!
Moving boxes are stacked in the living room; organized disarray of
Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH...
Mr. Murnau and Ms. Lewton unfasten their seat belts and rush toward Alex.
Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as...
Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system.
Mr. Waggner glares at Alex, accusingly.
Mr. Waggner turns toward the paramedics van, as if “there’s the proof.”
Mr. Waggner...
Ms. Lewton and Mr. Murnau move to the seats. Flight attendants try
Ms. Lewton and Tod exchange concerned glances.
Ms. Lewton appears from around the corner. She starts toward the entrance, but pauses, tensing when she sees Alex.
Ms. Lewton moves to a closet door, opens it and CLICKS on an overhead light.
Ms. Lewton steps away from the curtains.
Ms. Lewton turns and, while walking backward, flashes a smile...
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.
Ms. Lewton!
Ms. Lewton!
Ms. Lewton’s eyes flash to Alex, afraid of him.
Ms. Lewton, Carter and Billy glare at Alex. Terry averts her eyes from Alex to bury her face in Carter’s shoulder.
Ms. Lewton...
Mt. Abraham High School Fighting Colonials.
Murnau understands this point and takes off toward the boarding ramp door. Pleading his case, Billy follows Murnau.
My birthday is the same as of the
My brother... told me to keep an eye
My intervention in the death of 180
My suitcase workin’ out for ya?
NEXT! I’M GETTING THE FUCK AWAY FROM
NO!
NO!
No harm. No foul.
No one forced you to get off the
No one gets back on board. That’s my
No one’s that strong.
No response from Alex. Ken sighs, then into the phone...
No!
No! Knock it off!
No! No! Don’t!
No, but it might as well be the
No, wait, I was late... that’s my
No, you know the whole French thing.
No.
No. I saw it. I saw it!
No.. I mean, I don’t have anything
No... I can’t. As long as I’m in
Not EVER
Not a likeness. It’s how you make
Not here, not now
Not like a dream... more than that
Not with us in the fuckin’ car!
Nothing is... anymore.
Now you know how I feel havin’ to
Now! NOW!!
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.
O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK.
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.
O.S., distant THUNDER RUMBLES...
O.S., his classmates CHEER and “raise the roof.” The trip has begun.
O.S., the ENGINE VOLUME INCREASES in PITCH and INTENSITY as the jet begins to taxi. Alex sits back, the tray over his lap. He looks out the window.
OBSERVATION DECK ON THE COUNTER
ON THE COUNTER
ON THE FLOOR
OUT OF THE DRIVER’S WINDOW - BILLY’S POV
OUT OF THE FRONT WINDOW
OUT OF THE WINDOW - ALEX’S POV OUTSIDE... the sick familiar SOUND of an aircraft going down.
OXYGEN MASKS
Obviously, no one ever wants to ever hear that. The students tense.
Odd how one can appear so erotic at a funeral.
Of course not! Gods aren’t afraid to
Oh, you’ve noticed it, too?
Oh... mom’s favorite.
On a reflex, she spins toward the sink and throws the hot contents into the drain. She sits the mug down...
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...
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.
On the screen, the reflection of the approaching shadow passes before the monitor... EXPLODES!
One guard restrains Alex; another Carter. In the b.g. out of the observation deck window... Flight 180 lifts off the runway.
On the wall amongst Yankee and Knicks posters, hangs a pennant;
Only trip you’re gonna take is to
Opening the refrigerator freezer, she grabs some ice and a bottle of pure Polish Vodka then deliberately turns back toward the same mug...
Or if you knew she was dead...
Originally Called “FLIGHT 180”
Out of us... who’s next to see it?
Over black:
P.A. SYSTEM
P.A. SYSTEM (O.S., CONT’D)
PASSENGER RAMP
PEDESTRIAN TRAFFIC SIGNAL
PEDESTRIAN TRAFFIC SIGNAL
PENTHOUSE PICTORIAL
PLEASE... I’ve got forty students
POPS open!
PUDDLE ON THE FLOOR
Passengers SCREAM! Unrestrained personal belongings fly across the aircraft INTO CAMERA, which BUFFETS and SHAKES...
Pause... he’s alright. He takes the spoon. Scoops some more. And the process begins again.
Permaseal.
Plastic tabs CLACK rapidly, settling on the word... “CANCELLED.”
Play your hunch, Alex. If you think
Please don’t yell...
Please tell me I’m gonna get to see
Pleased with the feeling of a pleasant memory, Lewton moves off.
Police are coming.
Princess Di’s Mercedes is totaled in a Paris tunnel. Besides the photo are two portraits of Diana and Dodi Al Fayed.
Qu’est-ce se?! THE PLANE’S GONNA
RETURN
RETURN
RETURN
RETURN
RETURN
RETURN
RETURN
Rain falls. GEARS WHIR as the ailerons are tested.
Rattled, Alex attempts to compose himself. Ms. Lewton appears, hurriedly pulling aside Mr. Murnau.
Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb.
Readying his ticket and documents, Tod flips open his passport, checking out his photo.
Realizing the motor is dead, Clear takes a beat, STARTS THE ENGINE and SHIFTS INTO REVERSE...
Really for the first time, Alex appears a bit tentative and pale. It is intensified by the return of the song...
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.
Remaining dry and stoned faced, Alex tenses, uncomfortable.
Remember the departure time?
Remember the gate number?
Right. April 25th.
Rocky Mountain High/ Colorad-oh.
Run!
Rusted. Tetanus. Nice touch.
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK
SCHRECK AND WEINE
SCHRECK AND WEINE
SCHRECK AND WEINE
SCHRECK AND WEINE
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.
SCREAMS! Its parents desperately comfort the child.
SCREAMS, as if reacting to Alex’s death, but in actuality it is a reaction to the pain of delivering her child.
SEIGEL
SEIGEL
SHERIFFS
SHOWER HEAD - TOD’S POV
SHUT UP, BILLY!
SILENCE
SNAPS in ALEX’S DIRECTION.
SPECIAL AGENTS SCHRECK AND WEINE
SPECIAL AGENTS SCHRECK AND WEINE
STEWARDESS to get to his seat. He is blocked by the mass of combatants as they are escorted out.
