Final Destination Page #13

ALEX:

CAMERA PUSHES IN as he listens...

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

... may have ignited the fuel line. And

proceeded to the fuel pump.

TELEVISION:

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

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

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

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

of the plane.

MATCH CUT TO:

INT. ALEX'S BEDROOM - DAY - 747 SCHEMATIC

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

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

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

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

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

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

of the arbitrary nature of Death.

ALEX:

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

ALEX:

The path of the explosion...

(a whisper)

That's Death's design.

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

CLOSE - SCHEMATIC

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

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

LEWTON."

CUT TO:

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

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

MS. LEWTON (O.S.)

Some nights I'm woken up by the sound

of my own voice, you know, inside my

head, goin, "No, you know the whole

French thing. Get on the plane."

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

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

walls where the framed photos and artwork were once displayed.

MS. LEWTON (CONT'D)

Everything here reminds me... of sending

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

hoping a change will help... I lived here

my whole life and wherever I looked were great

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

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

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

fear.

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

expression alters... alarmed...

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

The figure is Alex Browning.

INT. MS. LEWTON'S HOUSE - NIGHT

Ms. Lewton steps away from the curtains.

MS. LEWTON

(quickly)

Laura, I gotta call you back.

She immediately hangs up and speed dials.

MS. LEWTON (CONT'D)

This is Valerie Lewton. I need Agent

Schreck...

TIME CUT:

EXT. LEWTON'S HOUSE - NIGHT

Alex has moved closer to her house, remaining in the shadows. He checks for

any passers-by. Being 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...

Startled, Alex turns to find...

Special agents Schreck and Weine standing in the street, backlit in the

strong headlights of their car.

SCHRECK:

What are you doing?

ALEX:

is nervous but determined. He tells the truth...

ALEX:

Checking the air in her tires to

make sure their safe.

SPECIAL AGENTS SCHRECK AND WEINE

after a beat of incredulity...

SCHRECK:

Get in the car.

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

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.

Then...

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...

CUT TO:

INT. INTERROGATION ROOM - POLICE STATION - NIGHT

Alex sits behind a tabel in the cinder block room painted police station

green. Sitting across form him, with a good cop tone, is Agent Weine, while

Schreck stands with a hard-ass posture.

ALEX:

I believe that... Ms. Lewton's next.

WEINE:

"Next?"

ALEX:

Yes... see, there's this... pattern...

that's occuring.

WEINE:

(sarcastic)

Oh, you've noticed it, too?

CUT TO:

INT. MS. LEWTON'S HOUSE - NIGHT

Ms. Lewton moves to a closet door, opens it and CLICKS on an overhead light.

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.

MS. LEWTON

Oh... mom's favorite.

She slides a vinyl record album out of the sleeve and moves to the turntable

on a shelf, thick with dust.

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...

JOHN DENVER (V.O.)

He was born in the summer of his

twenty seventh year...

Please with the feeling of a pleasant memory, Lewton moves off.

INT. INTERROGATION ROOM - POLICE STATION - NIGHT

Schreck moves closer to Alex.

SCHRECK:

Where'd you get this "pattern"

from? You have another "vision?"

Maybe saw it in some T.V. static?

Alex is insulted by the condescending tone.

ALEX:

I didn't ask for what happened to me

on the plane. You can make fun of me.

You can think I'm a nut. I'm used to it.

I saved six lives but the entire school

acts like I'm a freak. Fine.

Alex takes a nervous breath...

ALEX:

I'm not suffering from Post Traumatic

Stress. I haven't developed a

narcissistic deity complex. I'm not going

Dahmer.

(beat)

This just is. There's a pattern in place

for you. And you. There's a design for

everyone.

The agents study Alex...

ALEX:

(sighs)

And I'm not sure yet how... but I

intend to break this one.

CUT TO:

INT. MS. LEWTON'S KITCHEN - NIGHT - SET OF CUTLERY KNIVES

held in a wooden block, sits atop the kitchen counter.

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.

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.

STOVE:

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.

JOHN DENVER (V.O.)

He left yesterday behind him/

You might say it's born again...

CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME...

CUT TO:

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