













                                    "FINAL DESTINATION"

                              Originally entitled "FLIGHT 180"

                                            By

                               James Wong and Glen Morgan



























                                                            January 15, 1999




               Awaiting......each of us; a cold...dark...lonely place.  
               Deny its finality. Deride its totality. Dread the inescapable 
               inevitability......it will arrive.

               The BLACK SILENT SCREEN senses this moment before a distant 
               blues harp introduces a contemporary band's cover of Blood, 
               Sweat, and Tears' campy, yet haunting, gospel, "And When I 
               Die."

               As the Introduction closes, RESONATES... A FLASH OF LIGHTING!

               A CRACK OF THUNDER!

                                                                    CUT TO:

               INT. ALEX'S BEDROOM - NIGHT - CLOSE - BED

               An airline ticket is tossed INTO FRAME beside a suitcase; 
               "EURO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charles 
               de Gaulle (CDG.) Departure: Thursday 13May. 16H25 - Arrival: 
               Friday 14May. 05H40."

               "And When I Die" Continues throughout the MAIN TITLES:

               AN OLD TABLE FAN

               swivels beside and open window. Outside, a humid spring 
               THUNDER STORM drops warm, ominous rain. The figure of a 
               seventeen year old boy, ALEX BROWNING, packing for a trip, 
               passing the fan...

               THE BED

               A Paris guidebook is tossed atop the plane ticket. CAMERA 
               PUSHES IN ON THE BOOK as the fan's breezes flip through the 
               pages.

               THE TABLE FAN

               turns, head swiveling away from the bed.

               TIGHTER - THE GUIDEBOOK PAGES

               stop flipping, REVEALING A GUILLOTINE from the Reign of 
               Terror.

               As an American passport is dropped beside the guidebook...

               THE TABLE FAN

               swivels, returning towards the guidebook on the bed.

               THE GUIDEBOOK PAGES

               FLIP. FLIP. FLIP. Alex's faint shadow continues moving about 
               the room. The fan head swivels away, allowing the pages to 
               settle... upon a Louvre masterpiece, Francisco de Zurbarans 
               Lying-in-the State of St. Bonaventura.

               CAMERA CREEPS IN, teasingly on the dark faced corpse. The 
               pages begin to turn once again.

               TIGHTER, OMINOUS ANGLE - THE DESK FAN

               There is more of a hint of coincidence as the blades whirl 
               and head swivels. The boy's figure passes, blocking the 
               breeze.

               THE GUIDEBOOK PAGES

               stop dead on... Jim Morrison's decorated tomb in the Cemetiere 
               du Pere Lachaise. A pilgrim has spray painted "This is the 
               End." Which in fact, it is... of the MAIN TITLE.

                                     BARBARA
                         Alex...

               CAMERA ADJUSTS, to fully reveal Alex Browning as he turns 
               toward the bedroom door. Alex is an average kid; handsome. A 
               high school "everyman."

               One the wall amongst Yankee and Knicks posters, hangs a 
               pennant; "Mt. Abraham High School, New York. The Fighting 
               Colonials!"

               Alex's mother, BARBARA, 45, walks in, excited and a bit 
               anxious.

                                     BARABRA
                         Tod and George's dad just called, 
                         he's picking you up at 10 in the 
                         morning. Bus leaves the high school 
                         for JFK at noon.

               Barbara moves towards the suitcase to help him pack. Alex's 
               father, KEN BROWNING, 48 appears, leaning against the door 
               threshold, smiling enviously at his son.

                                     KEN
                         My suitcase workin' out for ya?

               Alex nods and buckles it. Barbara reaches in to tear off an 
               airline baggage I.D. ticket attached from the previous flight.

                                     ALEX
                         Whoa! Whoa! Mom, you gotta leave 
                         that on. It's like... the tag made 
                         the last flight without crashin' or 
                         anything, right?  So, it should stay 
                         on, or with, the bag for good luck.

                                     BARBARA
                         Where would you get a nutball idea 
                         like that?

               EXTREMELY CLOSE - THE AIRLINE BAGGAGE MARKER

               is torn away from the suitcase handle.

                                     RETURN
                         As Barbara picks up the suitcase to 
                         place it on the floor... a dozen old 
                         baggage I.D. tickets spill from the 
                         outer compartment. She looks at Ken, 
                         as if "you?" The guilty party shrugs.

                                     KEN
                         I'm still here.

               Barbara shakes her head as Alex smiles at his dad.

                                     KEN
                         Seventeen and on the loose. Ten days 
                         in Paris. In the springtime!

               Live it up, Alex...

               CAMERA INCHES INTO KEN as he winks at his son...

                                     KEN
                         Got your whole life ahead of you.

               ALEX

               CAMERA CREEPS IN as, oddly, the words strike him 
               portentously...

                                                                    CUT TO:

               INT. ALEX'S BEDROOM - LATER

               The storm has ceased. The room is QUIET.

               As if itself a presence, CAMERA CREEPS across the dark and 
               motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES 
               DOWN to the level of the bed until Alex is in the f.g. and 
               the room is visible behind him.

               On the rear wall, the Fighting Colonials pennant begins to 
               flutter slightly, as if affected by the moving breeze. The 
               path of which is continued toward the bed, rustling the 
               sheets, subtly blowing Alex's hair and continuing OVER CAMERA.

               Even in his sleep, Alex shivers from the passing cold. His 
               eyes open surprised to be suddenly awakened. He considers 
               for a beat, then looks toward...

               THE WINDOWS

               which... are closed.

               ALEX

               puzzled, checks...

               THE TABLE FAN

               which is off.

               ALEX

               perplexed, rolls over toward his digital clock. It's 1:00 
               a.m., however... the middle digit bar in the first zero 
               faintly flickers so this time appears to read... 1:80.

                                     AIRPORT P.A. (V.O.)
                              (overlapping)
                         Attention airline travelers...