STOVE
Same as your birthday.
Scared now?
Scared to death, Billy fumbles with the car door handle. From the front passenger seat, he looks up and to his left... 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.
Schreck moves closer to Alex.
Schreck, Weine and PARAMEDICS rush to the girl. Schreck turns back, calling out to a paramedic, helplessly watching by ther burning car.
Schreck...
Seigel is calm, yet honest... carefully honest.
Seventeen and on the loose. Ten
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.
Sharp metal edges spin. Glinting blue arc light...
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.
She can’t wait to leave. While trying to walk around Carter...
She considers... and understands.
She doesn’t react. Her expression remains cool as Murnau leads the
She drops the glass and quickly stumbles toward the kitchen, blindly banging the turntable as she passes. The needle skips, BUMPS... and settles... unmercifully at the start of ‘Rocky Mountain High.’
She follows the attendant, hitting him to help her boyfriend.
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.
She has lived this so many times, she is long beyond crying...
She holds the paper as Alex, apparently, explains the story.
She immediately hangs up and speed dials.
She looks at him...
She looks out at the stars. He doesn’t eye her, either...
She opens the door and flashes one more look at Alex, but he appears unaware. She exits the car and as the door SHUTS...
She pauses to swig from her cup of vodka.
She peeks out of the front curtains and looks sadly upon her front yard. Her expression alters... alarmed...
She picks up her paper coffee cup.
She places a hand on Alex’s shoulder, herding him to the group.
She reaches up to reflexively pull the glass from her throat, creating a flood of spurting blood.
She sighs, “thanks a lot,” then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal.
She slides a vinyl record album out of the sleeve and moves to the turntable on a shelf, thick with dust.
She studies the men before averting her eyes.
She was up there a minute ago...
She’s concerned about you.
She’s leaving the school. Moving
She’s next. She... is the last sight he’ll ever see.
Shoulda felt up Tammy in the pool,
Shouldn’t stop you.
Shut up! The both of you!
Shut up, Browning!        You’re not funny.
Sir, we will remove you from the
Sit! DOWN! Browning!
So, it should stay on, or with,
So, stop what you’re doing and STOP
So, why’d you want us to meet you
Some nights I’m woken up by the
Somehow... is 180 still in flight?
Sometimes, you give me the creeps.
Somewhere... are they still safe?
Special agents Schreck and Weine standing in the street, backlit in the strong headlights of their car.
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.
Startled, Alex reflexively throws the Penthouse across the room, pages tearing as it hits the sill. The giant bird flies off.
Startled, Alex turns to find...
Stop it! Hey, c’mon, man...
Stop the car! Let us out!
Storm clouds devour a waxing crescent moon above a modest home set amongst the edge of the woods.
Stress. I haven’t developed a
Suddenly, Tod jerks; his hand lifting four inches...
Suicide. Murder. Plane crash. What
TELEVISION
TELEVISION
TELEVISION
TERRY
TERRY
TERRY
TERRY
TERRY
TERRY (CONT’D)
THAT’S RIGHT! HE’S RIGHT! YOU ARE
THE BABY
THE BATHROOM DOOR
THE BED
THE CAN OF TURPENTINE
THE CIRCULAR CLOTHES-LINE FRAME
THE CIRCULAR CLOTHESLINE
THE COMPUTER MONITOR
THE COUNTER TOP
THE DOCTOR
THE DOG
THE DOOR
THE FLIGHT ATTENDANT
THE GARAGE OPENER
THE GUIDEBOOK PAGES
THE GUIDEBOOK PAGES
THE HOUSE
THE METAL ARM
THE POWER LINE
THE POWER LINE
THE POWER LINE
THE POWER LINE
THE POWER LINES
THE PUDDLE ON THE FLOOR
THE PUDDLE ON THE FLOOR
THE PUDDLE ON THE FLOOR
THE RETRACTABLE CLOTHESLINE
THE RIVETS
THE SKY
THE SKY - ALEX’S POV
THE SOAP DISH
THE STOVE
THE STOVE
THE STREAM OF TURPINTINE
THE TABLE FAN
THE TABLE FAN
THE TABLE FAN
THE TABLE FAN
THE TRAIN
THE WINDOWS
THIS CAR! Right fucking now!
THUDS upon Clear’s car.
TICKET CLERK
TICKET CLERK
TICKET CLERK
TICKET CLERK (CONT’D)
TICKET CLERK (CONT’D)
TICKET CLERK (CONT’D, O.S.)
TICKET DESK
TIGHTER - THE GUIDEBOOK PAGES
TIGHTER, OMINOUS ANGLE - THE DESK FAN
TIME CUT:
TIME CUT:
TIME! I control my life! I control
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD
TOD

TOD FLIGHT ATTENDANT
TOD (CONT’D)
TOD (CONT’D)
TOD (CONT’D)
TOD (O.S.)
TOD (V.O.)
TOD (V.O., CONT’D)
TOD AND HIS FATHER
TOD’S EYES
TOD’S FACE
TOD’S NECK
TOD’S POV - DEATH
TOD’S POV - GEORGE
TRAIN TRACKS
TRAIN TRACKS
TREE
TURNING CAR DRIVER’S POV - CARTER’S CAR
Take care of those two, Alex.
Tears well as he grows frustrated trying to convey the unique experience. Being trained, veteran officers, Schreck and Weine observe; allow him to talk.
Tell us where he is. Wait at home,
Tense, her eyes look left, then right...
Terry’s name should be on this wall.
Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths “shh.”
Thank you for the ride.
Thank you.
Thanks.
That true?
That’s Death’s design.
That’s Tod’s seat...
That’s a plan.
That’s him, but... he’s not here.
That’s seven hours and most of it is
That’s the only pattern. You should
That’s total bullshit. You can find
That’s what I’m doin’!
That’s why I was there last night.
That’s why it skipped Carter and
That’s why you’re taking me.
That... him?
That... whatever... that whatever
The 747 begins rolling out of the gate.
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.’
