FINAL DESTINATION 2 (Continue)
KIMBERLY
Clear Rivers?
Clear looks Kimberly up and down and steps back, allowing her inside
her inner sanctum. A mattress on the floor, a plastic bottle of
water, some paperbacks and a bedpan.
Kimberly's jaw drops when she sees the far wall: a SHRINE to flight
180. The wall is papered with articles about all the survivors (as
seen in the opening title montage).
The door SLAMS. Kimberly jumps.
CLEAR
Kimberly Burroughs, eh? What do
you want?
KIMBERLY
I thought...I thought you might be
able to help me.
CLEAR
(snicker)
Yeah, how?
KIMBERLY
I had a premonition about the Route
18 pile up... I saved some people.
And now I think Death is after me.
CLEAR
Nice work. Maybe if you're real
lucky, you'll wind up in here with
me.
(gives Kimberly the once
over)
But I doubt you'll survive that
long.
Kimberly flinches.
KIMBERLY
It's not just about me. Someone I
saved died last night in a freak
accident. What if the others are
in danger, too?
CLEAR
Well, if you put them on the list,
they're already tits up.
KIMBERLY
What list?
CLEAR
Death's list. The precise order
you're going to die in.
Clear's eyes bore into a terrified Kimberly's.
CLEAR
The survivors of Flight 180 died in
the exact order they were
originally meant to die in the
plane crash. That was Death's
original design.
KIMBERLY
(sudden realization)
Exact order? Then I'm next! I was
meant to die with my friends, so
I'm next!
Clear backs away from Kimberly as if she were lethal, then stops
short.
CLEAR
But you said someone else died last
night. That means Death skipped
past you. Someone must have
intervened.
(off Kimberly's confusion)
Sometime yesterday you must have
nearly died, but someone saved you.
Kimberly nods, recalling the events.
KIMBERLY
Officer Burke pulled me away from
the crash that killed my friends.
CLEAR
Congratufuckinglations. That makes
you last to go. But don't worry,
once the others are dead, it'll
come back for you. Always does.
KIMBERLY
That still doesn't make sense. You
said you die in the same order you
were originally meant to. But Evan
Shaeffer died last in my
premonition, not first.
Clear seems very disturbed by that.
CLEAR
It's moving backwards? Are you
sure?
Kimberly reluctantly strains to remember something...
HARD CUT TO:
THE FINAL MOMENTS OF THE PILE UP
Nora's Pacer folds like an accordion, then EXPLODES, followed by
Evan screaming in the Trans Am, which gets CREAMED by the semi!
BACK TO:
Kimberly, shaken, does the math.
KIMBERLY
Yes. In my premonition that Nora
woman and her kid died first, then
Evan and then...my friends.
Clear is oblivious when Kimberly breaks into silent sobs.
CLEAR
Backwards...that's new.
Clear sees Kimberly crying and softens.
CLEAR
That's good. Get all your tears
out now, you'll need your eyes.
(off Kimberly's confusion)
For the signs.
KIMBERLY
Signs?
CLEAR
If you have the same power as Alex,
you'll be seeing signs soon. When
you see anything creepy or ominous,
an in-your-face irony kinda thing?
Don't ignore it. It usually means
the difference between life and
death.
KIMBERLY
(to herself)
The songs on the radio.
(to Clear)
But wait. I don't understand. Why
is this even happening to me?
CLEAR
That's what Alex used to ask
himself right up until...
For an instant, we see a gentle side of Clear.
KIMBERLY
It's obvious you know what you're
talking about. You beat it. You
have to help us.
Clear suddenly toughens up, an abrupt mood shift.
CLEAR
I didn't beat it; I hid from it.
If you were smart you'd put a down
payment on a burial plot and say
goodbye to the dog, because what
little life you have left is over
as you know it. Don't make new
friends, don't fall in love, and
don't ever bother trying to save
others. That's the worst killer of
them all.
KIMBERLY
How can you say that? What kind of
monster are you?
At once, Clear, enraged, is in her face, speaking through clenched
teeth.