                                                                    CUT TO:

               INT. JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR

               FLIGHT 180 departs 4:25. Gate 39.

                                     AIRPORT P.A. (V.O.)
                         This airport does not support 
                         solicitors...

               CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL 
               forty high school KIDS, four TEACHERS and several PARENTS 
               are gathered inside the International terminal at J.F.K. 
               Several of the students wear Fighting Colonial leterman's 
               jackets or hats and shirts displaying "Mt. Abraham High, New 
               York."

                                     AIRPORT P.A.
                         You are not required to give money 
                         to solicitors.

               Alex gathers his bags, as does his best friend TOD WAGGNER 
               and his older brother GEORGE WAGGNER, standing before their 
               father, JERRY WAGGNER. For Alex, any psychic tension from 
               the night before seems forgotten in the fun and excitement 
               of the trip.

                                     MR. WAGGNER
                         Alright, you guys got everything?

                                     TOD
                         Yeah, we're all set Dad.

               MR. MURNAU, the French teacher (any further description 
               necessary?) and leader of the class trip waves his arm.

                                     MR. MURNAU
                         Les estudients, allons en France!

                                     MR. WAGGNER
                         Does that mean "go?"

               Tod shrugs, "I guess" as he moves to his father and gives 
               him a warm hug goodbye. Mr. Waggner then gives his older son 
               a hug.

                                     AIRPORT P.A. (V.O.)
                         Atencion senores pasajeros. No es 
                         necesario contribuir...

                                     MR. WAGGNER
                         I'll miss you guys.

               Tod and George gives a wave, as does Alex, who is slapped on 
               the back by Mr. Waggner.

                                     MR. WAGGNER
                         Take care of those two, Alex.

                                     ALEX
                         I will. Don't worry.

               The group begins down the airport toward the check-in counter. 
               In the f.g., before the boys, strides a girl, CLEAR RIVERS, 
               17, reading the TROPIC OF CANCER. The loner in the group, 
               Clear wears dark colors against the insincerity of her sex 
               appeal. She appears aloof and more worldly then the other 
               students.

               Readying his ticket and documents, Tod flips open his 
               passport, checking out his photo.

                                     TOD
                         I didn't think anything could worse 
                         than my yearbook picture.

                                     GEORGE
                         Now you know how I feel havin' to 
                         look at you all the time.

                                     AIRPORT P.A. (V.O.)
                         Avis aux passagers...

               Mr. Murnau stops the group. Excited, he cups an ear with one 
               hand while raising a finger toward the public address system.

                                     MR. MURNAU
                         Entendez classe, qu'est ce que c'est 
                         l'announce?

               Everyone begrudgingly stops to listen.

                                     AIRPORT P.A. (O.S.)
                         Vous n'etes pas dans l'obligation de 
                         contribuer aux demandes des 
                         quemandeurs.

               CARTER HORTON

               is the class dickhead who mix and matches his role models in 
               the most superficial manner. His hand is tucked into his 
               girlfriend, TERRY CHANEY'S, waistband...

                                     CARTER
                              (re: MURNAU)
                         What the fuck's he want?

               Terry, hot now, but with no idea what time will do to her in 
               just five years, smiles obsequiously and mouths "shh."

                                     P.A. SYSTEM (O.S.)
                         cher aeroport n'est responsable pour 
                         leurs activities.

               Mr. Murnau scans the group, his expression looking for an 
               answer. Clear Rivers keeps her head in her book as...

                                     CLEAR
                         The airport doesn't endorse 
                         solicitors.

                                     MR. MURNAU
                         Tres bien, Clear! Tout droit!

               She doesn't react. Her expression remains cool as Murnau 
               leads the procession forward. The boys continue. Alex sighs...

                                     ALEX
                         Fuh-ck, do we have to put up with 
                         that shit the whole time?

               A hand reaches out to gently detain Alex. He looks up to 
               find a HARE KRISHANA, dressed in everyday clothes, but head 
               shaved and a mark on his nose.

                                     HARE KRISHANA
                         Death is not the end.

               CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, 
               yet ominous, "Solicitation." The Krishana offers a small 
               book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY.

               As he hands the book to Alex, a female form ENTERS FRAME 
               between them. The women is MISS VALERIE LEWTON, 30, a feisty 
               English teacher whose figure inspires all the boys' fantasies.

                                     MS. LEWTON
                         It will be for you if you harass my 
                         students.

               She places a hand on Alex's shoulder, herding him to the 
               group.

                                     HARE KRISHANA
                              (pissy)
                         Hare Rama.

               Ms. Lewton turns and, while walking backward, flashes a 
               smile...

                                     MS. LEWTON
                              (mouths)
                         Fuck off.

               As she turns her back and continues down the terminal...

                                                                    CUT TO:

               INT. CHECK IN DESK - AIRPORT - DAY

               Alex's passport and ticket are set INTO FRAME and picked up 
               by a female TICKET CLERK. Alex waits as she busily types 
               into the computer and checks his passport...

                                     TICKET CLERK
                         I have a few questions to ask you 
                         this afternoon.

               O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK.

                                     TICKET CLERK
                         Did you pack these bags yourself?

               The CLACKING CONTINUES, demanding Alex's attention. His eyes 
               turn forward.

               ALEX'S POV - THE FLIGHT INFORMATION BOARD

               Plastic tabs CLACK rapidly, settling on the word... 
               "CANCELED."

               ALEX

               CAMERA CREEPS IN on his dawning paranoia...

                                     TICKET CLERK (O.S.)
                         Have your belongings remained in 
                         your possession the entire time?

               Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes 
               move to...

               ALEX'S POV - (TIGHTER) - FLIGHT INFORMATION BOARD

               The plastic tabs FLIP and CLACK rapidly, stopping on... 
               "DEPARTED."

               TICKET DESK

               Alex is still considering the "messages..."