The CLACKING CONTINUES, demading Alex’s attention. His eyes turn forward.
The Co-Pilot arrives to secure the situation. He grabs Alex and begins forcibly ushering him up the aisle.
The Corolla lurches backward, freed from the grasp of the house.
The ENGINES WHIR as the jet gathers SPEED. He checks the window.
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.
The National Transportation Safety
The ROAR of the TRAIN seems exaggerated as they are frozen in horrified shock.
The THUNDERING TRAIN intensifies the situation...
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.
The agents study Alex...
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...
The agents, F.B.I. badges displayed in their pockets, turn their eyes, suspicioulsy, toward Alex.
The airport doesn’t endorse
The backdoor opens. Clear charges out into the backyard.
The boy frantically moves to a paramedic.
The boys dump their change in a plastic bowl.
The breeze intensifies, lifting the burning debris. The smoke swirls around him. CAMERA PUSHES INTO ALEX as he senses the Presence. He looks ahead.
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.
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.
The car GUNS IT through another stop sign.
The car SHUDDERS, wheels spinning uselessly, as the arm “holds” onto the car.
The car pulls over.
The cause of the explosion is
The co-pilot and attendants start back toward the plane. Ms. Lewton hustles over to them and an airline representitive.
The corresponding jagged picture of the explosion is reminiscent of the “hand of Death,” seen earlier in the lightning. It is a graphic demonsration of the arbitrary nature of Death.
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...
The dog starts to tear off toward the house. Clear runs toward the hanging tire. Leaps...
The door is softly pushed closed by the breeze.
The enormous engine. The expansive wings. Behind the tail, distant, a bolt of lightning FLASHES
The father respects this young man’s wishes. Ken nods “fair enough.” In the silent moment, O.S., from the television...
The figure is Alex Browning.
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.
The flight attendant restrains Carter with an extended forearm.
The flight attendants strap themselves in for take-off.
The front crossing arm drops INTO FRAME before the car. Carter turns and flashes a “that’s why I stopped” smile.
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.
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.
The graphic ZOOMS into the area in the rear right side, nearly above Tod’s seat.
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.
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.
The idea sends a shot of apprehension through Clear.
The interior bounces as the car clears a dip past the intersection. Alex, Clear, and Billy tenses...
The jet lurches. He looks...
The kids sneak sympathetic yet anxious glances at the man while continuing in their seats. George whispers over his shoulder...
The lightning STRIKES the top of the pole, SNAPPING two power lines, which whip in the wind.
The model’s pose and expression tempt Alex towards the momentary respite from his troubles. The caption beneath the centerfold pictorial reads, “Tymme Has Come Today!”
The moment of realization...
The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work...
The mortician eyes Alex, understanding. Alex senses this and eases. Clear moves toward Tod’s body, examining the neck area.
The mortician said Death has a
The mortician was whacked.
The muscle car ROARS onto U.S. 17 on ramp. A sign near the road indicates:
The muscle car ROARS past a stop sign.
The officers nod. One moves toward Carter as he dropped in a seat away from Alex. Terry sits behind Carter.
The officers remain quiet, gauging his explanation.
The officers study him, unsure yet carefully...
The officials are sympathetic and calm, exuding the confidence and security trauma victims look for at this time.
The others sit away from Alex and Tod. Alex appears wrought with guilt. He checks the others out of the corner of his eye.
The path of the explosion...
The photograph is turned over. On the back is marked in a young girl’s handwriting, “me and dad at the cabin. 1986.”
The plane is on its side, losing altitude. A slow, sick spin.
The plastic tabs FLIP and CLACK rapidly, stopping on... “DEPARTED.”
The power goes out. The room turns dark. Outside, brilliant bluish white arc lights CRACKLE. Clear moves to the window.
The power line ERUPTS! Alex disapears behind the wall of fire and sparks before falling limp on the driveway.
The power line STRIKES the ground, “closing in on” the dog.
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.
The power lines WHACK angrily against the door.
The power lines strike the rooftop.
The remaining vodka oozes from the crack, pools, then drips off the edge of the desk...
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.
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.
The shoreline lights cast an orange haze on the stars, breaking through, infinitely above.
The skylight hinges CRACK open. Clear leads the way. Lifting the frame, then dropping it through the skylight window.
The storm has ceased. The room is QUIET.
The student continues down toward the observation deck. Clear looks at the opened guidebook.
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.
The survivors dread the thought of recounting the horrible experience, yet collectively are ready to co-operate.
The thick branch falls from above, landing on top of him. He’s knocked to the ground and pinned... face down in the creek.
The three are silent.
The three others turn quiet, considering what it must be...
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.
The train TEARS THROUGH the front end of the muscular car! GLASS and METAL ERUPT as the locomotive THUNDERS THROUGH FRAME.
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...
The train appears around the blind bend...
The turning car HONKS, ROARING through the intersection as Carter’s car nearly clips the rear end of the turning car.
The two agents remain respectful...
The two boys stop their heated exchange.
The unceremonious speed of obliteration of hundreds of lives is cruel as flaming debris plummets from the early evening sky.
The unmarked F.B.I. sedan maintains surveillance. Schreck and Weine sit inside.
The unmarked F.B.I. vehicle and two sheriff patrol cars pull up on the street. Schreck and Weine hustle out of the car.
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.
The waves continue to shore. Clear looks up at the sky.
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...
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.
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.
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.
Then maybe you should lay off the Then there’s no one left who can help
Then why bother? What’s the fuckin’
Then, get out of here.
Then, let’s go see him!
Then...
Then...
There is more of a hint of conincidence as the blades whirl and head swivels. The boy’s figure passes, blocking the breeze.
There is something more emotionally tense about the moment of boarding than take-off. CAMERA PICKS UP Ms. Lewton searching...
There they go and here we stay.
There!
There’s a couple of times, there...
They blame me for everything. Her,
They died! We lived!
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.
They said he hung himself, but
They say that he got crazy once and
They’ll follow my car.
They’ll let one of us back on and
They’re watching me, see if I go to
Thirty-nine days have passed since
Thirty-nine.
Thirty-nine.
