FINAL DESTINATION 2 (Continue)
KAT
This can't be happening. My
career's at a peak, I finally met a
cute guy, I just bought a new
house...
RORY
Just shut the fuck up and maybe
you'll live.
Kat's hands ball into fists. The hatred is mutual. Clear reaches
for a nearby cardboard box on the desk, noticing MAGAZINE PAGES
blowing over until their weight tips over a PENCIL HOLDER which
spills pens out. She takes the box to Nora.
CLEAR
You're not next, Nora. Nobody has
to be next. That's the point.
Last time, we didn't plan. We
weren't organized. Now we can help
each other.
She reaches into the box and passes out cell phones to Nora and
the others.
CLEAR
Think what would have happened if
Kimberly had been able to warn you
with the word pigeons...
Nora's head falls. Kimberly senses her anguish and takes over.
KIMBERLY
The point is, as long as you know
what to beware of, you have a
fighting chance. It can be beaten.
If I call you and say subway, get
to a high rise fast. A place where
no subway could possibly go, get
it?
Everyone nods in understanding. Rory fidgets, sniffling, then POUNDS
the table in frustration. Startling Kat.
RORY
Why the hell did I ever get on
Route 18 in the first place?
That's me, Mr. Dumb Fucking Luck.
Clear, very alert, looks at the tipped PENCIL HOLDER. PENS ROLL
toward the end of the desk, toward a large White Pages directory
which hangs precariously off the edge just so.
CLEAR
Anyone read today's paper? The
article on Evan Shaeffer?
No one says a word.
CLEAR
The only reason he was on Route 18
was because he own the lottery and
had to collect the winnings.
RORY
That lucky bastard.
CLEAR
What about the rest of you?
Kimberly, you were driving to
Daytona. Was Route 18 your first
choice?
KIMBERLY
The new freeway was faster, but
Route 18 was the way my mom used to
take, so...
They take turns going around the room.
THOMAS
Route 18 is Drake's assignment, but
he called in sick so I got...
(blanches)
Drake's never sick.
KAT
I was my first day of jury duty.
EUGENE
Jury duty? That's randomly
selected by social security
numbers.
CLEAR
Random, sure.
EUGENE
What, you think Death planned for
each of us to die in the pile up
weeks ago? You're nuts.
Clear fumes. Rory looks ill and reaches into his wallet.
RORY
Last July I dialed a wrong number
and got a radio station by
accident. They asked me what
number means "good luck" in Jewish.
KAT
Eighteen. And it's "Hebrew".
RORY
Anyway, I guessed it right and won
these.
Rory holds up two Yankee tickets.
RORY
The best way to get to Yankee
Stadium is Route 18.
KIMBERLY
I don't know what's weirder, the
dialing a wrong number part or that
Death would set you up nine months
in advance.
THOMAS
(realization)
Whoa, nine months?
KIMBERLY
Are you thinking what I'm thinking?
INT. CHEAP MOTEL - NIGHT
ANGLE ON ISABELLA'S PREGNANT BELLY.
REVEAL she's lying down, binging on take-out food, while speaking
on the motel phone. A disturbing metallic SQUEAK SCRAPE-SQUEAK can
be heard, nearly drowning out the SCREAMING COUPLE next door.
ISABELLA
Yes, I'd like to report a domestic
squabble - my name? Isabella Cruz
why, does it matter? I'm at the
Super 8 motel. Yes, I own a white
van. So what? Just get over here.
Isabella hangs up, recoiling at VIOLENT THUMPS against her wall.
PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is
a rickety, wobbling CEILING FAN.
INT. THOMAS' APARTMENT - NIGHT
Kimberly whispers into the phone.
KIMBERLY
I'm sorry, Dad, we're having a hard
time with Shaina's eulogy. I'll
stay here at Virginia's tonight and
see you tomorrow. I love you too.
She hangs up, looking guilty for having lied to her father. Clear
keeps her eyes on the pens that ROLL on the slightly canted table
into the about-to-fall White Pages directory.
CLEAR
Remember everyone, just because
Kimberly's got the power doesn't
mean we're not all capable of
seeing signs to some extent.
The pens softly tap the phone book one by one until it lazily tips
over and PLOPS HEAVILY onto a GOOSE-DOWN THROW PILLOW.
Small feathers from the pillow are carried upwards by the breeze.
Everyone in the room watches them rise.