CLEAR
My family is dead. My friends are
dead. And Alex...
Clear angrily peels a Polaroid off the wall and shows it to Kimberly.
While we don't see the photo, Kimberly's horrified face paints a
gruesome picture on its own.
CLEAR
And yes, that's the blade of a
fucking ceiling fan in his head.
Clear pounds on the door, apparently done with Kimberly. A GUARD
opens the door. Kimberly, devastated, turns to leave, then summons
her courage and turns back to Clear.
KIMBERLY
Know what? I think you're a
coward. I think you hide out in
here because you're too damn bitter
and selfish to care about another
living soul. In my opinion, you're
already dead.
Kimberly leaves, giving Clear something to think about.
EXT. KIMBERLY'S HOUSE - DAY
As Kimberly pulls into her driveway, she's surprised to see a STRANGE
CAR parked there. Then --
THOMAS, wearing street clothes, peers through the front window of
the house. He guiltily backs away as Kimberly gets out.
THOMAS
I tried calling last night but your
father --
KIMBERLY
Evan Shaeffer's dead.
Thomas nods and leans against the large glass windows that reflect
the sky behind them.
THOMAS
I know. I've gotten calls all
morning from everyone who was on
the onramp. We're all meeting at
my apartment tonight.
KIMBERLY
Then you believe all this?? That
Death is working off a list?
Thomas hesitates before answering.
THOMAS
I didn't. Until I was dispatched
to clean up one of the Flight 180
survivors.
KIMBERLY
Clean up? I don't...
Suddenly through the reflection of the window glass, Kimberly sees
hundreds of pigeons dive bomb her at once!
Like a scene out of THE BIRDS, Kimberly must duck and cover as the
pigeons assault her from every angle.
But when Kimberly turns away from the reflection, toward the actual
pigeons, THEY'RE GONE. ALL IN HER HEAD.
KIMBERLY
Did you see that??
Thomas, concerned for her, saw nothing.
KIMBERLY
Pigeons... It's a sign! If Clear's
right about the order, then Nora
and Tim are going to be attacked by
Pigeons!
THOMAS
I'm not following you --
KIMBERLY
They're next on the list. We have
to find them.
EXT. MEDICAL COMPLEX - DAY
ANGLE ON
Woman's Nike shoe on a down-moving escalator. Reveal Nora taking
her son Tim to a dentist's office. The SHOELACE snags on a bolt
of one of the steel side panels, untying it...
TIM
(mischievous smile)
You think the tooth fairy's gonna
come tonight? I'm thinkin' like
fifteen bucks.
NORA
Nice try, kiddo.
Tim smiles, then winces from the pain in his mouth.
THE DANGLING SHOELACE heads straight for the escalator grate. IT
GETS SWALLOWED UP. As Tim steps off, Nora TRIPS forward. Her caught
sneaker is pulled tighter into the innards of the metal staircase.
TIM
Mom!
Tim watches helplessly as Nora reaches down, tugging at her sneaker,
fear mounting. Tim also grabs her sneaker and yanks. Finally, the
shoelace SNAPS, and Nora's free again.
TIM
You okay?
Nora puts on a brave face and begins tying one long shoelace to
the stubby one.
NORA
Sure hon. I'm fine. Let's shake
it, we're late.
Tim nods. The wind picks up as they continue past a --
CONSTRUCTION CREW
Who apply industrial suction cups to large, thick sheets of PLATED
GLASS.
Tim stares in childlike fascination as they pass JACKHAMMERS, a
CEMENT MIXER, and an EXCAVATOR.
INT. CLEAR'S PADDED ROOM - DAY
Clear Rivers applies fun-tack to the back of a newspaper article
and sticks it on the wall devoted to Flight 180.
REVEAL
A photo of Eva, "Lotto Winner Killed By Ladder".
Clear backs away, pausing to look at a group photo of the Survivors
of Flight 180 just before take off. Smiling faces.
TIM
Not so much.
Dr. Lees keeps a skeptical smile to himself.