This afternoon... which is so
This airport does not support
This frightens everyone. Not the “prophecy,” but his panicky, irrational behavior.
This is Valerie Lewton. I need Agent
This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm’s way.
This just is. There’s a pattern in
This place?!
This won’t be safe.
Those guys are probably fifteen
Time, we must mourn and celebrate
To live my life to the fullest.
Tod MOVES INTO FRAME beside Alex...
Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner.
Tod and George’s dad just called,
Tod die? Did it happen again, like                               on the plane?
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.
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 nods. The two friends stand uncomfortably for a beat before Tod gestures to the podium.
Tod nudges Alex toward the tunnel, the three boys start down the ramp, passing Mr. Murnau who checks his list, counting heads...
Tod picks up a glass and swigs the remainder of his father’s scotch before moving off and climbing the stairs.
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.
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 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.
Tod sits, back to CAMERA, which CRANES DOWN the tank, STOPPING behind the locking nut and water line pipe.
Tod subtly nods, reaching out to the memorial.
Tod watches, amazed and concerned for his friend. He looks across the cabin to...
Tod whips around...
Tod’s feet slip in the slick shampoo and water.
Tod’s hand ENTER FRAME. The scissors, sadistically just out of reach.
Tod’s hand moves across his brother’s name... GEORGE WAGGNER.
Tod’s hand tries to grab anything to hold him. His hand slips, knocking over a bottle of shampoo.
Tod’s parents remain asleep. O.S., a FAINT MUFFLE can be HEARD.
Tod, but he’s got some medical thing.
Tod, the plane crash...
Tod...
Transportation Safety Board vice
Trap.” The day you’re born is just
Trembling. She takes a deep breath, getting a hold of herself.
Tres bien, Clear! Tout droit!
Troubled and deeply concerned, Clear studies Alex.
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.
Um... okay... drive the speed limit,
Uncertain, and yet moved, Alex listens.
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.
Unless... we find the pattern.
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.
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.
Upon the mention, CAMERA CRANES DOWN, TURNING, TWISTING UNTIL FINDING ALEX in a straight on CLOSE-UP. He listens, tense...
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.
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...
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.
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.
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...
Velvetone Surgical Wax and
Vile liquid oozes out of the body onto the porcelain table.
Vingt huit, vingt neuf...
Vous n’etes pas dans l’obligation
WE DON’T NEED THIS NOW!
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE
WEINE (CONT’D)
WEINE (CONT’D)
WEINE (CONT’D)
WEINE AND SHERIFFS
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIDER
WIENE’S POV - FOREST
WRIST BRACLET
Wait. I thought you meant the time
Watch it! Watch it!
We beat it, Alex.
We didn’t find what we were looking
We get thrown off the plane and blow
We got nothing to hold him.
We have to get off this plane!
We have to get out!
We say that the hour of death
We understand how you must be
We’re afraid, too, Carter, but we’re
We’re losing our favorite teacher.
We’re takin’ you to a cabin in the
Weine RUNS INTO FRAME, looks around, frustrated...
Weine considers, yet remains skeptical.
Weine is driving, leading the other vehicles. Schreck points out the passenger window.
Weine leans forward toward Alex...
Weine leans foward...
Weine sits across from Alex, symapthetic, but professional...
Weine sits in the passenger seat looking through the pair of binoculars. Schreck is behind the wheel.
What are all those tiny marks?
What are you doing?
What are you doing?
What happened? Is Tod alright?
What if Tod... is just the first...
What the fuck’s he want?
What’s going on?
What’s your fuckin’ problem?
What’s your fuckin’ worry? If it’s
What... what happened?
Whatta you whinin’about? He said I’m
When I do this.. it’ll have skipped
When I was a kid, like, six or
When I was ten... my dad went into a
When are you moving?
When he first came to the mountains,
When she died... at that moment, I
Where my dad is still safe. Where he
Where would you get a nutball
Where’d you get this “pattern” from?
While she cleans brushes with a can of turpentine...
Whistles.
Whoa! Whoa! Mom, you gotta leave
Why do you think I was hiding?
Why don’t you want to talk to her...
Why were you there last night?
Why were you there last night?
Why would I want to see him?
Why would he pull at the wire
Why would they say it was a
Why’d you say it?
Why..?
Why?
Wind. Screams. Dying engines, a deafening blare.
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.
With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows.
Within the deep blue, a single black cloud blocks the sun.
X-Files bullshit... but it was a
YOU WILL BE! YOU’RE DEAD! YOU’RE YOU!
Yeah, but everthing’s always in
Yeah, we did.
Yeah, we’re all set Dad.
Yeah.
Yes... see, there’s this...
You already did that by walking off
You are not required to give money
You can hide there. Get your head
You can think I’m a nut. I’m used to
You can’t.
You caused Tod so much guilt over
You don’t unless... you’re able to
You get off havin’ control over me.
You got this?
You gotta stop this! Stop this! It’s
You have a responsibility to tell me. You had another “vision?” Maybe saw
You know what to do.
You know what to do. I’ll always be
You may not realize it, but we’re
You might say he’s born again...
You must have fallen asleep.
You said...
You saying Tod did kill himself?
You should have been next. After
You went there? I’ve wanted to go
You’ll go nuts if you start with
You’ll wake the dead.
You’re grounded in the car. Don’t
You’re lookin’ at me as if I caused
You’re losin’ it. The police will be
You’re outta here. Pretty soon...
You’re payin’ for my trip, Browning!
You’re so sweet. Thanks, Alex.
You’re sounding like those people
You’re the fuckin’ devil.
You’re the next one...
Your fingerprints on the knives...
Your shoe prints were in the blood.
a big Milton Bradley game of “Mouse
a chunk of the ceiling collapses upon Clear’s artworks, including the canvas incorporating a jagged piece of debris from Flight 180. The metal SLAMS to the floor, on top of...
a draft creeps beneath the glass enclosure. The flame, dancing.
a gas line ERUPTS, creating a small EXPLOSION.
a half day in Paris because Browning
a half dozen knives, from small, but sharp, cutting blades to large butcher knives, cascade into her body.