                                     TICKET CLERK
                         Have you recieved any packages from 
                         persons unknown to you?

               Alex quickly runs the day through his head and flashes her 
               the REALITY BEYOND MATTER book. She smiles, then leans over 
               toward the baggage scales. Alex's eyes turn toward...

               CLOSE - (MOTION SLOWED)- ALEX'S LUGGAGE

               a new airline I.D. marker is attached to his bag.

               RETURN

               Alex eyes the new tag hoping it's "good luck."  As the clerk 
               returns his ticket and passport... CLACK, CLACK, CLACK.

                                     TICKET CLERK
                         Same as your birthday.

               Alex is puzzeled by the comment. He shakes his head if, 
               "pardon me?"  CAMERA INCHES INTO the ticket clerk gesturing 
               pleasantly to the passport and ticket...

                                     TICKET CLERK
                         April 25th. Four-twenty-five... your 
                         birthday is the same as your departure 
                         time.

               CLACK. CLACK. CLACK. Alex's eyes flash toward...

               ALEX'S POV - (FULL FRAME) - FLIGHT INFORMATION BOARD

               the title settles upon... "TERMINAL."

                                                                    CUT TO:

               INT.  SECURITY AREA - AIRPORT - MONITOR

               The ghastly green and reds of the X-ray monitors flash as 
               carry on bags flash through the machine. CAMERA MOVES COUNTER 
               to the direction of the conveyor belt. The pace and excitement 
               of the collective group escalates as departure approaches.

               Carter Horton and his girlfriend, Terry, take cuts in line 
               with smug, bullying expressions. Unseen by the chaperons, no 
               student, has the nerve to protest Carter's action. Alex, 
               Tod, George and BILLY HITCHCOCK, heavyset with a New York 
               Rangers jersey watches Carter and Terry with disgust.

                                     BILLY
                         I can't believe they let that dickhead 
                         on this trip.

                                     GEORGE
                         His parents bought a ton of those 
                         trip certificates we had to sell, 
                         just to get him out of their hair 
                         for ten days.

               Excited, Tod speaks in a convert tone over Alex's shoulder.

                                     TOD
                         Dude, I so worked the ticket clerk 
                         so you're sittin' next to Christa 
                         and I'm next to Blake.

               Alex looks up ahead of the metal detectors...

               ALEX'S POV - TWO GIRLS

               Attractive and they know it, CHRISTA MARSH and BLAKE DREYER 
               appear clearly out of Alex and Tod's league.

                                     TOD
                         That's seven hours and most of it is 
                         in the dark.

               ALEX AND TOD

               The boys dump their change in a plastic bowl.

                                     TOD
                         Dude, if we don't get someone going 
                         on this flight, we should just call 
                         Dr. Kervorkian and put ourselves out 
                         of our fuckn' misery.

               As Alex and Tod pass through the metal detector, their eyes 
               performing reconnaissance on Christa and Blake, the opening 
               drum BLASTS of Boingo's "No One Lives Forever" OVERLAPS...

                                                                    CUT TO:

               INT. AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE

               CAMERA ADJUSTS from the sign indicating GATE 39. The class 
               is squirrely and  excited. Mr. Murnau, Ms. Lewton, and the 
               parent chaperons are allowing kids to burn off steam at the 
               gate, hoping for a calm flight.

               CAMERA MOVES ALONG the awaiting passengers... Carter and 
               Terry are making out, a step away from heavy petting...

               Blake and Christa are flipping through Parisian fashion 
               magazines... Billy Hitchcock lays into a Burrito Supreme...

               CAMERA MOVES to an empty seat. Clear Rivers ENTERS FRAME and 
               sits, struggling with her Walkman, coffee, books, and a 
               cassette box hand-marked "Boingo" (a cheat that We hear the 
               song)

               As she places her stuff on the unoccupied seat beside her, a 
               Paris guidebook falls on the floor, opened but face down. A 
               passing, unidentified, student reaches down and hands her 
               the book, still open and face down.

                                     CLEAR
                         Thanks.

               The student continues down toward the observation deck. Clear 
               looks at the opened guidebook.

               CLEAR'S POV - GUIDEBOOK

               Princess Di's Mercedes is totaled in a Paris tunnel. Besides 
               the photo are two portraits of Diana and Dodi Al Fayed.

               CLEAR

               CAMERA INCHES IN as she shakes off a shiver down her spine. 
               She looks up from the book toward the student who handed it 
               to her, the identity of which is fully REVEALED to be Alex 
               Browning.

               He stands at the gate window, looking out at the plane.

               ALEX'S POV -

               It is raining. In the distance, MUFFLED THUNDER RUMBLES.

               CAMERA CREEPS AWAY from the plane... huge, seemingly incapable 
               of flight and yet we unquestioningly trust our lives in this 
               machine. Emotionless. Cold. Lifeless, and yet soon full of 
               life.

               ALEX

               CAMERA inches in on him.

                                     TOD (O.S.)
                         Dude, let's take a dump.

               Tod MOVES INTO FRAME beside Alex...

                                     ALEX
                         Man, that is one George Michael notch 
                         from being gay.

                                     TOD
                         Dude, get wisdom. We're about to 
                         board a seven hour flight. The toilets 
                         in coach are barely ventilated 
                         closets. What if your body wants 
                         that airplane food out of your system 
                         and you have to go torque a wicked 
                         cable and then right after you walks 
                         in Christa or Blake?  You want them 
                         to associate with you with that 
                         reflexive gag and the watery sting 
                         in their eyes?

               Alex takes a beat to consider...

                                                                    CUT TO:

               INT. MEN'S ROOM - AIRPORT - OVERHEAD

               CAMERA LOOKS DOWN on two stalls. Alex sits in one, Tod sits 
               in the other. O.S., OVER the airports P.A. SYSTEM John 
               Denver's "Rocky Mountain High" begins...