INT. WAITING ROOM - CONTINUOUS
The RECEPTIONIST appears next to the fallen fish food with a VACUUM.
She plugs it in an outlet below the fishtank.
A startling GRIND as the vacuum turns on and coughs up a nail. She
vacuums up the fish food around Nora's feet.
The DEAD FISH gets sucked into the water filter in the fishtank
which sputters and stops. The water level RISES, spilling water
over the side of the tank. The water TRICKLES closer to the outlet.
EXT. SUBURBAN STREET - DAY
Thomas drives his car into a friendly neighborhood. Kimberly, riding
shotgun, hangs up her cell phone.
KIMBERLY
Turn around. The cleaning woman
said they're at the dentist's.
14th and Main.
THOMAS
Hold on.
Thomas expertly skids into a U-turn.
INT. DENTIST OFFICE - CONTINUOUS
Tim looks petrified as Dr. Lees unveils a tray full of PICS, CARVERS
and EXTRACTING FORCEPS.
The KA-CHUNG of construction outside makes it impossible to concentrate,
but, hands trembling slightly, Dr. Lees picks up a pic and mirror
and starts examining Tim's mouth. CU of PIC gently prodding Tim's
teeth.
DR. LEES (O.S.)
I'm a little disappointed, Tim.
Does your mom know you've been
smoking?
Tim groans "uh-uh", then suddenly flinches.
DR. LEES (O.S.)
Yeah, that'll have to be filled.
A BANG from the window startles Dr. Lees. His HAND JERKS, but luckily
the pic was removed from Tim's mouth.
Dr. Lees whips around in time to see a PIGEON flutter away from
the window.
DR. LEES
Jesus. Every day at the same damn
time. Now this'll only sting for a
moment.
Dr. Lees picks up a large SYRINGE and moves it toward Tim's open
mouth.
DR. LEES
Open big. Wiiiiider...
Tim's eyes radiate fear. The MOUTH OPENS. Reluctantly. Tim nervously
eyes the window as the needle enters...
ANGLE ON
NEEDLE heading toward his gumline --
BANG! Another pigeon takes a header into the reflection. Dr. Lees'
hand jerks, nearly jabbing Tim's tongue. Tim squirms violently.
Dr. Lees looks towards the window angrily.
DR. LEES
How the hell do they expect me
to... Would you rather have the
laughing gas?
Tim nods his head ferociously.
DR. LEES
Jean? I need you in here.
(waits)
Jean??!
INT. WAITING ROOM - CONTINUOUS
Jean continues vacuuming. The vacuum makes contact with Nora's foot.
INT. DENTIST OFFICE - CONTINUOUS
After a minute, Dr. Lees angrily switches on two compressors: Oxygen
and Nitrous Oxide.
By now, the NO mask has been attached around Tim's nose. As Tim
drifts off, Dr. Lees lowers a DRILL into his mouth.
DR. LEES
Open big. Wiiiiiider.
Excruciating SOUNDS of the drill going through enamel.
INTERCUT KIMBERLY AND THOMAS
Racing to the medical complex throughout.
THE WAITING ROOM
The WATER TRICKLES into the outlet. The vacuum sparks and dies just
as --
BACK IN DR. LEES' OFFICE
BANG! SFX: BROKEN GLASS - it sounds like a pigeon finally crashed
through the window. In the other room.
DR. LEES
Goddamn it already.
Dr. Lees marches out of the room to investigate. Another quick electrical
surge and the OXYGEN COMPRESSOR flutters off. The needle drops.
But the NITROUS flow remains strong.
ANGLE ON FISH MOBILE
Spinning from a new breeze. Suddenly, a small round PUFFER FISH
FALLS directly into Tim's mouth.
Soft, gurgling and choking.
INT. WAITING ROOM - CONTINUOUS
Nora stares at a pigeon with a broken wing frantically trying to
fly right. Dr. Lees makes a half-hearted attempt to soothe and catch
it.