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.
a new airline I.D. marker is attached to his bag.
a pair of nose-hair scissors.
a puddle forms, creeping toward the heel of Tod’s stocking feet.
a real part of this life.
a slice of opening from where the ramp meets the plane provides a sense of how high up one actually stands.
a soft breeze causes the petals to flutter...
a tackle box has spilled thick, rusted old treble and aberdeen fishing hooks upon the floor. Alex bends down and examines them.
a theatre and Booth shot Lincoln in
a theatre and hid in a warehouse.”
a web of LIGHTNING CRACKS across the Heavens, as if Death was making a final angry proclamation.
a whaler. We’re going to be
a wicked cable and then right after
about indications... omens... that
about my parents dying. Like lying
absolute but incomprehansible
act like you’re not, but you are!
after a beat of incredulity...
again after you got better. After
air or sipping the coffee, having
aircraft if this continues.
alcohol drips from her mug...
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.
all just a mouse that a cat has by
all know.
all this... could just be in our
alone, hurt that no one has come to take her home.
alright to be scared, Carter. You
an active Presence.
and I promise... we’ll bring him
and I’m next to Blake.
and how it’ll come back at you.
and now, the tears arrive. He begins crying, SOBBING, as his mother and father hold him. O.S., OUTSIDE... lighting FLASHES... THUNDER RUMBLES...
and saw the ground...
and they are on their way. Does anyone
another life that needs him now.
another suburban nothing that would
any connection with the day already
any. But because of all of this, I
anymore, I guess.
anything to do with you saying
anything. And the fact that seven
appears motionless in the f.g. as the tarmac and runway signs roll past the window. THE ENGINE PITCH RISES...
are SPLATTERED with BLOOD before they can even recoil.
are direct and professional, with no hidden agenda in searching for the truth. Seigel and Hawks from the NTSB are behind them taking notes...
are. Just sit tight.              things for a moment.
as Death arrives, her eyes are macabrely focused above her.
as he continues to read...
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.
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.
as the rear of the car makes impact with the door...
ask you some questions... regarding
asked Tod, but he says he’s got some
assess the situation...
asshole, who my mom with my real
asshole. You think this         He’s not dead?
at, or run; the people we have sex
atop the car, whips, ARCS, warning everyone away.
attempts, or any potential...
attraction.
authorities are on the scene. Naval
avoid the trap and extend the
awake at night... just worrying. I
awareness. But here... you’re
away.
back safe, in protective custody. backing away... backs away, eyes locked with Clear’s, assuring she’s remaining in the car.
ball was rolling” couldn’t you
barrel. In the old folks home or the
barreling down towards him. The car cuts in front of the bicycle to complete the U-Turn.
bathtub. Marriage and kids and
be dead.
beating the shit out of Alex
because my name ain’t on this wall...
before he said that I had been
before it did explode, is highly
begun or that death could arrive
behind her, the stove ERUPTS in FLAMES. They jump, leap like a tiger, landing on her shoulders and hair, which catch on fire...
believe...
believe... because of you... I will
believed. But how do we know... this
believing Alex is not in the area, move ahead into the woods.
board a seven hour flight. The
boarding, or on the plane. Sleeping
body wants that airplane food out of
born... I felt Alex pass through me...
breathes, pushes hard. Alex’s parents stand on each side of her, holding her hand, wiping her forehead.
breaths deep into his oxygen cup.
but... if you figured out the
bye.
c’est l’announce?
call.
can escape the presence of Death
can see is Mr. Murnau... those kids.
can still feel you.
cannot be forecast...
capitalize. But I caught you,
career seem to make it all worthwhile
causing death.
centerfold’s caption are “...Tod...”
certain... and which has every hour
chairmen. We’ve notified your families
chances in my life. I haven’t seen
cheat it again.
cher aeroport n’est responsable
chocolates... Death... Death is like
choke to death! Oh no! Starbuck was
climbs into the row, carrying his backpack. He takes his window seat and reaches up to the air flow valve.
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 1997 issue of Penthouse.
coils, like a cobra, ready to STRIKE!
coincidencess. No mishaps.
combustible fluids.
committed suicide.
connected to a metal arm, attached to the door, remains motionless - there is no power. considers the reports on the Flight 180 crash, then returns his attention to the magazine. He unzips his pants, then pauses... his eyes returning hesitantly to the newspaper photo of Clear...
continue their pursuit through the dark trees.
continue to kick around the chunk of twisted metal...
continues to grow...
continues to run...
convulses in the small pool of water, burning from the overwhelming amounts of electricity.
could iniciate a horrifying fury that
could tell she saw something... horrible.
covered in goop, eyes shut... a new life arrives.
crash be the most important thing in
crash. Two, they haven’t ruled out
crashin’ or anything, right?
create cadaveric spasm.
criminal investigation.
crossed the street... we haven’t
curving chute. You feel immortal
cuts the umbilical cord.
dad would cross the street to avoid
dart desperately toward the counter.
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.
day, that we were meant to die. That,
days in Paris. In the springtime!
de contribuer aux demandes des
deal.
death omens anywhere you want to.
denial. Maybe he couldn’t deal with
departure time.
departure.
deperately scans the area.
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...
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.
design for everyone.
design. Now... if you, me, Tod,
determining cause for the accident,
dick? Tod, if you’re
dickhead on this trip.
die! Gods don’t die! We do!
die; now, not later.
died. I wish I could know. I mean,
dilating rapidly, as the shock of what appears to be happening before him washes over his very psyche.
displaying a similar sickened expression as Tod...
does it matter? He was going to end
don’t have a clue what caused the
don’t have to prove to us how big
don’t wanna know.
down there, start this way and we’ll
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.
during the test, he goes, “Young
easy.                                  we don’t tolerate such
es necesario contribuir...
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.
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...
everytime you see him, then you can
everywhere.
experienced... some kind of hyper
explode on take-off!
explode on take-off.”
explode!
extends toward the house.
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.
falls foward.
falls, hooking a closet door. The door begins to swing open.
father... and my family... then fuck
feel they need medical attention or
feeling at this hour... and although
feeling... I can’t explain it...
felt it. Okay, I’m not into all that
filled in advance.
