Alien |
"FINAL DESTINATION" (Continue)
TOD displaying a similar sickened expression as Tod... MS. LEWTON INT. A ROOM - AIRPORT - NIGHT - WEINE WEINE CLEAR RIVERS CAMERA INCHES IN as she looks up. With total resolve... CLEAR CUT TO: INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - NIGHT 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. Alex's Mother and Father lead by a group of parents into the room. Each moves with grief, yet relief, to their child. 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. ALEX'S POV - CARTER AND TERRY 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. ALEX his eyes moves toward... CLEAR RIVERS alone, hurt that no one has come to take her home. ALEX his eyes find... TOD AND HIS FATHER 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. ALEX CAMERA PUSHES IN ON HIM as he holds his mother tightly. OVERLAPPING... A CRACK OF THUNDER! CUT TO: INT. KEN BROWNING'S CAR - NIGHT 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 is unaware that Clear is watching him, searching for some answer that she will not now find. She looks up. CLEAR The car pulls over. CLEAR CUT TO: INT. ALEX'S BEDROOM - NIGHT 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. ALEX stands in the threshold of the doorway. His mother places a comforting hand on his shoulder. ALEX'S POV - PENNANT Mt. Abraham High School Fighting Colonials. ALEX and now, the tears arrive. He begins crying, SOBBING, as his mother and father hold him. O.S., OUTSIDE... lighting FLASHES... THUNDER RUMBLES... CUT TO: INT. LIVING ROOM - BROWNING HOUSE - NIGHT - TV CNN broadcasts video footage of the disaster. Seat cushions and personal belongings float in the harsh floodlights. LIVING ROOM 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. 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 POV - TV An image of Hell as jet fuel burns on the ocean. O.S., as if furious at the slight, THUNDER BANGS... ALEX He turns, stands... and moves to the picture window, pulling the curtains aside as CAMERA PUSHES IN ON HIM... ALEX'S POV - THE STORM It is as if Nature is angry. Lightning BOLTS spiderweb across the sky. THUNDER BOOMS. 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. ALEX horrified, lurches away from the window, considering what he has seen. Just felt on the ROAR OF THUNDER... CUT TO BLACK: Over black: MINISTER (V.O.) FADE IN: EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - ALEX wearing a dark suit and tie, sits beside his parents on white folded chairs. His head is bowed, guilty and sad... MINISTER (CONT'D) Alex raises his eyes and looks across the ceremony... ALEX'S POV - TOD sits with his mother, LINDA WAGGNER and his father, Jerry. Destraught, Jerry stares off blankly at the minister. MINISTER (CONT'D) ALEX guiltily averts his eyes. Ken notes this and wraps a comforting arm around his son. MINISTER (CONT'D) Alex checks over his shoulder. ALEX'S POV - OVER HIS SHOULDER - LAST ROW OF SEATS 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. MINISTER (CONT'D) ALEX turns away, tense. He looks at the minister. MINISTER (CONT'D) CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... ALEX'S POV - CLEAR RIVERS 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. ALEX self-consciously turns away, unable to face her, let alone the words being spoken. MINISTER (CONT'D O.S.) WIDER A student with a guitar and harmonica stands at the microphone. Without introduction, he begins Neil Young's "Long May You Run." 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. MEMORIAL LINE 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 ALEX CARTER Alex winces from Carter's breath... ALEX Carter has an angry reflexive reaction, grabbing Alex threateningly by the forearm. Terry immediately tries to get Carter to release his hold. CARTER Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. CARTER 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. 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. BILLY Alex turns to him, increudlously.. BILLY Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... BILLY Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. 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... CLOSE - MEMORIAL Linda Krauss... Thomas Lewis... John McConnell. RETURN Alex stands near her, sympathetically, understanding her pain.... ALEX 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. MS. LEWTON Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. TOD Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in line... ALEX Tod subtly nods, reaching out to the memorial. CLOSE - MEMORIAL Tod's hand moves across his brother's name... GEORGE WAGGNER. RETURN As Tod longs for his brother, then looks at his friend. TOD ALEX Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. TOD 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. CLEAR Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. TOD (V.O.) TIME CUT: EXT. MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM 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 (CONT'D) As he speaks, the sunlight suddenly turns to shadow. ALEX looks up at the sky... THE SKY - ALEX'S POV Within the deep blue, a single black cloud blocks the sun. ALEX CAMERA INCHES IN as, troubled, he looks back to Tod... TOD as he continues to read... TOD (CONT'D) CUT TO: EXT. WAGGNER HOUSE - NIGHT - ESTABLISHING Storm clouds devour a waxing crescent moon above a modest home set amongst the edge of the woods. TOD (V.O., CONT'D) INT. LIVING ROOM - WAGGNER HOUSE - NIGHT 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... Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. CUT TO: INT. ALEX'S BEDROOM - NIGHT - CLOSE - TABLE FAN swivels as it distributes its breeze. ALEX 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. Alex studies his mountain of research, increasingly obsessed. 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. CAMERA PUSHES IN as he sighs, troubled... ALEX'S POV - NEWSPHOTO Clear Rivers sits in her seat, legs crossed, alluring and sexy
and ALEX 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. CUT TO: INT. BATHROOM - WAGGNER HOUSE - NIGHT Alight 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. 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. As the breeze passes Tod, he pauses... as if sensing, but not The door is softly pushed closed by the breeze. BACK OF THE TOILET TANK Tod sits, back to CAMERA, which CRANES DOWN the tank, STOPPING behind the locking nut and water line pipe. 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. CUT TO: INT. ALEX'S BEDROOM - NIGHT Alex flips the magazine open to a centerfold. PENTHOUSE PICTORIAL The model's pose and expression tempt Alex towards the momentary respite form his troubles. The caption beneath the centerfold pictorial reads, "Tymme Has Come Today!" ALEX 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... CUT TO: INT. BATHROOM - WAGGNER HOUSE - NIGHT- CLOSE- RAZOR BLADE 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. Tod whips around... a puddle forms, creeping toward the heel of Tod's stocking feet. TOD turns on the faucet and grabs his toothbrush, squeezing paste onto the bristles. CLOSE - FAUCET the f.g. running water is out of FOCUS. In the b.g. sits an unplugged radio. TOD notes the radio. CAMERA FLLOWS HIS HAND as he grabs the plug. THE PUDDLE ON THE FLOOR grows closer to his foot... ELECTRICAL SOCKET the radio plug is inserted. TOD turns on the radio... JOHN DENVER (V.O.) spooked, quickly turns it off, unplugs it and pushes it aside. THE PUDDLE ON THE FLOOR continues to grow... CUT TO: INT. ALEX'S BEDROOM - NIGHT - NEWSPHOTO - CLEAR RIVERS Odd how one can appear so erotic at a funeral. ALEX 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... A LOUD BANG turns Alex's head to the window! ALEX'S POV - WINDOW 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. WIDER Startled, Alex reflexively throws the Penthouse across the room, pages tearing as it hits the sill. The giant bird flies off. THE TABLE FAN swivels, a page catching in the whirling blades. A PIECE OF PAPER torn form the magazine flits across the room. ALEX 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... ALEX'S POV - PIECE OF PAPER is torn in such a manner that the only lettlers remaining from
the CUT TO: INT. BATHROOM - WAGGNER HOUSE - NIGHT - SHOWER CURTAIN is pulled aside REVEALING two pairs of Linda Waggner's nylons drying on a retractable clothesline. THE PUDDLE ON THE FLOOR his foot slips... TOD falls foward. THE RETRACTABLE CLOTHESLINE retracts! WHIPPING wildly! THE SOAP DISH Tod's hand tries to grab anything to hold him. His hand slips, knocking over a bottle of shampoo. TOD'S NECK the thin clothesline coils around his neck. The plastic anchor wraps beneath the cord, essentially creating a noose. PUDDLE ON THE FLOOR He slips again. TOD 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. SHOWER HEAD - TOD'S POV quickly, reflected in the chrome... the dark shadow approaches... BATHTUB Tod's feet slip in the slick shampoo and water. CLOSE - TOD'S EYES flare. Blood vessels burst. He GROANS, attempting to call out. THE BATHROOM DOOR is closed. INT. LIVING ROOM - WAGGNER HOUSE - NIGHT Tod's parents remain asleep. O.S., a FAINT MUFFLE can be HEARD. INT. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - TOD'S NECK his hands tear at his flesh, desperately trying to pull the cord from his neck. TOD'S EYES dart desperately toward the counter. ON THE COUNTER a pair of nose-hair scissors. TOD CHOCKING, GASPING, face turning purple, reaches for the counter. ON THE COUNTER Tod's hand ENTER FRAME. The scissors, sadistically just out of reach. TOD'S FACE 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. TOD'S POV - DEATH 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. TOD The moment of realization... HIS FEET kick upon the slippery basin. After a beat... they stop. TOD 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. CUT TO: EXT. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS 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. 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. SPECIAL AGENTS SCHRECK AND WEINE stand in the front yard. Schreck subtly redirects Weine's attention toward... ALEX - SPECIAL AGENT'S POV The boy franically moves to a paramedic. ALEX SCHRECK AND WEINE hearing this, they turn to one another, with an expression suggesting a deepening suspicion. ALEX sees the officers. Assuming they are sympathetic to his concern, he starts toward them, until... CLEAR (O.S.) Alex stops, looks around. Behind the tree and in the shadows of the adjacent house, stands Clear Rivers. CLEAR (CONT'D) CAMERA PUSHES INTO ALEX, stunned, but before he can ask any further questions, a METALLIC CLACKING draws his attention back toward the house. ALEX'S POV - A COVERED GURNEY 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. ALEX 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. ALEX Mr. Waggner glares at Alex, accusingly. MR. WAGGNER Alex is stung, guilty. He averts his eyes. Schreck and Weine note this reaction. MR. WAGGNER (CONT'D) ALEX MR. WAGGNER Alex is stunned, defensive. ALEX Mr. Waggner turns toward the paramedics van, as if "there's the proof." ALEX MR. WAGGNER 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. 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. ALEX'S POV - ADJACENT YARD Clear is gone. FRONT YARD 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... CUT TO: EXT. NEIGHBORHOOD - DAY - CLOSE - LEAVES ON TREES 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 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." CLEAR (O.S.) 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 CLEAR Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. INT/EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY Entering the garage, Alex gets a closer look at her artwork. It's abstract sculpture and canvas work and pretty bad, at that. CLEAR 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. ALEX She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. CLEAR ALEX CLEAR Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... ALEX While she cleans brushes with a can of turpentine... CLEAR Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. ALEX 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 Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." CLEAR Remaining dry and stoned faced, Alex tenses, uncomfortable. CLEAR ALEX CLEAR Uncertain, and yet moved, Alex listens. CLEAR (CONT'D) Alex sighs, embarrassed. CLEAR (CONT'D) Jarred, he eyes her, frightened. CLEAR Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... CLEAR ALEX CLEAR The idea sends a shot of apprehension through Clear. ALEX CLEAR Alex reacts, shocked and yet her impulsiveness is exciting... CUT TO: INT. FUNERAL HOME - FOYER - NIGHT 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... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. 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. 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." CLEAR ALEX CLEAR With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. INT. DOWNSTAIRS HALLWAY - FUNERAL HOME - NIGHT 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. 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. CLEAR Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! INT. MORGUE - FUNERAL HOME - NIGHT 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. As Alex and Clear approach... ALEX CLEAR ALEX Suddenly, Tod jerks; his hand lifting four inches... ALEX CLEAR MR. BLUDWORTH (O.S.) MR. BLUDWORTH CAMERA PUSHES, LOW ANGLE, INTO WILLAIM BLUDWORTH, an African-American man, early 50's, dressed in dark suit and tie. MR. BLUDWORTH 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.. ALEX Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... MR. BLUDWORTH As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. ALEX MR. BLUDWORTH CLEAR MR. BLUDWORTH 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. ALEX ALEX'S POV - CLOSE - TOD'S NECK 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. MR. BLUDWORTH (V.O.) ALEX 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. ALEX MR. BLUDWORTH CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. MR. BLUDWORTH ALEX Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. MR. BLUDWORTH Vile liquid oozes out of the body onto the porcelain table. MR. BLUDWORTH ALEX The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... MR. BLUDWORTH Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... ALEX Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH,
MR. BLUDWORTH 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 MR. BLUDWORTH Alex grabs her arm, starting toward the door. CLEAR Alex looks at Bludworth... <<prev next>> |