RORY
It's like Forrest Gump.
They float across the room, ultimately landing on a MOUSETRAP! SNAP!
The trap flies over and knocks into the base of the unstable Grabber
- which tips and slowly slides down the wall.
Clear, in a chair, looks directly above her head at a LARGE SWORDFISH
mounted on the wall.
The Grabber picks up speed, arcs downward and hits the mounted SWORDFISH.
The supporting brackets give, causing the SWORDFISH TO TIP and SLIDE
DOWNWARD!
Clear lurches back in her chair just in time - the razor sharp bill
impales the seat cushion between her legs!
CLEAR
Fuck. Should have seen that
coming. The institution's made me
soft.
Clear gets up, carefully easing herself around the swordfish. Eugene
isn't quite sure what to make of what he's just seen.
EUGENE
If Death has got such a hard-on for
you, maybe you should get the hell
away from us.
KIMBERLY
We need her. She's the only one
who's dealt with this before,
idiot!
Kimberly looks self-conscious by her outburst. Clear, however, looks
grateful.
CLEAR
We're all going to have to open our
eyes from now on. Look out for
each other. Sleep in shifts.
(looks around apartment)
And we've got to safeproof this
deathtrap.
MONTAGE - SAFEPROOFING THE APARTMENT
Everyone but Nora and Eugene helps unplug appliances, put out the
fire, take down hanging objects, switch off the gas, put sharp objects
away, affix padding to chart corners...
Kat, placing poisonous cleansers and flammable liquids in a box,
nervously pulls out a pack of smokes. Thomas watches as he takes
a hanging mirror off the wall.
KAT
Screw this. I'm going outside for
a smoke.
THOMAS
You think you should? It's not
safe out there.
KAT
So? Nora's gotta bite it before me
anyway, right?
Kat steps towards the front door, then remembers the cell phone
and grabs it just in case. Thomas smiles 'good job' at her.
Kimberly, unscrewing the light bulb, looks up when Nora rises from
the couch in a stupor and struggles to put on her jacket. Kimberly
looks concerned.
KIMBERLY
Where are you going, Nora? You
okay?
Nora fights the sleeve, dazed and defeated.
NORA
Four years ago my husband died.
Now Tim. There's nothing left for
me.
Kimberly stops pouring liquor down the drain.
KIMBERLY
Don't say that. Once you lose
hope, it's already too late.
Eugene snickers. Nora looks up, anger surfacing.
NORA
If it's my time to go, to be in
heaven with my family, then I can
accept that.
KIMBERLY
You can't give up. Don't accept
Death's plan. Trust me, you can
fight this. If we can just survive
long enough until that baby is
born, we can --
Nora looks more resolute than ever.
NORA
If you'll excuse me, I have a
funeral to prepare.
Everyone looks crushed when Nora heads for the door. Except Eugene,
who stands up as well.
EUGENE
Yeah, why am I listening to a girl
who just got out of the nut house?
As Eugene heads out, Kimberly becomes enraged and grabs him.
KIMBERLY
Seeing you die once was enough for
me.
EUGENE
Whatever. I control my life, not
fate.
CLEAR
I'll be sure to put that on your
tombstone.
Rory presses a cell phone into Eugene's hand on his way out.
RORY
Be careful. And even if you don't
believe, give this to Nora.
INT. THOMAS' APARTMENT BUILDING - NIGHT
Eugene pushes the elevator button a thousand times. Nora nervously
ties her long hair back in a single braid.
INT. THOMAS' APARTMENT - CONTINUOUS
The nervous group finishes safe-proofing the apartment.
RORY, standing on the couch, pulls a POLICE ACADEMY DIPLOMA off
the wall - and slips - stumbling BACKWARDS into the closet.
Staggering, he accidentally knocks some COAT HANGARS and a VOLLEYBALL
TROPHY from the high shelf to the floor.
Thomas whips around and sees that Rory's not hurt. He then lowers
his gaze and sees --
The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble
of wire COAT HANGARS. Suddenly, STREETLIGHT FLICKERS ON for the
evening. Oddly, it only illuminates the Trophy/Hangar array.
From Rory's vantage point, it looks like a surreal sculpture of
a man with hooks emanating from his body. The sodium vapor lamp
casts an OMINOUS GLOW around the image.
RORY
...man with hooks. I see a man
with hooks. Someone?!?!
The others look over, trying to see what he does.
