Final Destination Page #17

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
1,591 Views


CLEARALEX:

Stop the car!Let us out!

BILLY:

I am... so close to puking, you

don't wanna know.

CLEAR:

We're afraid, too, Carter, but we're not

going to quit. Maybe you are. You act like

you're not, but you are!

Carter eyes Clear in the rear view mirror.

CLEAR:

So, stop what you're doing and STOP

THIS CAR! Right f***ing now!

EXT. BACKSTREET - NIGHT

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.

OUT OF THE FRONT WINDOW

The front crossing arm drops INTO FRAME before the car. Carter turns and

flashes a "that's why I stopped smile."

INSIDE THE CAR:

CLEAR:

Move it!

Carter turns off the engine, then sits back into his seat and folds his

arms, indicating he has no intention of moving.

ALEX:

Billy, get out!

Scared to death, Billy fumbles with the car door handle. From the front

passenger seat, he looks up and to his left...

OUT OF THE DRIVER'S WINDOW - BILLY'S POV

A locomotive headlight arcs across the trees... approaching.

RETURN:

CLEARALEX:

Can't you open the door?!Easy, Billy, just open it.

Billy collects himself...

CLOSE - BILLY'S DOOR HANDLE

POPS open!

EXT. TRAIN TRACKS - NIGHT

The train appears around the blind bend...

INT. CARTER'S CAR - NIGHT

Billy opens the door and pours out. Clear and Alex are quickly behind him.

Carter remains in the drivers seat.

EXT. TRAIN TRACKS - NIGHT

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...

CLEAR:

Carter, get out!

ALEXBILLY:

Don't do it! Don't do it!It's coming! It's coming!

INT. CARTER'S CAR - NIGHT

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...

CARTER:

It ain't my time.

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.

CAMERA SWEEPS INTO HIM AS his EYES FLARE with tension...

CLOSE - IGNITION

he turns it, again and again... nothing.

CARTER:

looks up...

EXT. TRAIN TRACKS - NIGHT - CARTER'S POV - THE TRAIN

is moments away.

ALEX, CLEAR AND BILLY

assess the situation...

ALEXCLEAR:

Get out! Get out of the car!Get out! Get out of the f***in'

car!

INT. CARTER'S CAR - NIGHT

As he turns away from them, Carter sees something in the rear mirror...

CARTER'S POV - REAR VIEW MIRROR

the passing shadow is darker than any surronding darkness.

CARTER:

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.

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.

CARTER:

I can't get out!

EXT. TRAIN TRACKS - NIGHT

Alex, Billy and Clear look at one another, equally frightened...

BILLY:

Man, he really is next.

Alex takes off toward...

CARTER'S CAR

Alex hustles around the drivers' side. CAMERA SWEEPS INTO THEM as Alex

desperately tries freeing the seatbelt.

THE TRAIN:

the WHISTLES SCREAMS!

CLEAR AND BILLY:

tense, as the train nears...

ALEX AND CARTER:

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.

CLOSE - CARTER'S SEAT BELT

the shadowy presence is reflected by the chrome buckle, however, after it

passes... the seat belt begins to TEAR.

ALEX AND CARTER:

As CAMERA SWEEPS IN to ALEX and he releases and deep GROAN...

ACROSS THE TRACKS

The train TEARS THROUGH the front end of the muscular car! GLASS and METAL

ERUPT as the locomotive THUNDERS THROUGH FRAME.

CLEAR AND BILLY:

must turn away from the shower of metal and broken glass.

ALEX AND CARTER:

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...

TRAIN TRACKS:

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.

CLEAR AND BILLY:

run to the two survivors.

CLEAR:

runs and falls into Alex's arms, holding him tight.

ALEX, CLEAR, CARTER and BILLY

Carter lies on the road, urine stains around his crotch, hyperventilating

and near tears.

CLEAR:

Scared now?

Carter looks at the piece of seatbelt.

CARTER:

It broke!

BILLY:

No one's that strong.

CLEAR:

(to Carter)

Bullshit. He saved your life...again!

CLOSE - TRAIN WHEELS

continues to kick around the chunk of twisted metal...

RETURN:

The THUNDERING TRAIN intensifies the situation...

BILLY:

THAT'S RIGHT! HE'S RIGHT! YOU ARE NEXT! I'M

GETTING THE F*** AWAY FROM YOU!

Billy begins backing away from the others.

CARTER:

SHUT UP, BILLY!

BILLY:

WE DON"T NEED THIS NOW!

Billy continues backing away, horrified.

BILLY:

I DON"T NEED IT EVER! GET AWAY FROM HIM!

HE'S NEXT!

CLOSE - TRAIN TRACKS

the debris rattles beneath the wheels...

CARTER AND ALEX:

still on the ground...

CARTER:

F*** YOU, BILLY! I'M NOT DEAD!

BILLY:

backing away...

BILLY:

YOU WILL BE! YOU'RE DEAD! YOU'RE DEAD!

TRAIN TRACKS:

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...

BILLY:

BILLY (CONT'D)

AND YOU AIN'T TAKIN' ME WITH YOU!

FWOOP! The metal tears ACROSS FRAME, ripping Billy's head from his

shoulders.

ALEX, CLEAR AND CARTER

The ROAR of the TRAIN seems exaggerated as they are frozen in horrified

shock.

EXTREMELY WIDE - ACROSS THE TRACKS

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 it's two front feet beforw falling to the ground.

CARTER:

Jesus f***ing Christ!

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.

ALEX:

(to Carter)

You should have been next. After

Lewton, you should've been next. That's

the only pattern. You should be dead.

CARTER:

You're the f***in' devil.

ALEX:

(to Clear)

But I saved him. I intervened. Just like

the plane. That's the design.

CLEAR:

Police are coming.

ALEX:

That's why It skipped Carter and

went to the next one in the path

of the explosion; Billy.

Alex looks at Clear as if expierencing an intense epiphany.

ALEX (CONT'D)

My intervention in the death of 180

survivior will cheat the design.

CARTER:

"Intervention?" What are you God,

now?!

ALEX:

Of course not! God's aren't afraid to

die! Gods don't die! We do!

CLEAR:

You're losin' it. The police will be

here. We have to go to the cabin.

You can hide there. Get your head together.

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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