BACK IN DR. LEES' OFFICE
SLOW DOLLY up to Tim. Choking, gurgling. His eyes are open, but
rolled up. His hand limply reaches up...then drops.
Sounds of commotion in the next room seem to fade away as we continue
our SLOW DOLLY into Tim's eyes.
They GLAZE OVER...the choking stops. And a HAND reaches into frame
and pulls the puffer fish out of Tim's mouth.
REVEAL JEAN looking petrified at the close call, looking around
to make sure nobody saw...
EXT. MEDICAL COMPLEX - LATER
Nora and Tim, feeling better now, walk past the CONSTRUCTION CREW.
A CRANE OPERATOR smiles at Tim, who smiles back.
From across the mall, the tiny running figures of Kimberly and Thomas
appear in the distance, pointing and screaming.
TIM
What are they doing here? And why
are they yelling "pigeons"?
Just then, Tim and Nora walk into a large cluster of PIGEONS who
suddenly burst into flight, startling the Crane Operator, whose
hand inadvertently jerks a lever -
A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a
HUGE SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him,
his mangled body visible underneath.
As two pearly whites roll around on the sidewalk, NORA SCREAMS.
DISSOLVE TO:
EXT. MEDICAL COMPLEX - LATER
Emergency vehicles everywhere. Thomas seems exhausted as he walks
back to Kimberly, who stands by his car. In the BG, EMTs load a
stretcher into an ambulance.
THOMAS
(shaking his head)
Nora's not coming. She refuses to
leave her son.
KIMBERLY
We have to tell her she's in
danger!
THOMAS
(sadly)
I did. And right now, I don't
think she cares.
EXT. KIMBERLY'S HOUSE - DAY
Thomas' car turns into the driveway and parks. Kimberly holds up
her hand and watches it tremble.
KIMBERLY
It's happening again. It's fucking
happening again. I hoped we'd get
there and they'd be okay, that
Clear Rivers was full of shit and
Evan's death was just a freak
accident...
Thomas kills the engine to listen.
KIMBERLY
But we're all going to die. We
can't stop it. It's just a matter
of time. I'm so scared.
Thomas takes her hand and squeezes it reassuringly.
THOMAS
I am too. But you can use that
fear. It'll sharpen your
instincts. Keep you alert fro
signs. It's the only way you'll be
able to save the others...and me.
Kimberly, seeming overwhelmed, pulls her hand back. Thomas senses
he's losing her, and softens her approach.
THOMAS
I know you didn't ask for any of
this, Kimberly. But I don't think
you have it in you to quit either.
Kimberly stares straight ahead, the weight of the world sinking
in. BANG! A startling pound on the roof of Thomas' car.
Kimberly jumps, then spins around to see:
CLEAR RIVERS - standing in the driveway. A determined, powerful
presence. Kimberly exits the car. A MOMENT where Kimberly and Clear
stare each other down.
KIMBERLY
Clear/Thomas. Thomas/Clear.
Clear nods absently to Thomas, still focused on Kimberly.
KIMBERLY
(bitter)
The second one just dies. A 16
year old kid.
CLEAR
(nods; a faint trace of
guilt)
I hope you're ready for this.
EXT. FUNERAL HOME - DAY
Thomas' car pulls into a partially filled parking lot. Kimberly,
Thomas and Clear file out and head to the door.
KIMBERLY
This is cheery.
THOMAS
Who is this guy, anyway?
CLEAR
A mortician. He seemed to know a
hell of a lot more about death than
he ever told us.
THOMAS
Should we knock?
CLEAR
(looking ill)
He probably already knows we're
coming.
INT. FUNERAL HOME - MOMENTS LATER
Kimberly, Thomas and Clear open the large wooden doors into a small
chapel, creating a loud CREAK. A corpse in an open casket sits at
the front of the chapel, post-wake.
Kimberly, Thomas and Clear are forced to walk around the dead body
to get to a side door.
INT. CORRIDOR - MOMENTS LATER
The three slowly edge towards a room at the end of a creepy hallway.