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.
finished with us? We will all still
first, because you were under
flare. Blood vessels burst. He GROANS, attempting to call out.
flash open, horrified, answering the question...
flips the diving man into the big
flying down the road, appears to be heading straight towards him.
for JFK at noon.
for ten days.
for.
forever, but I got this cabin
freak, or whatever.
free will, right?
frenzied, begins moving toward the aisle.
fresh in your minds.
friend. See, his father...
friends, and teachers.
frightened as anyone over what has happened, tenses, defensive and scared. With softspoken strength...
from inside, an intense EXPLOSION propels glass from the windows. Flames engulf the entire house.
from now. Ten years. Tomorrow.
from persons unknown to you?
from someone, or something...
from until you started freaking out.
fuckin’ maniac!!
fucking kill you!
future.
game... you knew where the “steel
get a second chance. Because of me,
get off the plane.
get things rolling. Growing up is
going Dahmer.
going on this flight, we should
going to Paris...
gonna let me read it. It says what
grabs the tray table latch before the vacent seat. IT BREAKS OFF, JUST AS BEFORE. CAMERA PUSHES INTO ALEX, terrified. He begins to hyperventilate.
grows closer to his foot...
guiltily averts his eyes. Ken notes this and wraps a comforting arm around his son.
had a full pack of cigerettes and
half the time.
happen to me? What would life be
harpooned!
has a bad dream?
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.
have him get back at ya? Sure...
have saved everyone on the plane.
have you?
haven’t experienced too many second
having survived school, sex, drugs
he tried to touch the sun...
he turns it, again and again... nothing.
he’s better; you and me, road trip he’s picking you up at 10 in the
heads. Now it feels like it’s
hearing this, Alex’s mind is made up. He looks to Clear. hearing this, they turn to one another, with an expression suggesting a deepening suspicion.
hearts, will spring out... and become
held in a wooden block, sits atop the kitchen counter.
her back is to the desk, while pouring styrofoam peanuts into the box. In the b.g., FLAMES, nearly supernaturally, leap up the wall and toward the computer monitor.
here, it’s outta my control.
here. We have to go to the cabin.
here? Now?
him... one more time, then, maybe...
hinting... at the design.
his brother gestures, mouths... “you should go with him.”
his expression reflects a terrifying revelation...
his eyes find...
his eyes moves toward...
his foot slips...
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.
his hands tear at his flesh, desperately trying to pull the cord from his neck.
his head off.
his life was far away...
holding the pool frame begin to BREAK and POP. Water floods into the yard.
horrified, lurches away from the window, considering what he has seen. Just felt on the ROAR OF THUNDER... hospital you just see the big cage
humor.
idea like that?
if you’re gonna waste your life
if, we have been aware of... would
immediately turns to other attendants, signaling for assistance with a quick definite gesture. In the b.g., attendants hustle toward the economy class cabin.
in mid-air, desperately grabs the tire, hanging on, literally for her life. O.S., the dog YELPS. Clear turns back...
in the dark.
in the sky... where everyone gets a
in, month and day... that’s a reach.
inevitability...... it will arrive.
inside my head, goin’, “No, you know
intend to break this one.
is a blur. The airport terminals in the b.g. streak past. The wings lift, angled as the jet leaves the ground.
is a pencil rubbing, like people take away from the Vietnam veteran’s Memorial. The name... “ALEX BROWNING...”
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.
is amped, intensely more frightened as he believes...
is closed.
is engulfed in the flames.
is funny, you fucking
is ignited by a single spark from the power line. It flows toward the car. is moments away.
is nervous but determined. He tells the truth...
is next.
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.
is pulled aside REVEALING two pairs of Linda Waggner’s nylons drying on a retractable clothesline.
is quickly out of his safe chair, hustling towards...
is rolled by the winds, across the yard toward...
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.
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...
is torn along the perforated edge and handed back.
is torn away from the suitcase handle.
is torn in such a manner that the only lettlers remaining from the
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.
is whipped by a power line. SPARKS FLY as the base pole snaps in two.
it in some T.V. static?
it leave the runway... I looked down
it was so horrible... I know what
it. I did not cause this. it. I saved six lives but the entire
its tail. Every single move we
jokin’... he did. And the guy blew
just a stupid mug.
just call Dr. Kervorkian and put
just drop fucking dead!
just sitting here, breathing this
just to get him out of their hair
keeps her eyes locked on Alex, watching him. Suddenly, a BURST OF FIRE FLASHES FROM BELOW FRAME...
kept driving. A place where me and
kick upon the slippery basin. After a beat... they stop.
kid. And so my mom didn’t either
know what, or why, it is. Reluctant
know... the plane took off. I saw
knows his time than fish taken in
leading to the grave.
leave the airplane?
left side exploded. The the whole
life and wherever I looked were great
life became shit. I don’t blame her,
life. And I’m sure you thought I was
lifts a bit out of his seat, searching for any flight attendant O.S., A PING.
like the night he died...
like the plane. That’s the design.
like to begin pre-boarding of Euro-Air
like?
limits.
look at you all the time.
look downward, anxious and full of thought.
lookin’ for us.
looks across the room...
looks at the clock and reports to an attending nurse. Another nurse cleans up the baby, weighs him and places him in a hospital bassinet.
looks away. Just ahead, in the plane, FLIGHT ATTENDANTS greet the
looks down the passenger ramp.
looks toward...
looks up at the sky...
looks up...
loose from the womb... it’s a one
loved them so much. I didn’t want
lurches back...
made him Tod is gone.
made the last flight without
maintain their uncertain expressions. With strained apprehension, as if not wanting to “dabble in the occult,” but needing an immediate answer.
make plans for the future if he were
make sure Alex was okay.
make sure they’re safe.
make, from the mundane to the
makes me feel mothing but fear.
man, you’re going to die at a
masks...
me feel, Alex.
me to move, but I didn’t change
me.
medical thing?