THOMAS
(unsure)
I kinda see it, yeah. So...Nora's
going to be killed by a man with
hooks?
Kimberly and Clear stare at the volleyball trophy - the street lamp
ominously FLICKERS OUT AND DIES.
Everyone looks around for a hesitant beat, then Thomas picks up
his cell phone. Clear first walks, then RUNS out the door.
INT. THOMAS' APARTMENT BUILDING - CONTINUOUS
The elevator finally comes. Eugene and Nora get inside, standing
in front of a gaunt looking man holding a cardboard box full of
PROSTHETIC LIMBS.
MUZAK plays AC/DC's HIGHWAY TO HELL.
EUGENE
Going down, right?
The Gaunt Man says nothing. The DOORS CLOSE.
INT. ELEVATOR - CONTINUOUS
Eugene stares blankly at the CONCAVE MIRROR in the upper corner.
He's disturbed by the WARPED REFLECTION OF:
THE GAUNT MAN leans closer to Nora's hair and as the doors finally
close, he leans over and SMELLS it. Creepy.
EUGENE
Um, by the way, your shoe's untied.
Nora bends down to tie her shoelace (the one that snapped). She
tries tying the long dangling shoelace to the stubby one as Eugene's
cell phone VIBRATES in his hand. Startled, he drops it to the floor.
Then looks embarrassed.
EUGENE
Probably for you, anyway.
Nora picks it up. STATIC CRACKLES. It's hard to make out Thomas'
yelling.
NORA
Officer Burke? I can't hear...
A beat of confusion, then she slowly turns to see the clawed hooks
and hands of the Prosthetic limbs. Terror. She freezes.
EUGENE
What is it? What's wrong?
But Nora's too frightened to speak. Eugene grabs the phone, hearing
unintelligible STATIC.
INTERCUT CLEAR
As she frantically hits the elevator button. When it fails to come,
she runs downstairs.
INT. ELEVATOR - CONTINUOUS
Nora slowly rises to her feet, feverishly mouthing a prayer... As
the door opens, Nora rushes out - unseen to her, her long braid
gets snagged on one of the PROSTHETIC HOOKS, YANKING her backwards.
NORA
Let me go let me go!
EUGENE
Oh, watch it, you've caught your
uh...
The Guant Man's sweet voice and demeanor are a clear contrast to
his outward appearance.
MAN
Goodness gracious, darling, let me
help you with...
Nora panic,s as Eugene and the Man try to untangle her braid. Nora
desperately spins her body around, sticking her head back inside
the elevator.
Kat appears in the lobby, smoking a cigarette.
KAT
You alright, Nora?
The elevator DOORS begin to close, and CLAMP around Nora's neck,
her head inside, body outside the elevator.
Eugene pounds on the BUMPERS, but they don't seem to work!
NORA
My God, someone please let me out
of this --
INTERCUT
The UP BUTTON is lit. Clear rushes to the lobby.
The Elevator RISES!
INSIDE THE ELEVATOR, Eugene watches Nora's head drop to floor level
- then he pounds the Emergency Button - which SHORTS OUT!
Nora's body lifts upwards from the force of the elevator floor!
Nora's screams of terror and agony fill the air as the elevator
repeatedly LURCHES UPWARDS.
Kat gasps in horror to see this poor woman suspended above the floor.
It lurches. And lurches. And lurches. The horror never ends.
Clear comes from the stairwell and is shocked by the sight. She
runs to the elevator doors, trying to pry them apart to no avail.
All Kat can do, crying, is grab hold of Nora's flailing legs and
try to pull her back down.
The elevator lurches a final time. NORA'S HEADLESS BODY fall down
into Kat's arms, knocking her to the floor. Kat freaks, skittering
away as the body convulses.
INSIDE THE ELEVATOR
Eugene balls his hands to his mouth in undeniable fear. A bloodcurdling
moan escapes him. He stares transfixed as Nora's head, still aghast
in terror, rolls around the floor.
The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS
AND POUNDS, desperate to escape the elevator.
INT. THOMAS' APARTMENT - MOMENTS LATER
Eugene suddenly bursts through the door, babbling incoherently.
Kimberly, Thomas and Rory look on, bewildered.
EUGENE
...no escapes my ass. I control my
fate. I die on my terms, hear me
Reaper cockscuker?!