An ORANGE GLOW flickers from the far room. The unmistakable sounds
of a furnace make it all the more eerie.
As they near the door, they're able to see inside the room; the
shadow of a figure looms against a steel oven.
They edge closer. They peek inside the --
INT. CREMATORIUM
Oddly there is no one there. As they enter, passing the furnace,
a momentary WHOOSH of flames startles them all!
They jump back - bumping right into:
MR. BLUDWORTH, the dark, sinister mortician from FD1, who has inexplicably
appear BEHIND THEM.
MORTICIAN
Hello, Clear. I've been keeping an
eye out for you.
The mortician rolls a metal gurney carrying EVAN'S EYELESS BODY
toward the firing oven. Kimberly and Thomas are scared.
KIMBERLY
Oh my God. That's Evan Shaeffer.
Clear, however, seems to expect nothing less.
MORTICIAN
Come to... Pick my brain?
The Mortician slides a gleaming set of medical pliers into Evan's
mouth. And YANKS out a gold tooth. Kimberly recoils as he discards
the bloody tooth on a metal tray.
MORTICIAN
(to Kimberly)
Flesh and bone require 1,600
degrees for cremation. Gold,
prosthetics and other metals must
be removed before the final --
CLEAR
(not falling for this
again)
Just a simple question and we'll
leave you alone with your new
friend.
The Mortician grins; he likes the new Clear. He crosses the room
and hits a LEVER. KA-CHUNK! The oven begins to blaze.
MORTICIAN
Fire away.
CLEAR
How do you cheat Death once and for
all?
The Mortician, recrossing the room, passes Kimberly and stoops down
to sniff, no INHALE, a terrified Kimberly's essence.
MORTICIAN
Dead. But still fresh.
Kimberly shudders as the Mortician moves back to Evan's body. Clear
has had about enough.
CLEAR
(to the Mortician)
Look, we drove a long way to get
here. So if you happen to know how
to get this death monkey off our
backs, it sure would be swell if
you told us.
The Mortician now CLAMPS THE PLIERS around Evan's NIPPLE RING.
MORTICIAN
For what purpose? You seek a back
way out of a room with but one
door. You can't cheat Death; there
are no escapes.
CLEAR
Bullshit. You told me Death has a
distinct design, a blueprint,
unalterable. But Alex and I
cheated Death not once, but dozens
of times. If the design is flawed,
it can be beaten.
A sick smile crosses the Mortician's lips. He yanks the nipple ring
OFF! Kimberly looks on both horrified and awed when Clear doesn't
flinch back from the pliers, where a bloody nub dangles.
MORTICIAN
Such fire in you now. People are
always most alive just before they
die. Don't you think?
Clear steps back from him, hate flashing in her eyes.
CLEAR
It can be beaten. And you know it.
CREEEAAAK-SLAM! The Mortician rolls Evan's body into the oven.
MORTICIAN
Some say that there is a balance to
everything. An equilibrium that is
the connective tissue of the
universe. They say that for every
life there is a death, and for
every death a life...
His words hang in the air. An ominous BREEZE enters.
MORTICIAN
Solus novus anima licet evinco
mortis; Only new life can defeat
death.
(off their confusion)
The list of life is forever set by
the Divine Plan, the guiding hand
that plots the course of the
universe, down to its tiniest
elements.
Thomas looks to Clear; what's he talking about? The Mortician focuses
on Kimberly as if the others had ceased to exist.
MORTICIAN
The list accounts for every life;
from the dawn of man to the great
apocalypse. But the introduction
of life that was not meant to be, a
soul forbidden to roam the earth,
that could invalidate Death's list,
shatter its very existence.
Evan's other eye POPS, startling Thomas and Kimberly.
THOMAS
What the hell does that mean?
MORTICIAN
(with finality)
To figure that out you'll have to
follow the signs.
The Mortician grabs Kimberly.
MORTICIAN
But be warned. To disrupt the
grand design is to unravel the
tapestry of the universe. When you
pull all the threads apart, you may
find yourself hanging from them.