                                     ALEX
                         John Denver...

               Upon the mention, CAMERA CRANES DOWN, TURNING, TWISTING UNTIL 
               FINDING ALEX in a straight on CLOSE-UP. He listens, tense...

                                     JOHN DENVER (O.S.)
                         He was born in the summer of his 
                         twenty-seventh year...

                                     ALEX
                         He died in a plane crash.

               A P.A. ANNOUNCEMENT breaks into the song...

                                     P.A. SYSTEM
                         Ladies and Gentlemen, thank-you for 
                         your patience, at this time we would 
                         like to begin pre-boarding of Euro-
                         Air Flight 180 to Paris through gate 
                         39.

               Really for the first time, Alex appears a bit tentative and 
               pale. It is intensified by the return of the song...

                                     JOHN DENVER (O.S.)
                         It's the Colorado Rocky Mountain 
                         High/ I've seen it rainin' fire in 
                         the sky...

                                                                    CUT TO:

               INT. BOARDING AREA - GATE 39 - CLOSE - ALEX'S BOARDING PASS

               is torn along the perforated edge and handed back.

                                     ALEX
                         looks down the passenger ramp.

               ALEX'S POV - RAMP TUNNEL

               CAMERA CREEPS toward it... lit to cheat a feeling of no 
               return.  O.S., distant THUNDER RUMBLES...

               WIDER

               There is something more emotionally tense about the moment 
               of boarding than take-off. CAMERA PICKS UP Ms. Lewton 
               searching...

                                     MS. LEWTON
                         Anyone seen Billy Hitchcock?  How'd 
                         we lose him?

               Tod nudges Alex toward the tunnel, the three boys start down 
               the ramp, passing Mr. Murnau who checks his list, counting 
               heads...

                                     MR. MURNAU
                         Vingt huit, vingt neuf...

               PASSENGER RAMP

               Alex, Tod, and George catch up to Christa and Blake, excited. 
               As always, everyone becomes bottlenecked just at the point 
               of entering the plane. Alex looks out the ramp's side porthole 
               window toward the back of the plane.

               ALEX'S POV - THROUGH PORTHOLE

               The enormous engine. The expansive wings. Behind the tail, 
               distant, a bolt of lightning FLASHES!

               ALEX

               looks away. Just ahead, in the plane, FLIGHT ATTENDANTS greet 
               the passengers. He is next to enter the plane.

               CLOSE - FLOOR

               a slice of opening from where the ramp meets the plane 
               provides a sense of how high up one actually stands.

               ALEX

               CAMERA PUSHES INTO HIM as he takes his first step into the 
               plane.

               CLOSE - AIRLINE CABIN FLOOR

               Alex's Nikes land on the carpet.

               INT. 747 - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY

               SCREAMS! Its parents desperately comfort the child.

               CAMERA ADJUSTS, LEADING George, Alex and Tod through the 
               aisles. Alex and Tod wince at the screaming child. George, 
               however feels comforted.

                                     GEORGE
                         Good sign. Younger the better.  It 
                         would be a fucked-up God to take 
                         down this plane.

               INT. ECONOMY CLASS CABIN - 747 - AFTERNOON

               In the first row slumps a young man with Amyotrophic Lateral 
               Sclerosis. A cannula is set in his nostrils leading to an 
               oxygon tank beside him.

               The kids sneak sympathetic yet anxious glances at the man 
               while continuing in their seats. George whispers over his 
               shoulder...

                                     GEORGE
                         A REALLY fucked-up God.

               Alex's tension increases as he continues up the aisle.

               ALEX'S POV - OVERHEAD COMPARTMENTS

               CAMERA INCHES IN ON "Row 25. Seats H, I, and J."

               ALEX

               climbs into the row, carrying his backpack. He takes his 
               window seat and reaches up to the air flow valve.

               CLOSE - AIR FLOW VALVE

               turns, HISSING, air streaming full blast.

               CAMERA INCHES IN ON HIM as he takes in deep breaths of the 
               stale air. He presses his face to the window.

               ALEX'S POV - THE LEFT WING

               Rain falls. GEARS WHIR as the ailerons are tested.

               CLOSE - ALEX

               CAMERA CREEPS TOWARD HIM, face to the glass; eyes scanning 
               the plane and outside area.

                                     CHRISTA (O.S.)
                         Alex?

               He turns toward the aisle.

               ALEX'S POV - CHRISTA AND BLAKE

               Man, they look great and they're workin' the sex appeal.

                                     CHRISTA
                         Could you trade seats with Blake so 
                         she and I can sit together? I asked 
                         Tod, but he says he's got some medical 
                         thing?

                                     ALEX
                         sneaks a quick check with Tod.

               ALEX'S POV - TOD

               shakes his head. "NO! NO! DON'T DO IT."

               ALEX AND THE GIRLS

               He looks to them and knows he is just plain overmatched. 
               Alex shrugs, "Sure." In front of him Tod throws up his arms, 
               disgusted. Alex climbs out of his seats. The girls are touchy-
               feely thankful, but only know guys dig that.

                                     CHRISTA AND BLAKE
                         You're so sweet. Thanks, Alex.

               Alex cranes up into the aisles, making his way to Tod, sitting 
               two rows up in 22 H.

               Alex climbs over Tod to take the window seat. Clear Rivers 
               sits in the seat directly behind Alex.

                                     TOD
                              (mouths)
                         Fag.

                                     ALEX
                         C'mon, man, like you really thought 
                         you were gonna tittie fuck 'em over 
                         Greenland, or something?

                                     TOD
                         Because of you, I gotta sit here and 
                         watch fuckin' "Stepmom."

               As Alex sits, the tray table falls from its upright position.

               He lifts the tray back up, but as he turns the latch, it 
               BREAKS OFF in his hand. He briefly tries to jimmie the tray 
               into position, then gives up.