Eugene's in another world. He approaches Thomas and lunges for his
GUN - yanking it from the holster!
THOMAS
What the hell are you...?
EUGENE
Ain't going out like that. On my
terms!
THOMAS
Just take it easy!
A twisted insane smile comes to Eugene's face as he jams the gunbarrel
to his temple. The others shrink back in terror.
He PULLS THE TRIGGER. CLICK! Eugene tries again. CLICK!
Thomas looks stunned as Eugene goes through every round, CLICK CLICK
CLICK CLICK CLICK CLICK...
Kimberly breaths a sigh of relief.
KIMBERLY
You don't keep it loaded?
Thomas' eyes disagree. He reaches in and GRABS the gun away from
Eugene, who stands there trembling. Thomas cracks open the cylinder.
Loaded.
RORY
Maybe they were all duds.
THOMAS
Six in a row? Never. Impossible.
That's like
(sinking realization)
...winning the lottery.
CLEAR (O.S.)
It wasn't his turn to die.
Everyone turns to see Clear and Kat, standing in the doorway, DRENCHED
IN BLOOD. Kat trembles uncontrollably.
KAT
Can we find the pregnant woman,
please?
DISSOLVE TO:
INT. THOMAS' APARTMENT - DAWN
Flashing lights from rescue vehicles illuminate the living room.
In the newly conformed safe house, Kat and Clear relax as best they
can in Thomas' dry clothes.
Thomas makes another phone call. In the corner, Eugene shivers to
himself. Desperately looking for signs of danger. He looks over
to Clear.
EUGENE
Um, Clear? I'm sorry...about
before. I...
CLEAR
Your entire world view just went
out the window. I couldn't expect
a religious conversation overnight.
We'll get through this.
(beat)
I promise.
Eugene looks immensely relieved. Rory ambles over to Kimberly, his
typical callousness gone.
RORY
Can I ask you a question?
KIMBERLY
Sure.
RORY
When I die. Is it gonna hurt?
KIMBERLY
I...I don't know.
Rory nods. He expected as much. He fishes his LICENSE and KEYS out
of his pocket.
RORY
And you're gonna die after me,
right?
KIMBERLY
I guess so.
RORY
(re: keys and license)
Would you take these? And if I
die...
(tears well up)
Could you throw all my drugs out?
Paraphernalia, porno, you know...
Anything that would break my mom's
heart.
Kimberly looks deeply into his eyes, looking for the punchline.
When she doesn't see one, she nods tenderly and takes the keys.
The PHONE RINGS. Rory jumps at the sound, paranoid eyes in scan
mode. Thomas answers, speaks softly, hangs up.
THOMAS
A one very pissed off Ms. Isabella
Cruz is being detained up in
Greenwood. Let's finish this
thing.
EXT. COUNTRY ROADS - DAY
Kat's Ford Expedition winds its way through rural New York.
A SPORTS CAR speeds past on the left, then as it pulls in front
of the Expedition, its slipstream sucks over some debris from the
shoulder; a thin metal piece of trim, which bounces in front of
Kat's Expedition's left front tire.
CU KAT'S WHEEL WELL -- the metal trim is shot upward into the wheel
well, where it lodges firmly, its sharp metal edge GRINDING AGAINST
THE RUBBER.
INSIDE THE CAR
Kat drives, Thomas reading directions in the shotgun seat. Kimberly,
Eugene and Rory ride in back. In the CARGO area, Clear scans out
the rear window for danger.
Rory fidgets.
RORY
Is this safe, guys? I mean,
someone in this car is about to get
whacked. Do the rest of us really
feel like sitting next to him?
(off Kat's glare)
Or her. Hopefully her.
An uncomfortable beat.
THOMAS
Guys, let's not panic. Isabella's
safe.
KIMBERLY
How do you know?
THOMAS
You said she was going to drive
into a lake. How can she when
she's in protective custody?
INT. SHERIFF'S STATION - DAY
Isabella, pissed, is in a holding tank. Small town deputy STEVE
ADAMS, 30's, CLEANS HIS GUN in her direction.
ISABELLA
What do you mean "grand theft
auto?" This is insane.
STEVE
Hopefully the district judge can
straighten it all out by Monday
morning.
ISABELLA
(figures it out)
Jorge. When I get out of here I'm
going to sue his cheating ass off.
As she fumes, a rivulet of WATER streaks down her leg.
ISABELLA
Oh my God.