The Mortician finally lets Kimberly go.
CLEAR
One last question. Why is Death
working backwards this time?
The Mortician glances at his watch - Evan's brand new Rolex.
MORTICIAN
(shakes head; a sick
smile)
Sorry, time's up.
EXT. GAS STATION - DAY
CLOSE UP - GAS DRIPPING
From the nozzle in Thomas' car. Thomas fills the tank, watching
for signs of danger. Clear's hand is poised over the gas pumps'
EMERGENCY CUT-OFF VALVE
Some SKATE RATS exit the mini-mart with a pack of Camels, followed
by Kimberly, who carries a couple of Red Bulls and hands them out.
THOMAS
New life defeats death? Follow the
signs? Where the hell did you find
that guy?
KIMBERLY
Yeah, I thought he was supposed to
be helpful.
CLEAR
He was. If we can use your ability
to see the signs, we can cheat
Death long enough to figure out
what "new life" means.
(off their looks)
I know, it worries me that I
understand him.
Thomas tops off the tank. Some gas spills to the ground. Quick looks
all around -- sure enough, one of the Skate Rats is about to strike
a match.
CLEAR'S HAND SLAPS the kid in the back of the head, stopping him
mid-motion.
CLEAR
What the fuck are you thinking?
The startled Skate Rat shrinks back from Clear's rage.
SKATE RAT
I'm thinkin', suck my junk, bee
yatch.
Thomas chuckles to himself and looks at Kimberly who --
SMASH CUT TO:
EXT. LAKE - DAY
POV DRIVER. Grease-covered female hands reach out toward a steering
wheel of a white van speeding out of control TOWARD A LAKE!
The van crashes through a railing and PLUNGES into the water. In
moments, the van fills with water, the driver inside trapped. Drowning.
Horrible.
SMASH CUT TO:
INT. GAS STATION - DAY
KIMBERLY
Comes to Thomas' arms - GASPING uncontrollably for breath. Terror-stricken.
She begins hyperventilating.
THOMAS
What is it? What did you see?
It's so bad, Kimberly can't speak. She coughs and gags as if recently
drowned. Clear scans the perimeter for immediate dangers.
QUICK CUTS:
A POWER REPAIRMAN
On a cherry picker messes with the transformer, a LAWN BOY pull-starts
a WEED WHACKER close to broken glass, a MECHANIC on a tall ladder
changes out the gas price numbers, a female DOG WALKER with three
dogs approaches the ladder.
CLEAR
You have to tell us now.
KIMBERLY
I...I...
Clear shakes her head by the shoulders and barks commands like an
angry drill sergeant.
CLEAR
You're strong. Do you hear me?
You're a fucking warrior. Nothing
scares you. In fact you happen to
be the single most powerful woman
on earth. Now what did you see?
The words slowly take affect. Kimberly becomes centered, getting
her breath back, and speaks without a hitch.
KIMBERLY
I was driving a white van. It
must've gone out of control because
it crashed into a lake and I
drowned. It was...horrible.
CLEAR
You were there?
KIMBERLY
I can practically taste the water
in my throat. And something else.
The smell of flowers...
CLEAR
(confused)
Then it wasn't just a sign. It was
a premonition?
Thomas gently releases her, paces.
THOMAS
Remember the onramp? There was a
pregnant woman in a white delivery
van.
CLEAR
Holy shit. He said "only new life
can defeat death."
(off looks)
If she gives birth to a baby that
was never meant to be born, a brand
new soul that was never part of
Death's Design...
KIMBERLY
It throws the entire Death list out
of whack. And a new list has to be
rewritten from scratch. We all
start over with a clean slate.
THOMAS
It sounds all well and good, but
what if we're wrong?
CLEAR
Please, what else could it mean?
KIMBERLY
(to Thomas)
So if you give us the pregnant
lady's number, we can warn her
about the lake and she'll live long
enough to have the baby.
CLEAR
So let's do it.
THOMAS
(realization)
Shit, I don't have her number. She
was never interviewed. She took
off right after the accident.