meet around the middle. It’ll take
memories, you know... but now all I
messed up that design, because, for
mile down the shore. You guys drive
minutes away. monumental... the red light we stop morning. Bus leaves the high school
moved. Clear’s seat was in front
must turn away from the shower of metal and broken glass.
my dad and my mom... are still
my death! my heart. And maybe, now... yours.
my house.
my life. I’m moving on, Carter, and
my students.
mysterious.
mystically float past him, each on fire.
narcissistic deity complex. I’m not
never have anything to do with my
next to Tod... How could I not
next.
next... before she was?
night, that means: one, they still
no one else will die?
not dead I’m gonna
not going to quit. Maybe you are. You
not your time...? I could get nailed
notch from being gay.
notes the radio. CAMERA FLLOWS HIS HAND as he grabs the plug.
nothin, but... I miss you.
now?!
obscure and distant future.
of math here, with this. I’m talking
of mine...
of the explosion; Billy.
of the garage door opener RIPS through the windshield, locking upon the windshield wiper grille. The other end remains attached to the garage roof interior, essentially acting as an anchor.
of us?
of your birth. Four/Twenty-five, as
of your own safety to contact us.
off the plane. You’re off the
on Alex. He stayed... and I went to
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.
on an electrical connector to the
on me. This won’t be safe.
on reflex, or thinkin’ a friend was
on the plane. You can make fun of me.
on... but I told him to go.
once and he tried to touch the sun.
one of those people had a vision, or
one place he can heading...
one week into summer... you can feel
only the marble rolling down the
only upset the big hand holding the
open yourself to the signs I’m
or me?
our own... will happen because of...
ourselves out of our fuckin’ misery.
out of Life.
out of me.
out, so much. But there’s... some
over life and death... unless...
part of Death’s sadistic design
passed. When I was done with the
passengers. He is next to enter the plane.
pattern... that’s occuring.
people got off the plane is probably
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.
picks up the cup, raising it toward her lips. She pauses, her expression turning tragic.
pills?
place for you. And you. There’s a
place, right now existing in our
plan, disrespecting the design...
plane!
plane. You told us you aren’t friends
plane.”
plane...
plane... Right, I’m hoping a change
plane... blew up. It was so real.
plane... just before it exploded?
plane? What if it is still is our
planning on killing himself?
playing time? Couldn’t you... cheat
point? Terry and me will be back
possession the entire time?
possible cause of Euro-Air Flight 180...
pour leurs activities.
powers. No one has any... control
proceeded to the fuel pump.
procession forward. The boys continue. Alex sighs...
psychic connection. Why to me? Why
pulls away from the ceiling.
puzzled, checks...
quemandeurs.
quickly, reflected in the chrome... the dark shadow approaches...
races along the path of the stream.
rattling down until it captures...
reach the coffee mug, igniting the trickling stream leading to, and away from, the crack in the cup.
reach!?
reaches the tree and begins unfastening the dog’s collar from the chain.
reacts, puzzled, as he realizes the Agents are focused on him...
reacts, shocked. He realizes...
reads her book. Another leans to look out the window.
reason to worry before... because
relocating. The house is old, been in the family forever. Dust marks the walls where framed photos and artwork were once displayed.
remember... that... I never
restraining Alex from reaching the aisle.
retracts! WHIPPING wildly!
rides his bike. He reacts, startled by...
rigged to beat you NOW!
right?
rolls across the floor and gently hits the end of a fishing pole, propped in the corner. The pole teeters and falls over.
run to the two survivors.
runnin’ away from her house.
runnin’ this red light and you all
runs and falls into Alex’s arms, holding him tight.
same thing. This was a message...
saying.
scavenger pump may have leaked
school acts like I’m a freak. Fine.
search and rescue are en route.
seat right there!
seats. I would’ve moved up...
second chance.
seeing patterns.
sees the officers. Assuming they are sympathetic to his concern, he starts toward them, until...
self-consciously turns away, unable to face her, let alone the words being spoken.
sending Mr. Murnau back on the
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.
sets the mug out of the way on the back edge of her desk. seven... I used to worry so much
shakes his head. “NO! NO! DON’T DO IT.”
she and I can sit together? I asked
she say “no?”
shoulders.
showed me in her class, they’re
site and it washed up on the beach.
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.
sits with his mother, LINDA WAGGNER and his father, Jerry. Destraught, Jerry stares off blankly at the minister.
sitting outside, Alex hunches over the table, increasingly anxious. Clear listens; expression skeptical.
sky...
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...
smile and fight back the tears. Clear begins to laugh euphorically through the tears.
sneaks a quick check with Tod.
so she and I can sit together?
so you’re sittin’ next to Christa
solicitors.
solicitors...
some Marilyn Manson body-pierced
some sort of...
somebody say “Don’t turn around.” So
someday. From the minute you’re cut
something?
son... if you’d told our oldest to
sound of my own voice, you know,
spiritual counseling at this time?
spooked, quickly turns it off, unplugs it and pushes it aside.
stand between Clear’s legs in the stirrups...
stand in the front yard. Schreck subtly redirects Weine’s attention toward...
stands in the threshold of the doorway. His mother places a comforting hand on his shoulder.
started in motion the events that
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.
steel ball that falls into the
step forward...
steps closer...
still on the ground...
still with you. I know, because I
sting in their eyes?
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.
stop flipping, REVEALING A GULLOTINE from the Reign of Terror.
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.
straining in the storm, begins moving up the branch...
streetlamp, kicking the marble to
struggles to raise his head above the water, chest bursting...
struggling with her Walkman, coffee, books, and a cassette box handmarked ‘Boingo’ (a cheat that we hear the song)
stuck. I didn’t fight with anyone!
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...
suddenly upon them.”
suggesting Tod’s death... and maybe
suicide... if it weren’t?
suicides. But they were there last
survivors will cheat the design.
survivors?
suspicion in the plane explosion.
suspicious. And it doesn’t help that
swivels as it distributes its breeze.
