Final Destination Page #12

Synopsis: Final Destination is an American horror franchise composed of five films, comic books and novels. It is based on an unproduced spec script by Jeffrey Reddick, originally written for the X-Files television series, and was distributed by New Line Cinema. All five films center around a small group of people that escape impending death when one individual (the protagonist of each film) has a sudden premonition and warns them that they will all die in a terrible mass-casualty accident. After evading their foretold deaths, the survivors are killed one by one in bizarre accidents caused by an unseen force engineering complicated chains of cause and effect, resembling Rube Goldberg machines in their complexity.
Genre: Horror, Thriller
Production: New Line Cinema
  3 wins & 3 nominations.
 
IMDB:
6.7
Metacritic:
36
Rotten Tomatoes:
34%
R
Year:
2000
98 min
Website
1,449 Views


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

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

sympathizes with both of them.

CLEAR:

She's leaving the school. Moving

away.

Alex studies, appealing to her...

ALEX:

Clear, how do we know that by

just sitting here, breathing this

air or sipping the coffee, having

crossed the street... we havn't started

in motion the events that will lead to our

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

(beat)

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

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

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

CLOSE - ALEX'S HAND

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

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

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

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

the table...

... a slight approaching BREEZE knocks them over.

DOWN THE STREET - HEADING WEST

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

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

window.

CARTER'S POV - MOVING ALEX AND CLEAR

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

CARTER'S CAR

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

reasons for his problems.

ALEX AND CLEAR:

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

CLEAR:

I don't understand... did you

see Tod die? Did it happen agian,

like on the plane?

ALEX:

No, but it might as well be the

same thing. This was a message...

from someone, or something...

hinting... at the design.

CLEAR:

Alex, on the plane... you must

have experienced... some kind of

hyper awareness. But here... you're

suggesting Tod's death... and maybe

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

an active Presance.

Alex nods, feeling she's understanding.

ALEX:

The mortician said Death has a design.

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

Billy, Ms. Lewton messed up that design,

because, for whatever reason, I was able

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

(beat)

But what if it was our time, what if we

were not meant to get off that plane? What

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

still not finished with us? We will all still

die; now, not later.

Troubled and deeply concerned, Clear studies Alex.

ALEX (CONT'D)

Unless... we find the pattern.

And cheat it again.

Clear sets the paper down, looking sadly at Alex.

CLEAR:

After hearing you, just now...

I do believe...

Alex leans back and sighs, relieved...

CLEAR (CONT'D)

... that Tod killed himself.

Alex is taken aback, hurt and angery.

ALEX:

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

CARTER'S CAR

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

the left to make a tight U-Turn.

BILLY HITCHCOCK:

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

BILLY HITCHCOCK'S POV - CARTER'S CAR

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

the U-Turn.

WIDER:

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

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

cyclist. The oncoming car HONKS!

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

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

shop. Inside the car, Terry sighs...

TERRY:

Baby, come on... not now.

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

ALEX AND CLEAR:

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

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

crosswalk.

TERRY:

Carter...

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

she has no energy or desire to involve herself.

CARTER:

Kind of have a reunion, here.

TERRY:

Let it go!

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

CARTER:

When are you moving?

MS. LEWTON

A couple of weeks.

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

CARTER:

We're losing our favorite teacher.

ALEX:

Look, there's something you should

all know.

CLEAR:

Alex...

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

drown out Alex's words and incite conflict.

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

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

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

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

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

All because of Browning.be in danger...

TERRY:

Shut up! The both of you!

The two boys stop their heated exchange.

TERRY (CONT'D)

They died! We lived!

(beat)

Get over it! I won't let that plane

crash be the most important thing in my

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

gonna waste your life beating the sh*t out of

Alex everytime you see him, then you can just

drop f***ing dead!

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

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

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

ALEX, CLEAR, CARTER and MS. LEWTON

are SPLATTERED with BLOOD before they can even recoil.

CUT TO:

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

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

ALEX:

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

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

kitchen, hand over the reciever.

KEN:

It's that girl... Clear.

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

KEN:

He's in the shower, Clear. Can

I have him get back at ya?

Sure... bye.

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

eyes, stressed and ashamed. Ken sits nearby.

KEN (CONT'D)

She's concerned about you.

(beat)

I'm concerned about you.

Alex turns his eyes to the glass.

KEN (CONT'D)

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

or me?

ALEX:

Dad... you and mom have helped me

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

things I need to understand before

I can talk... to anyone about it.

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

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

CNN ANCHOR (O.S.)

The National Transportation Safety

Board has a new theory tonight on the

possible cause of Euro-Air Flight 180...

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

TELIVISION:

A computer graphic illustrations the area of the lower fuselage.

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

Deterioration of silicon insulation

on an electrical connector to the

scavenger pump, may have leaked

combustible fluids.

ALEX AND KEN:

Alex remains riveted to the screen.

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

A spark in the fuel switch...

TELEVISION:

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

seat.

ALEX (O.S.)

That's Tod's seat...

Rate this script:2.0 / 1 vote

Glen Morgan

Morgan was born in Syracuse, New York, and moved to El Cajon, California at the age of 14. While attending El Cajon Valley High School, he met James Wong, who would become his friend and professional partner. Both enrolled at Loyola Marymount University, graduating from the School of Film and Television in 1983, and afterward, wrote many scripts together. Morgan did not want to work on television at first, but wound up accepting a job on 21 Jump Street, which would later earn he and Wong a steady job at Stephen J. Cannell Productions. As Morgan was about to leave the company following scripts for The Commish in 1992, his former boss at Cannell, Peter Roth, invited him to work on a show being developed at 20th Television, The X-Files. more…

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