               CAMERA FOLLOWS ALEX'S HAND as it rises. CAMERA SWEEPS IN 
               EXTREMELY CLOSE to the ATTENDANT CALL BUTTON. As Alex's finger 
               engages the button, it lights up orange.

                                     ALEX
                         The jet lurches. He looks...

               OUT OF THE WINDOW - ALEX'S POV

               The 747 begins rolling out of the gate.

               ALEX

               As he looks back, searching for the nearest flight 
               attendant...

               ALEX'S POV - THROUGH THE SEATS - CLEAR RIVERS

               reads her book. Another leans to look out the window.

               ALEX

               lifts a bit out of his seat, searching for any flight 
               attendant O.S., A PING.

                                     CAPTAIN (V.O.)
                         Flight Attendants prepare for 
                         departure.

               Looking fore in the cabin...

               ALEX'S POV - NEAR THE FLIGHT DECK

               The flight attendants strap themselves in for take-off.

               ALEX

               O.S., the ENGINE VOLUME INCREASES in PITCH and INTENSITY as 
               the jet begins to taxi. Alex sits back as the tray over his 
               lap. He looks out the window.

               ALEX'S POV - THE RIGHT WING

               appears motionless in the f.g. as the tarmac and runway signs 
               roll past the window. THE ENGINE PITCH RISES...

               ALEX

               The ENGINES WHIR as the jet gathers SPEED. He checks the 
               window.

               ALEX'S POV- THE RUNWAY

               is a blur. The airport terminals in the b.g. streak past. 
               The wings lift, angled as the jet leaves the ground.

               ALEX

               O.S., his classmates CHEER and "raise the roof." The trip 
               has begun.

               CAMERA PULLS AWAY FROM ALEX, as if reflecting his easing of 
               annoyance with the tray situation. He finally appears to 
               notice the raucous reaction and settles back in his seat, 
               slightly pushed by mild-g force. The upwarding angle 
               increasing...

               The cabin buffets, as if passing mild turbulance. Then...

               The cabin sharply JOLTS! Everyone tenses, GASPS. CAMERA SWEEPS 
               BACK TO ALEX. And just as he clenches his backpack... the 
               cabin BANGS, ROCKS. THE ENGINES SPOOL TO A STALL. METAL TWISTS 
               under extreme PRESSURE. The cabin dips, angles, sharply to 
               the right.

               ALEX'S POV - THE CABIN

               Passengers SCREAM! Unrestrained personal belongings fly across 
               the aircraft INTO CAMERA, which BUFFETS and SHAKES...

               OXYGEN MASKS

               deploy from the overhead compartments. A prerecorded message, 
               like that recorded by the black box of the crash of JAL# 123 
               August 12, 1985, BLARES over the P.A., with erie calm...

                                     MESSAGE (V.O.)
                         Fasten seat belts...put on oxygen 
                         masks...

               ALEX

               his hand trembles as he reaches for the oxygen mask and places 
               it over his face. The ENGINES resuscitate. SCREAMING. WHINING. 
               Alex checks out his window.

               ALEX'S POV - OUT OF WINDOW

               The plane is on its side, losing altitude. A slow, sick spin.

               ALEX

               breaths deep into his oxygen cup.

               The JET ENGINES GRIND AND WHIR, as if the craft were in the 
               midst of a last-ditch effort to regain stability; the sounds 
               DEAFENING over the PASSENGERS' cruelly hopeless SCREAMS.

               Then...

               KA-BOOM

               A DEVASTATING EXPLOSION ERUPTS across the cabin, blasting a 
               five foot hole in the fuselage. Human limbs and blood spray, 
               craft and passengers torn to shreds.

               Dead students sit lifeless in their seats.

               Every unrestrained object on board flies to the hole and 
               through the fire; paper, books, luggage, pillows. A PARENT 
               and a STUDENT clutch their seat in terror, SCREAMING before 
               they are pulled into the sky.

               Wind. Screams. Dying engines, a deafening blare.

               ALEX AND TOD

               SCREAM, pale, knowing there is no hope, no escape as the 
               ENGINES DIE. The cabin begins to tilt downwards... then 
               straight down. Debris tumbles toward the flight deck as if 
               falling from a cliff.

               OUTSIDE... the sick familiar SOUND of an aircraft going down.

               ALEX is strapped to his seat, upper body facing downward 
               toward the water. FIRE, WIND, AND BLOOD WHIP across him. A 
               BUILDING WHINE CRESCENDOS before a second EXPLOSION RIPS 
               ACROSS FRAME...

                                                                    CUT TO:

               CLOSE - ALEX'S TERRIFIED EYES

               dilating rapidly, as the shock of what appears to be happening 
               before him washes over his very psyche.

                                     CHRISTA (O.S.)
                         Alex?

               ALEX

               Drenched with sweat, trembling in his seat, his eyes dart 
               toward Christa and Blake. They look great and they're workin' 
               the sex appeal.

                                     CHRISTA
                         Could you trade seats with Blake so 
                         she and I can sit together?  I asked 
                         Tod, but he's got some medical thing.

               Alex turns sickeningly disoriented. His eyes dart about, 
               searching for evidence of the catastrophe. There are none to 
               be found. Alex blots from his seat, startling the two girls. 
               He scrambles toward Tod, who looks at his friend, concerned.

                                     TOD
                         Dude, what up?

               Frenzied, Alex climbs over his friend, on top of the seat. 
               Alex's panic has alerted the other students and a MALE FLIGHT 
               ATTENDANT who makes his way to the row.

               ALEX

               grabs the tray table latch before the vacant seat. IT BREAKS 
               OFF, JUST AS BEFORE. CAMERA PUSHES INTO ALEX, terrified. He 
               begins to hyperventilate.

                                     FLIGHT ATTENDANT
                         Is there a a problem, sir?