Steve, at first confused, sees the water and gasps.
STEVE
Are you kidding me?! Oh, man.
He rushes across the room, pulls a lever, unlocking the cell.
STEVE
C'mon. Let's go.
As Steve throws on his jacket, we reveal its prominent emblem: GREENWOOD
LAKE SHERIFF DEPARTMENT.
EXT. SHERIFF'S STATION - MOMENTS LATER
Small town station. Only one patrol car. In the patrol car, Isabella
buckles up in the shotgun seat, the belt stretched tightly across
her belly.
Deputy Steve tries the ignition, but the car won't start.
STEVE
Damn, they always stick me with the
clunker.
ISABELLA
Take my van!
EXT. WESTCHESTER COUNTY - DAY
KAT'S EXPEDITION speeds through a yellow light and continues on.
CLOSE ON EXPEDITION'S LEFT TIRE
Metal sheers away more rubber.
INSIDE THE EXPEDITION
Rory, antsy, rubbing his nostrils, stares at two Yankee tickets.
RORY
Here's what I don't get. For nine
months, Death does all this shit to
make sure I win these tickets and
end up on Route 18 at exactly the
right time for the pile up...
KAT
Yeah?
RORY
But why single me out? What am I
in the great scheme of things?
You'd think I stepped off Flight
180 or something... Fucking weird,
man.
THOMAS
You want weird? Last year, my
partner and I were heading out for
the graveyard shift. A call comes
in about a train wreck and Frank
decides to let me handle it alone.
(beat)
Frank died that night in a
shootout. I'd be dead too if that
call had come in just ten seconds
later.
Everyone nods in that 'life's weird' reverence kind of way.
KAT
I got that beat. So like, last
May, I was supposed to stay at this
cheesy bed and breakfast in
Pennsylvania. There was a major
gas leak no one knew about and all
the guests suffocated during the
night.
RORY
Yeah, so what happened?
KAT
I never mad it. The Greyhound bus
I was on splattered some chick all
over the road and we had to stop.
CLEAR
Was that in Mt. Abraham?
KAT
Yeah. How did you know?
CLEAR
(sinking realization)
That bus you were on? It killed
Terry Mathers. She was supposed to
die on Flight 180.
KAT
I'm not sure I--
THOMAS
Shit. The call about the train
wreck that saved my life? That was
the night I scraped up Billy
Hitchcock.
RORY
Who?
KIMBERLY
Another kid from Flight 180.
A chill passes over the group.
INT. WINDING ROADS - DAY
Deputy Steve speeds the White Van up the narrow winding road. Isabella
breathes Lamaze-style through intense pain.
ISABELLA
Promise me...I won't have the
baby...in this van.
Speeding up the incline, Steve tries to speed around a Volkswagon
Beetle, but cars scream by in the opposite direction.
ISABELLA
Get around it!!!
Steve leans on the horn and stomps the gas, dangerously riding the
shoulder around the Beetle.
Way ahead of the Beetle, on the left side, is a LAKE.
EXT. WINDING ROADS
BRIAN GIBBONS, 15, cheerfully drives a TRACTOR hauling a WHOODCHIPPER
across the high crest of the empty road toward a pile of thick branches.
The Tractor unexpectedly stalls in the middle of the road. He tries
the ignition, pumps the gas. Nothing...
Only by standing on the tractor can Brian see the White Van speeding
up the hill toward him. He jumps down and frantically tires starting
the tractor. Once, twice, nothing.
EXT. KAT'S EXPEDITION - CONTINUOUS
CU FRONT TIRE - METAL shreds away more rubber.
INT. KAT'S EXPEDITION - CONTINUOUS
Rory excitedly makes a connection.
RORY
Remember the theater in Paris that
collapsed last year, killed
everyone inside?
Everyone nods, anticipating...
RORY
I had tickets to go, but one day
I'm in Paris, trippin' on acid,
sippin' lattes an' such, and this
dude gets whacked by a falling
sign.
CLEAR
Carter.
RORY
Freaked me out so bad I hid in a
shopping cart for four hours.
'Course, missed the show...
CLEAR
What about you, Kimberly? Did you
anyone from Flight-?
Clear stops when she sees all the color has drained from Kimberly's
face. Even Eugene looks concerned.
EUGENE
Are you okay?
The car becomes completely silent (except for the slight SCRAPING)
as Kimberly prepares to tell her story.