KIMBERLY
How are we going to find her?
There must be thousands of white
vans in this state.
THOMAS
Hey, I'm a police officer,
remember?
INT. A/V ROOM - POLICE STATION - LATER
Thomas works a VCR, scanning BACKWARDS through the video footage
from the patrol car camera. We see the SUV's explosive collision
with the jack-knifed semi. Kimberly is taken by surprise by the
sight of the crash.
KIMBERLY
Oh God...
Thomas sees Kimberly and quickly flicks off the monitor.
THOMAS
I, uh...sorry.
Kimberly notices Clear watching her and toughens up. She forces
back the tears and quickly wipes the rest away.
KIMBERLY
I know, I know. We need my eyes.
Clear sits beside Kimberly.
CLEAR
It's all right. I'll take watch.
Kimberly looks grateful, and a moment passes between them, but she's
already buried the need to cry.
KIMBERLY
I'm okay. Just caught me by
surprise. Put it back on.
Clear does, watching the cars seemingly pass in reverse.
CLEAR
Make sure all these people will be
at the meeting tonight.
THOMAS
Taken care of.
THE MONITOR
Back, back, back until the Patrol Car slowly creeps backwards down
the onramp.
KIMBERLY
There it is.
THOMAS
Got it.
Thomas hits play and we see footage from the patrol car cruising
past the White Van. A clean shot of the license plate. Jackpot.
As Thomas slides his chair to a data base and types in the plate
number, the pause function dislodges, slowly advancing the tape
frame by frame.
CLEAR
I don't get it. Why is everything
happening so fast? After Flight
180. A month went by before anyone
died. And now five people are dead
in less than a day.
Thomas' computer screen finally fills with information.
THOMAS
Here we go. The vehicle's a
delivery van registered to Jorge
and Isabella Cruz. And Christ,
there's almost a dozen domestic
disturbance complaints on these
two.
CLEAR
We need to hurry.
They all get up and leave.
Ominously, THE MONITOR shows the NEXT VEHICLE creeping behind Nora's
Pacer - a white van!
INT. CRUZ HOUSE - NIGHT
Thomas pulls up to an upper-middle class house. Thomas, Kimberly
and Clear get out and start up the unlit path. It's dark, hard to
see where they're going, so they negotiate by feeling the bushes
aligning the walkway.
THOMAS
Let's lay this on her gently now.
The stress alone could upset the
pregnancy.
Kimberly nods, ever creeping closer to the front door -- when AUTOMATIC
LIGHTS FLASH from over the garage.
All three freeze for a moment, during which we hear STOMPING emanate
from within the house, and the lights SHUT OFF.
But nothing else happens. No one comes to a door. Thomas sighs,
and as if suddenly remembering his status, he walks fearlessly and
purposefully to the front door.
He makes a fist, is about to knock - when the DOOR FLINGS OPEN and
a ROTTWEILER LUNGES for his throat - only to have its collar snagged
at the last second by its owner -
JORGE CRUZ, late 30's, handsome, cocky. He speaks above Rotty's
BARKING:
JORGE
What?
THOMAS
I'm Officer Burke. I'm looking for
an Isabella Cruz.
Suddenly, with an unexpected fury, Jorge SCREAMS at his dog.
JORGE
Shut up!!!
The Rottweiler cowers, and Jorge shoves it to the floor, where it
lands on its feet and fearfully trots away. Jorge's face is once
again pleasant, but it's a thin veneer.
Jorge sees Clear and Kimberly behind Thomas and frowns.
THOMAS
Are you Jorge Cruz?
JORGE
Maybe. What's this about?
THOMAS
May we come in?
JORGE
No. What's this about?
ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the
tile floor. She takes in what she can see of --
THE ROOM
As if a tornado had hit it. Wedding photos smashed and torn. Furniture
over-turned.
THOMAS
(a little stern)
It's about your wife, Isabella.
Now is she here?
Jorge's eyes flicker ever-so-involuntarily behind him.
JORGE
No. I'm alone.
