Alien |
"FINAL DESTINATION" (Continue) ALEX MR. BLUDWORTH CAMERA PUSHES INTO the mortician, pleased the message has been recieved. MR. BLUDWORTH CUT TO: EXT. MAIN STREET - DAY BRAKING LOUDLY, startlingly, a public bus PULLS INTO CAMERA and stops. The doors HISS open. CLEAR (O.S.) CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. CLEAR (CONT'D) 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. ALEX CLEAR 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. ALEX CLEAR ALEX As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... CLEAR ALEX This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. ALEX CLEAR Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. PEDESTRIAN TRAFFIC SIGNAL the halting red hand is lit. ALEX (V.O.) INTERSECTION Clear sighs, growing impatient with Alex. CLEAR ALEX CLEAR PEDESTRIAN TRAFFIC SIGNAL the halting red hand turns to the little white walking man. INTERSECTION Clear takes a step off the sidewalk and onto the street. Alex tugs her back, looking both ways while outraged by her challenge. ALEX 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. CLEAR 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. DOWN THE STREET - HEADING WEST Billy Hitchcock rides toward the Starbucks on his bicycle. EXT. STARBUCKS - DAY sitting outside, Alex hunches over the table, increasingly anxious. Clear listens; expression skeptical. ALEX CLEAR She picks up her paper coffee cup. CLEAR (CONT'D) Alex angrily glares at Clear. Clear drops her tone. CLEAR (CONT'D) Ms. Lewton appears from around the corner. She starts toward the entrance, but pauses, tensing when she sees Alex. 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 Alex studies, appealing to her... ALEX 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, her expression obviously puzzled. 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, staring at the perceived reasons for his problems. ALEX AND CLEAR Her eyes turn from the paper to Alex, concerned about him... CLEAR ALEX CLEAR Alex nods, feeling she's understanding. ALEX Troubled and deeply concerned, Clear studies Alex. ALEX (CONT'D) Clear sets the paper down, looking sadly at Alex. CLEAR CLEAR (CONT'D) Alex is taken aback, hurt and angry. ALEX 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 gets out, strutting toward the tables outside the coffee shop. Inside the car, Terry sighs... TERRY 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 At that moment, Ms. Lewton exits with an ezpresso drink. Sensing trouble, she has no energy or desire to involve herself. CARTER TERRY Carter steps before Ms. Lewton, blocking her exit... CARTER MS. LEWTON She can't wait to leave. While trying to walk around Carter... CARTER ALEX CLEAR 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) Ms. Lewton's eyes flash to Alex, afraid of him. CARTER (CONT'D) ALEX (CONT'D) TERRY The two boys stop their heated exchange. TERRY (CONT'D) 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 No response from Alex. Ken sighs, then into the phone... KEN Ken returns to the living room, concerned about his son. Alex averts his eyes, stressed and ashamed. Ken sits nearby. KEN (CONT'D) Alex turns his eyes to the glass. KEN (CONT'D) ALEX 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.) 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.) ALEX AND KEN Alex remains riveted to the screen. CNN ANCHOR (CONT'D, V.O.) TELEVISION The graphic ZOOMS into the area in the rear right side, nearly above Tod's seat. ALEX (O.S.) ALEX CAMERA PUSHES IN as he listens... CNN ANCHOR (CONT'D, V.O.) TELEVISION 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. 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 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.) Moving boxes are stacked in the living room; organized disarray