               Alex's wild eyes and expression convey "no fucking kidding 
               there's a problem." The flight attendant realizes this 
               passenger is experiencing a serious episode.

               Directly across the aisle, Carter Horton and Terry look at 
               him with severe expressions.

                                     CARTER
                         What's your fuckin' problem?

               Mr. Murnau and Ms. Lewton unfasten their seat belts and rush 
               toward Alex.

                                     MR. MURNAU
                         Alex? Qu'est-ce se?

                                     ALEX
                         Qu'est-ce se?! THE PLANE'S GONNA 
                         EXPLODE!

               Obviously, no one ever wants to ever hear that. The students 
               tense.

               THE FLIGHT ATTENDANT

               immediately turns to other attendants, signaling for 
               assistance with a quick definite gesture. In the b.g., 
               attendants hustle toward the economy class cabin.

               CARTER AND TERRY

                         CARTER
                 Shut up, Browning!

                                                      TERRY
                                              You're not funny.

               ALEX

               frenzied, begins moving toward the aisle.

                                     ALEX
                         We have to get out!

               This frightens everyone. Not the "prophecy," but his panicky, 
               irrational behavior.

                                     ALEX
                         We have to get off this plane!

               CLEAR RIVERS

               CAMERA PUSHES INTO HER, hearing Alex's declaration.

                                     ALEX
                         Now! NOW!!

               RETURN

               Alex is desperately climbing over Tod, who is trying to calmly 
               restrain his friend. Across the aisle, Carter Horton stands 
               ready to quiet Alex, with force.

                                     CARTER
                         Sit! DOWN! Browning!

                         TOD
                 Alex. Alex! Easy, man. 
                 Take it easy.

                                                      FLIGHT ATTENDANT
                                              Sir, if this is a joke, we 
                                              don't tolerate such humor.

               The flight attendant restrains Carter with an extended 
               forearm.

                                     ALEX
                         I'm not joking! I'm not joking!

               Ms. Lewton and Mr. Murnau move to the seats. Flight attendants 
               try restraining Alex from reaching the aisle.

                         MS. LEWTON
                 Alex, Knock it off.
                 It's alright.

                                                      MR. MURNAU
                                              Settle down, Alex.

                                     ALEX
                         Listen to me! This plane will explode 
                         on take-off!

                                     FLIGHT ATTENDANT
                         Sir, we will remove you from the 
                         aircraft if this continues.

                                     CARTER
                         I'll remove him.

                                     ALEX
                         Fuck you! I'll remove myself!

               Carter reaches for Alex, who pushes back, trying to get out. 
               Carter responds aggressively and now the flight attendant, 
               Tod, and the two teachers are in the midst of the melee.

               The Co-Pilot arrives to secure the situation. He grabs Alex 
               and begins forcibly ushering him up the aisle.

               A male flight attendant choke holds Carter from the back. 
               Carter struggles but the attendant's positioning has the 
               advantage. He begins removing Carter from the plane as well.

                                     TERRY
                         He didn't do nothin'!

               She follows the attendant, hitting him to help her boyfriend.

               Just arriving in the cabin, Billy Hitchcock tries to fight 
               past a STEWARDESS to get to his seat. He is blocked by the 
               mass of combatants as they are escorted out.

                                     FLIGHT ATTENDANT
                              (he's had it)
                         Anybody in the aisle is off the plane!

                                     BILLY
                         No, wait, I was late... that's my 
                         seat right there!

               Under protest, Billy gets pushed back off the plane. Mr. 
               Murnau and Ms. Lewton follow the pack of students and airline 
               personnel as they move toward the exit, calling out to seated 
               teachers and parents while hustling up the aisles.

                         MS. LEWTON
                 Everybody just stay 
                 where you are. Just sit 
                 tight.

                                                      MR. MURNAU
                                              Mr. Carpenter, keep an eye 
                                              on Things for a moment.

               Tod watches, amazed and concerned for his friend. He looks 
               across the cabin to...

               TOD'S POV - GEORGE

               his brother gestures, mouths... "you should go with him."

               TOD

               starts off down the aisles. CAMERA COUNTERS... ADJUSTING TO 
               CLEAR RIVERS. Amongst the chaos, she considers for a beat, 
               then grabs her backpack, stands and moves into the aisle to 
               exit the plane.

                                                                    CUT TO:

               INT. BOARDING AREA/TUNNEL - GATE 39 - DAY

               Alex, the co-pilot, Carter, the attendant, Mr. Murnau, Ms, 
               Lewton, Terry, Tod and Billy proceed down the tunnel. Billy 
               is confused by the chaos.

                                     BILLY
                         I didn't do anything! I have my ticket 
                         right here!

               Arriving SECURITY OFFICERS quickly have control of the 
               situation. Alex is taken to a seat at the gate and dropped 
               there by the co-pilot, who, winded, eyes the officers.

                                     CO-PILOT
                         You got this?

               The officers nod. One moves toward Carter as he dropped in a 
               seat away from Alex. Terry sits behind Carter.

               The co-pilot and attendants start back toward the plane. Ms. 
               Lewton hustles over to them and an airline representative.

                                     CO-PILOT
                         No one gets back on board. That's my 
                         call.

                                     MS. LEWTON
                         PLEASE... I've got forty students 
                         going to Paris...

               During these negotiations... CAMERA MOVES PAST Ms. Lewton 
               and the Co-Pilot to the boarding ramp door...

               Clear Rivers exits and takes a seat away from the others, 
               aware she is unnoticed in the confusion. CAMERA INCHES IN as 
               she looks up toward...

               ALEX

               CAMERA MATCHES THE MOVE TO HIM AS TOD and Mr. Murnau attempt 
               to calm him down.

                                     TOD
                         It's alright. It's alright. You're 
                         off the plane. You're off the plane...

               Rattled, Alex attempts to compose himself. Ms. Lewton appears, 
               hurriedly pulling aside Mr. Murnau.