But by now, Thomas has seen everything Clear has and more. He stares
through the house, into a bedroom and sees -
A FEMALE FOOT lying half0buried under the bedspread.
THOMAS
Look, pal, it's probably nothing.
But I need to see --
Jorge is already closing the door.
JORGE
Forget it. You'll need a warrant.
I know, I'm a lawyer.
Clear rushes the door, shoulders it and expertly wriggles past Jorge's
grasp.
JORGE
Stop!!! You can't go in there!!!
Clear tears into the bedroom, grabs the bedspread and THROWS it
to the floor to reveal a YOUNG WOMAN, naked, trembling with fear,
takes a closer look at Clear.
YOUNG WOMAN
We never meant to hurt you
Isa...You're not Isabella!
Meanwhile, Jorge yells at Thomas.
JORGE
I'm going to sue your ass!
KIMBERLY
Whose blood is that on the floor?
Defensively, Jorge holds up his arm. Freshly cut.
JORGE
Mine, you idiot. The dog went nuts
this afternoon. Now arrest her!
KIMBERLY
Where's Isabella? Did you finally
kill her you fucking wife beater?
Jorge flinches. It's time to come clean.
JORGE
We had a fight. Some things got
broken, the dog went crazy, she
left me. Wouldn't say where she
was going.
THOMAS
What was the fight about?
JORGE
Take a guess.
THOMAS
Does she have a cell phone? A way
we can contact her?
JORGE
She did.
He eyes a SHATTERED CELL PHONE on the floor.
CLEAR
We're wasting time with this piece
of shit. Let's just get to the
meeting.
Jorge turns to soothe the frightened Young Woman in the bed.
JORGE
Hey, when you find her, tell her
the kid's half mine.
Clear mutters something as they exit the house.
CLEAR
We can only pray it doesn't come
out retarded.
Jorge hisses something at the Rotty, which CHARGES them and SPRINGS!
But Thomas slams the door on the frothing dog just in time.
DISSOLVE TO:
EXT. THOMAS' APARTMENT BUILDING - NIGHT
Rory sits in his Chevette outside an apartment building, staring
up at the address. He quickly snorts some powder off his key and
wipes his nostrils free of crystals. He takes a breath and exits
the car.
INT. THOMAS' APARTMENT BUILDING - NIGHT
Rory follows some PEOPLE into the elevator. The elevator doors close
on his shoe -- trapping Rory in an awkward position.
One MAN frantically pushes the DOORS OPEN button to no avail. Finally,
as the elevator rises, Rory YANKS his foot free.
MAN
Jesus Christ. I wrote to
management two weeks ago about
these friggin' bumpers.
Rory bends down and inspects his shoe.
RORY
Damn, is that dogshit?
Rory briefly holds the shoe too close to the Man's face - see? -
before disgustedly slipping it back on.
DING. The doors open. The man hurries out and the elevator DOORS
CLOSE on Rory's smirking face.
HARD CUT TO:
INT. THOMAS' APARTMENT - LATER
REVEAL - Nora, Rory, and Kat, mortified, sit on a couch. It's obvious
the bomb's been dropped, reality has set in. Clear and Kimberly
await their reactions. Nora raises a trembling hand.
NORA
Does anybody have a Valium?
Kat opens her purse and hands her a blue pill.
KAT
You'll want to take --
Nora pops it in her mouth.
KAT
-- half of that.
Nora chews, her eyes half dead from bereavement. Across the loft,
Thomas paces, phone in hand.
THOMAS
(quietly, into phone)
Any word yet on the Dodge van?
Damn.
Eugene alone seems unafraid. He uses a GRABBER - a long pole with
movable claw on the end - to OPEN THE SKYLIGHT. When done, he balances
the long pole precariously against the wall.
An OMINOUS BREEZE enters. Clear notices MAGAZINE PAGES blowing over
the desk by the couch.
NORA
So that would mean... I'm next.
EUGENE
Nobody's next. This is crazy.
First death's stalking us and now
premonitions?
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