of MS. LEWTON (CONT'D) 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 She immediately hangs up and speed dials. MS. LEWTON (CONT'D) 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 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... Startled, Alex turns to find... Special agents Schreck and Weine standing in the street, backlit in the strong headlights of their car. SCHRECK ALEX is nervous but determined. He tells the truth... ALEX SPECIAL AGENTS SCHRECK AND WEINE after a beat of incredulity... SCHRECK 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 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 WEINE ALEX WEINE 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 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.) Pleased with the feeling of a pleasant memory, Lewton moves off. INT. INTERROGATION ROOM - POLICE STATION - NIGHT Schreck moves closer to Alex. SCHRECK Alex is insulted by the condescending tone. ALEX Alex takes a nervous breath... ALEX The agents study Alex... ALEX 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.) CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME... CUT TO: INT. INTERROGATION ROOM - POLICE STATION - NIGHT Weine sits across from Alex, symapthetic, but professional... WEINE Alex tenses, but Weine shakes his head. WEINE (CONT'D) Alex sighs, eases. WEINE (CONT'D) Weine leans forward toward Alex... WEINE (CONT'D) ALEX 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. WEINE Alex stands and, with no urgency, moves off. He exits the room. SCHRECK WEINE SCHRECK Weine considers, yet remains skeptical. WEINE CUT TO: INT. MS. LEWTON'S HOUSE - NIGHT - CLOSE - TEAPOT Whistles. JOHN DENVER (V.O.) COFFEE MUG - OVERHEAD two tea bags are dropped inside, then the steaming hot water. MS. LEWTON picks up the cup, raising it toward her lips. She pauses, her expression turning tragic. On a reflex, she spins toward the sink and throws the hot contents into the drain. She sits the mug down... A COFFEE MUG ENTERS FRAME... displaying the logo of the Mt. Abraham Fighting Colonials. MS. LEWTON Trembling. She takes a deep breath, getting a hold of herself. MS. LEWTON Opening the refrigerator frezzer, she grabs some ice and a bottle of pure Polish Vodka then deliberately turns back toward the same mug... COFFEE MUG 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. Lewton's hand picks up the mug, oblivious to the crack. She moves off toward the living room, leaving a trail of alcohol. CUT TO: EXT. POLICE STATION - NIGHT 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... CUT TO: INT. MS. LEWTON'S HOUSE - NIGHT
JOHN DENVER (V.O.) She pauses to swig from her cup of vodka. EXTREMELY CLOSE - COFFEE MUG alcohol drips from her mug... EXTREMELY CLOSE - COMPUTER MONITOR VENT ... fluid drips inside the circuitry. MS. LEWTON sets the mug out of the way on the back edge of her desk. CLOSE - COFFEE MUG The remaining vodka oozes from the crack, pools, then drips off the edge of the desk... JOHN DENVER 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... ON THE FLOOR the alcohol ignites... MS. LEWTON her back is to the desk, while pouring styrofoam peanuts into the box. In the b.g., FLAMES, nearly supernaturally, leap up the walland toward the computer monitor. CLOSE - COMPUTER MONITOR - THROUGH THE VENTS the interior catches fire, causing an electrical POP! MS. LEWTON turns, holding her sheet of bubble wrap, shocked by the flames. THE COMPUTER MONITOR On the screen, the reflection of the approaching shadow passes before the monitor... EXPLODES! MS. LEWTON 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. JOHN DENVER (V.O.) She reaches up to reflexively pull the glass from her throat, creating a flood of spurting blood. She drops the glass and quickly stumbles toward the kitchen, blindly banging the turntable as she passes. The needle skips, BUMPS... and settles... umercifully at the start of "Rocky Mountain High." CUT TO: EXT. NEIGHBORHOOD STREET - NIGHT Alex walks quickly up the street. Smoke wafts before him. He turns to see a man burning leaves in the backyard. The breeze intensifies, lifting the burning debris. The smoke swirls around him. CAMERA PUSHES INTO ALEX as he senses the Presence. He looks ahead. ALEX'S POV - TWO DOZEN LEAVES mystically float past him, each on fire. ALEX 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. CUT TO: INT. LIVING ROOM - LEWTON'S HOUSE - NIGHT - THE FLAMES reach the coffee mug, igniting the trickling stream leading to, and away from, the crack in the cup. FLOOR Flames ride the small trickle of vodka back toward the kitchen... INT. KITCHEN - LEWTON'S HOUSE - NIGHT 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. THE STOVE the flaming stream shoots up the stove, lighting the burners. MS. LEWTON behind her, the stove ERUPTS in FLAMES. They jump, leap like a tiger, landing on her shoulders and hair, which catch on fire... CUT TO: EXT. LEWTON'S HOUSE - NIGHT Alex approaches the front of the house. From here, nothing appears to be wrong. As he catches his breath, sweating, visually examining the house. From INSIDE, a hoarse, macabre SCREAM! CAMERA PUSHES IN ON ALEX, stunned, before he races off toward the house. INT. LEWTON'S HOUSE - NIGHT - MS. LEWTON DROPS INTO FRAME ON HER KITCHEN FLOOR, hair and sweatshirt aflame. She desperately rolls on the floor and manages to extinguish the flames. 