KIMBERLY
A little over a year ago, my mother
and I went to the mall. I was
supposed to meet her outside, but I
got caught up watching some news
report about some kid who committed
suicide. I kept thinking, "How can
you strangle yourself in a
bathtub?" That's retarded.
Thomas mouths, "Tod?" to Clear. Clear nods.
KIMBERLY
It felt wrong. And yet...
(continuing)
There were gunshots outside and I
ran...
(chokes up)
Some kids tried to jack her car.
She fought them off - she was a
fighter - and they killed her.
Kimberly looks to Clear.
KIMBERLY
After the funeral I had this
overwhelming feeling that it should
have been me. I figured that's how
everyone must feel. But I guess I
was right.
Thomas reaches between the seats and takes Kimberly's hand. As he
looks into her eyes, Kat takes her own eyes off the road to light
a cigarette.
INTERCUT BRIAN
The tractor is safely off the road next to a wood pile. Brian grabs
a cord and starts up the whoodchipper.
INT. KAT'S EXPEDITION - CONTINUOUS
CLEAR
It's all starting to come together.
When Alex got us off Flight 180, it
didn't just change our lives. It
affected everyone and everything
we've come into contact with ever
since.
EUGENE
I'm not sure I understand.
CLEAR
Being alive after our time caused
an outward ripple - a rift in
Death's design.
Eugene nods, slowly getting it.
EUGENE
So if you never got off the plane,
none of us would be alive in the
first place.
CLEAR
That's why Death is working
backwards. It's tying up all the
loose ends, sealing the rift once
and for all –
This chapter of the screenplay contains scene(s) that do not appear
or occur elsewhere in the final movie. In order to maintain the
integrity of the screenplay, it has not been edited.
CU LEFT TIRE
A thick retread sheers itself onto the pavement.
BRIAN
The wood chipper roars loudly. Suddenly, some forgotten stray chunk
SHOOTS from the spout --
The airborne chunk of WOOD CRACKS the White Van's windshield. Steve
veers out of control.
Kat sees the White Van ahead swerving into HER LANE. She quickly
jerks the wheel to the right.
Kat's LEFT FRONT TIRE BLOWS! It sends rubber flying and the entire
SUV pulls hard to the left, spinning her out of control into the
oncoming lane of traffic - toward the White Van!
Isabella SCREAMS! Steve jerks the wheel to the left! The White Van
has a close near miss with the Expedition, and goes off the road
toward a LAKE!
STEVE
Hang on!
The SUV misses the tractor -- but sails off the other side of the
embankment, spinning and rolling towards --
THE GIBBONS' FARM
At the bottom of the hill of a large rural farm, a PROPANE TANK
sits at the edge of the property!
The SUV barrels down the hill - coming right for it!
INSIDE THE SUV
All Kat can do is cover her head with her arms.
THE WHITE VAN
Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The
White Van is ready for splashdown.
Steve finesses the hand brake while tapping the accelerator. He's
able to right the van away from the water without so much as a hard
jerk.
STEVE
We're okay, we're okay.
THE PROPANE TANK
It's about to get creamed - but the bouncing Expedition just barely
misses it! It continues, backwards, CRASHING through a temporary
fence and right into --
AN AGRICULTURAL CONSTRUCTION SITE!
The Expedition plows past earth movers, crashing through irrigation
ditches and pipes, shrapnel flying everywhere.
Just as the Expedition comes to a stop, an IRRIGATION PIPE ROCKETS
through the rear window -- miraculously missing Clear and Rory --
coming to a rest just behind Kat's head.
INSIDE THE WHITE VAN
Steve sees the wreckage on the other side of the highway and slows
down. Isabella squeezes his hand white.
ISABELLA
Please. It's not going to wait.
STEVE
I've got to stop and help those
people.
ISABELLA
Do you want to deliver this baby?
Steve looks ill, then sees another car stopping by the crash. He
floors it and speaks into the shoulder mic of his cop radio.
THE EXPEDITION
The dust settles in the silent car. The only sound is a QUIET, WET
WHEEZE. Clear, dazed, looks around carefully, avoiding the METAL
SPIKE that skewers the vehicle.
Rory holds his trembling hand before his eyes as if amazed to see
it. Kimberly shakes her hair, spilling glass onto the floor. Kat
tries to open the door, but it won't budge.
KAT
Not my time. Amazing...
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