                                     MS. LEWTON
                         Airline's not taking this very well.  
                         They'll let one of us back on and 
                         the rest can grab a six-ten flight.  
                         Gets in two hours later at DeGaulle.  
                         It's alright. It's not that big of a 
                         deal.

                                     MR. MURNAU
                         I'll stay.

                                     MS. LEWTON
                         No, you know the whole French thing.

               Get on the plane.

               Murnau understands this point and takes off toward the 
               boarding ramp door. Pleading his case, Billy follows Murnau.

                                     BILLY
                         I was in the bathroom. The lock was 
                         stuck. I didn't fight with anyone!

               Hustling toward the door. Mr. Murnau gestures toward Ms. 
               Lewton as if "talk to her."  He disappears down the ramp. 
               CAMERA PUSHES IN as airline personnel CLOSE THE DOOR...with 
               an ominous THUD.

               EXT. GATE 39 - AFTERNOON - CARTER, TERRY & BILLY'S POV

               Flight 180 pulls out of the gate, taxiing toward the runway.

               INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON

               Carter turns over his shoulder, looking back angrily towards 
               Alex. Terry wraps a calming/restraining arm around Carter's 
               shoulder, but he starts towards Alex, seated with Ms. Lewton.

               MEN'S ROOM ACROSS FROM GATE

               Tod races out of the bathroom with a dampened paper towel. 
               CAMERA FOLLOWS as he hands it to Ms. Lewton seated next to 
               Alex. The teacher places it on Alex's forehead.

                                     TOD
                         I called your mom and dad and they're 
                         on their way.

                                     MS. LEWTON
                         Alex, talk to me. What happened?

               Alex looks at Tod, who nods. His friend's expression is 
               soothing and open. With lowered tense tone, meant for only 
               the two people beside him...

                                     ALEX
                         I... I saw it... like, I don't know... 
                         the plane took off. I saw it leave 
                         the runway... I looked down and saw 
                         the ground...

               Ms. Lewton and Tod exchange concerned glances.

                                     ALEX
                         And then the cabin banged and the 
                         left side exploded. The the whole 
                         plane... blew up. It was so real.  
                         Exactly how everything goes.

                                     TOD
                         Been on many planes that blew up, 
                         have you?

               Good point. Alex looks away.

                                     MS. LEWTON
                         You must have fallen asleep.

                                     CARTER
                         We get thrown off the plane and blow 
                         a half day in Paris because Browning 
                         has a bad dream?
                              (mocking Alex)
                         It's going to explode! It's going to 
                         explode!

                                     TOD
                         Fuck off, Horton.

                                     MS. LEWTON
                         Tod...

               A raw nerve, Alex stands.

                                     ALEX
                         Only trip you're gonna take is to 
                         the fuckin' hospital.

               Carter scoffs while moving aggressively toward Alex.

               Carter makes a quick move and grabs Alex. The two security 
               guards rush in to break it up. Chaos erupts agian as the two 
               boys wrestle in the terminal.

               OBSERVATION DECK

               CAMERA PUSHES INTO Billy Hitchcock, depressed as he watches 
               the plane take off...

                                     BILLY
                         There they go and here we stay.

               AIRPORT TERMINAL

               One guard restrains Alex; another Carter. In the b.g. out of 
               the observation deck window... Flight 180 lifts off the 
               runway.

                                     CARTER
                         You're payin' for my trip, Browning!

                                     ALEX
                         I wish you were on the plane!

               In the b.g. the 747 head and taillights suddenly, violently, 
               ERUPT into a gigantic fireball of flame.

               It takes a few seconds for the CONCUSSION to hit the terminal, 
               but when it does... BOOM! A window SHATTERS! Chairs rock! 
               People are knocked off their feet.

               CAMERA SWEEPS INTO ALEX... stunned as he turns to the 
               window...

               ALEX'S POV - FLIGHT

               The unceremonious speed of obliteration of hundreds of lives 
               is cruel as flaming debris plummets from the early evening 
               sky.

               CLEAR RIVERS

               CAMERA PUSHES IN ON HER, rattled, afraid, but aware of Alex 
               as she is first to turn her eyes toward him.

               GATE 39

               Billy Hitchcock walks backward from the window, shocked by 
               shocked step. Ms. Lewton drops to her chair as her legs give 
               out.

               O.S., ALARMS BEGIN. The two security guards tear off toward 
               more urgent duties. O.S., OUTSIDE, SIRENS WAIL as emergency 
               vehicles race to the tragedy.

               CAMERA BEGINS TO MOVE toward ALEX... as Tod's head turns 
               toward him, then Terry's... then Carter's. In the chair, 
               beginning to cry, Ms. Lewton eyes Alex, as if afraid of him.

               CAMERA CONTINUES. SIRENS PIERCING. The emergency vehicles' 
               strobing red lights reflect in Alex's eyes, now in TIGHT as 
               he looks out, frozen with shock... upon the doomed FLIGHT 
               180.

                                                                    CUT TO:

               INT. JFK INTERNATIONAL AIRPORT - PRESS ROOM #10 - NIGHT

               SILENCE

               A pair of Airline REPRESENTATIVES sit with the seven 
               survivors, each numb with shock. Everyone is too raw with 
               residual fear to show any emotion. They sit on folding metal 
               chairs in an empty room, too bright from the fluorescent 
               lights. Beneath their obvious trauma resulting from the 
               catastrophe... each feels uneasy by Alex's presance.

               The others sit away from Alex and Tod. Alex appears wrought 
               with guilt. He checks the others out of the corner of his 
               eye.

               ALEX'S POV - THE ROOM

               Ms. Lewton, Carter and Billy glare at Alex. Terry averts her 
               eyes from Alex to bury her face in Carter's shoulder.