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...
swivels, a page catching in the whirling blades.
swivels, returning towards the guidebook on the bed.
take down this plane. taking another son.
talking to me.
tense, as the train nears...
tenses. He doesn’t look to where the can has been, but where it is going.
test, the guy who drives with you
that “somewhere,” Alex. It exists,
that I owe you anything.
that Mack Daddie.
that on. It’s like... the tag
that person is taking lives and
that place.
that reflexive gag and the watery
that shit the whole time?
that shit.
that the hour is placed in an
that time...
the DMV...
the F.B.I. doesn’t investigate teen
the Jets win the Super Bowl.
the WHISTLES SCREAMS!
the alcohol ignites...
the bag for good luck.
the bassinet trim settles, as if the presence is leaving. Before it fully departs...
the block lands directly on the butcher knife handle, driving the blade further into Ms. Lewton’s body.
the boot, hanging from the
the brown shopping bag tips over. Amongst the trash spread on the floor, a can rolls out and across the floor.
the can SMACKS on the floor, edgewise, REVREALING the can is sealed tight with a cap.
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.
the clothesline frame punctures the pool. Water streams from the rupture.
the cutlery block is knocked off of the counter...
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...
the debris rattles beneath the wheels...
the draped edge of the towel pulls over the cutlery block. The knives spill out, entangled with the hand towel.
the edges of the FRAME are collapsing. Alex’s face, gray and emotionless appears, yet, before it can transform into decay...
the f.g. running water is out of FOCUS. In the b.g. sits an unplugged radio.
the fatal net...
the flaming stream shoots up the stove, lighting the burners.
the fuckin’ hospital.
the halting red hand is lit.
the halting red hand turns to the little white walking man.
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.
the interior catches fire, causing an electrical POP!
the lights actually expose the area where Alex lies. From their postition, however, he is covered by the branch and out of sight.
the lower third of the towel dangles over the edge of the counter top. Her hand grabs it, and pulls.
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 mouse.
the passing shadow is darker than any surrounding darkness.
the plane. Now you gotta out when
the radio plug is inserted.
the rest can grab a six-ten flight.
the results are positive, two pink dots, confirming.
the screws holding the arm to the ceiling begin to pull away...
the shadowy presence is reflected by the chrome buckle, however, after it passes... the seat belt begins to TEAR.
the thin clothesline coils around his neck. The plastic anchor wraps beneath the cord, essentially creating a noose.
the thought of an other accident...
the title settles upon... “TERMINAL.”
the underbelly of the Corolla has ignited from the stream of combustible fluid.
the visionaries’ friend just
the whole French thing. Get on the
the wind softly and rapidly passes over Clear. He smile remains as the room becomes still and her eyes looks across the room.
the word “choke!” We’re going to
theirs with this memorial.
them to get hurt. And what would
there’s no marks.
there, but I thought it was off
they all went through tonight...
they’ll be after me.
they’re on their way.
thick cable ARCS, snapping toward the car INTO FRAME.
things I need to understand before
this afternoon.
this guy. He really didn’t want a
this happen before...
this same afternoon.
this second life, here.
through the flames, as if sensing the oncoming horror, defying the image...
ticket right here!
time I was meant to die! That’s a
time? If... It... is still not
to solicitors.
to take form. And, yet, creating an
to the City. Catch the Yanks.
to you?
today’s events, while it’s still
together on the other side, so why
together.
together... and have no idea about
toilets in coach are barely
torn form the magazine flits across the room.
touch anything. DON’T MOVE.
transition. If you focus, even now,
trembles, the long metal arm collapses, falls...
trip certificates we had to sell,
turns away, tense. He looks at the minister.
turns on the faucet and grabs his toothbrush, squeezing paste onto the bristles.
turns on the radio...
turns, HISSING, air streaming full blast.
turns, head swiveling away from the bed.
turns, holding her sheet of bubble wrap, shocked by the flames.
twenty-seventh year...
twenty-seventh year...
two tea bags are dropped inside, then the steaming hot water.
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.
undetermined. Nassau county
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.
until the ball hits the see-saw and
up like... Michael Jackson?
ventilated closets. What if your
very young age.”
wait any longer?
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.
want them to associate with you with
warlock... did you know about Ms.
wasn’t the design all along?
watch fuckin’ “Stepmom.”
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...
way ticket on a trip to the tomb.
we ask ourselves, “Why?”
we know it may be difficult, we must
we ride, or walk out of... is all a
we were not meant to get off that
we wouldn’t have lost our youngest
we’re all on the same list.
we’ve lost our thirty-nine loved ones,
wearing a dark suit and tie, sits beside his parents on white folded chairs. His head is bowed, guilty and sad...
weird enough, not to mention, that
went to the next one in the path
were committing suicide?
what to do. I control me. Not you.
whatever reason, I was able to see
whatever, of it exploding minutes
where all those emotions were coming which are closed.
which causes the flammable liquid to stream out, toward the driveway.
which is off. which... are closed. which... is off.
whipping, strike one another causing an angry FLASH!
whips, the frayed wires hitting the puddle of water...
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.
who, you know... “Oswald shot
will help... I lived here my whole
will lead to our death? Fifty years
willing to show you. with any that did... so, why did you
with it at all. She married this
with you.
with, or won’t with us; the airplane
woods, it’s only a couple miles from
worse than my yearbook picture.
would be in the best interest
would really happen.
would terrorize even the Grim Reaper.
wouldn’t get shit! Only me, right?
you can get away from it.
you fuck. I can beat you. Not
you got over George. Why would he
you really get off the plane?
you walks in Christa or Blake? You
you were gonna tittie fuck ‘em over
you will. With you in my life... that
you wished Carter Horton was on the
you’ll be gone.
you’re dead.
you... and it’ll all be over.
you? Something from that day is
your balls are. Not now.
your birthday is the same as your
your patience, at this time we would
your system and you have to go torque

        ∎




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Hotel is a magazine for new approaches to fiction, non fiction & poetry & features work from established & emerging talent. Hotel provides the space for experimental reflection on literature’s status as art & cultural mediator. The magazine is bi-annual, the online archive is updated periodically.

The paper Hotel is designed & typeset by Niall Reynolds
Hotel
is edited by Jon Auman, Thomas Chadwick & Dominic Jaeckle


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2020
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