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... LEWTON'S POV - (LOOKING UP) - THE HAND TOWEL the lower third of the towel dangles over the edge of the counter top. Her hand grabs it, and pulls. COUNTER TOP the draped edge of the towel pulls over the cutlery block. The knives spill out, entangled with the hand towel. ALEX (O.S.) KITCHEN DOORWAY Alex rushes across the threshold as Ms. Lewton pulls the knives over the counter. MS. LEWTON a half dozen knives, from small, but sharp, cutting blades to large butcher knives, cascade into her body. JOHN DENVER (V.O.) 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... THE STOVE a gas line ERUPTS, creating a small EXPLOSION. THE COUNTER TOP the cutlery block is knocked off of the counter... MS. LEWTON the block lands directly on the butcher knife handle, driving the blade further into Ms. Lewton's body. LEWTON'S POV - THE SHADOW 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. MS. LEWTON as Death arrives, her eyes are macabrely focused above her. ALEX Even as blood squirts on him from her open wound, he appears to realize she is "seeing" the moment of death. ALEX Flames leap from the stove to the curtains, which catch fire. Alex grabs the knife and pulls it out. He quickly removes another and another... yet there is no reaction from the woman. 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. CUT TO: EXT. LEWTON'S STREET - NIGHT 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. BILLY 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. THE HOUSE from inside, an intense EXPLOSION propels glass from the windows. Flames engulf the entire house. ALEX 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. CUT TO: INT./EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY - CLEAR RIVERS Tense, her eyes look left, then right... CLEAR WIDER Agents Schreck and Weine stand before Clear in her garage. WEINE She studies the men before averting her eyes. CLEAR 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... SCHRECK 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. CAMERA PUSHES IN ON CLEAR as she looks at the business card. CUT TO: EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT 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. Carter pulls put a heavy pocket knife and starts attempting to cut into the stone. Clear Rivers appears from the shadows. CLEAR CARTER Clear is touched by the action. CARTER (CONT'D) CLEAR BILLY CLEAR CARTER Clear eyes the two of them. With the memorial standing behind them... CLEAR As Carter and Billy feel the chill of their inner fears... CUT TO: EXT. HIGHWAY - NIGHT The muscle car ROARS onto U.S. 17 on ramp. A sign near the road
indicates: INT. CARTER'S CAR - NIGHT 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... BILLY He sits back, OUT OF FRAME, but quickly darts forward. BILLY (CONT'D) CARTER CARTER 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. EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT 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... CLEAR CUT TO: EXT. BEACH - NIGHT CAMERA, FACING the ocean, moves along the shore revealing a lone image sitting on the beach, looking into the Atlantic. 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. 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. ALEX'S POV - THE SKY The shoreline lights cast an orange haze on the stars, breaking through, infinitely above. ALEX (O.S.) WIDER Clear Rivers approaches, barefoot in the sand. He neddn't turn to know who is behind him. ALEX (CONT'D) Clear hasn't met eyes with Alex, but she sits nearby, looking into
the sky. She looks out at the stars. He doesn't eye her, either... ALEX CLEAR Alex hangs his head... CLEAR She has lived this so many times, she is long beyond crying... CLEAR (CONT'D) The waves continue to shore. Clear looks up at the sky. CLEAR (CONT'D) |