               ALEX

               frightened as anyone over what has happened, tenses, defensive 
               and scared. With softspoken strength...

                                     ALEX
                         You're lookin' at me as if I caused 
                         it. I did not cause this.

               LEWTON, CARTER, TERRY, AND BILLY

               maintain their uncertain expressions. With strained 
               apprehension, as if not wanting to "dabble in the occult," 
               but needing an immediate answer.

                                     MS. LEWTON
                         Is everyone dead? Are there any 
                         survivors?

               WIDER

               Alex is taken aback by the question, yet even his best friend 
               looks at him for an answer.

                                     ALEX
                         How would I know? You think I'm some 
                         sort of...

                                     CLEAR
                         He's not a witch.

               CAMERA PUSHES IN ON Alex, relieved and thankful, as he turns 
               to her...

               CLEAR RIVERS - ALEX'S POV

               CAMERA MATCHES the move INTO HER as she looks up at Alex, 
               not with fear or repulsion... but with knowledge of an 
               unwanted but irrefutable connection.

               WIDER

               Causing a startle, the DOOR OPENS. Everyone's head whips 
               reflexively toward the entrance. The strange event of the 
               flickering lights is quickly forgotten.

               A half dozen MEN and WOMEN enter the room, displaying official 
               badges and passes. All but two are dressed in casual clothing, 
               having been called in from home; the pair being F.B.I. Special 
               Agents WEINE and SCHRECK. HOWARD SEIGEL and DON HAWKS are 
               representatives of the National Transportation Safety Board. 
               EILEEN WHALE and JACK ARNOLD are members of the Euro-Air 
               "Trauma Team."

               The officials are sympathetic and calm, exuding the confidence 
               and security trauma victims look for at this time.

                                     SEIGEL
                         Hello. I'm Howard Seigel, National 
                         Transportation Safety Board vice 
                         chairmen. We've notified your families 
                         and they are on their way. Does anyone 
                         feel they need medical attention or 
                         spiritual counseling at this time?

               Although the words are comforting, being in the position of 
               having to hear them macabre. Ms. Lewton reacts, snapping...

                                     MS. LEWTON
                         Have they found any survivors?  What's 
                         going on?

               Seigel is calm, yet honest... carefully honest.

                                     SEIGEL
                         The cause of the explosion is 
                         undetermined. Nassau county 
                         authorities are on the scene. Naval 
                         search and rescue are en route.

               He gestures... "and that's all we know." The group slips 
               deeper into despair.

                                     WEINE
                         We understand how you must be feeling 
                         at this hour... and although we know 
                         it may be difficult, we must ask you 
                         some questions... regarding today's 
                         events, while it's still fresh in 
                         your minds.

               The survivors dread the thought of recounting the horrible 
               experience, yet collectively are ready to co-operate.

                                     WEINE
                         It may be valuable to our rescue 
                         attempts, or any potential... criminal 
                         investigation.

               The agents, F.B.I. badges displayed in their pockets, turn 
               their eyes, suspiciously, toward Alex.

                                     ALEX
                         reacts, puzzled, as he realizes the 
                         Agents are focused on him...

                                                                    CUT TO:

               INT. A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK & WEINE

               are direct and professional, with no hidden agenda in 
               searching for the truth. Seigel and Hawks from the NTSB are 
               behind them taking notes...

                                     SCHRECK
                         You said...
                              (checks notes)
                         "Listen to me! This plane will explode 
                         on take-off."
                              (to Alex)
                         How did you know that?

               ALEX

               CAMERA PUSHES IN as he looks up, nervous... not about 
               suspicion toward him, but trying to explain what even he 
               doesn't understand.

                                     ALEX
                         I got this... feeling... a weird 
                         feeling... I can't explain it...

                                     WEINE
                         Did you take any sedatives before 
                         boarding, or on the plane. Sleeping 
                         pills?

                                     ALEX
                         No. I saw it. I saw it!

               Tears well as he grows frustrated trying to convey the unique 
               experience. Being trained, veteran officers, Schreck and 
               Weine observe; allow him to talk.

                                     ALEX
                         Not like a dream... more than that.

               I experienced the plane exploding...  it was so horrible... 
               I know what they all went through tonight...

               The officers remain quiet, gauging his explanation.

                                     ALEX
                         I'm not a psychic... I've never had 
                         this happen before...

               The officers study him, unsure yet carefully...

                                     SCHRECK
                         Did this "weird feeling" have anything 
                         to do with you saying you wished 
                         Carter Horton was on the plane... 
                         just before it exploded?

               Alex looks up, stunned. He didn't even recall this until 
               now.

                                     ALEX
                         No!

                                     SCHRECK
                         Why'd you say it?

               He considers, owing them an explanation. The he realizes...

                                     ALEX
                         Because... I... never thought it 
                         would really happen.

               Weine leans forward...

                                     WEINE
                         If that's the case, Alex... why did 
                         you really get off the plane?

               CAMERA INCHES IN as Alex considers, confused, emotional...

                                                                    CUT TO:

               INT. A ROOM - AIRPORT - NIGHT - TOD

               CAMERA CONTINUES THE MOVE on Tod... as if just realizing...

                                     TOD
                         My brother... told me to keep an eye 
                         on Alex. He stayed... and I went to 
                         make sure Alex was okay.
                              (a whisper)
                         He told me to get off the plane.

               INT. A SECOND ROOM - AIRPORT - NIGHT - MS. LEWTON

               displaying a similar sickened expression as Tod...

                                     MS. LEWTON
                         Larry Murnau told me to get back 
                         on... but I told him to go.
                              (pause, guiltily)
                         I sent him back on the plane.

               INT. A ROOM - AIRPORT - NIGHT - WEINE

                                     WEINE
                         No one forced you to get off the 
                         plane. You told us you aren't friends 
                         with any that did... so, why did you 
                         leave the airplane?

               CLEAR RIVERS

               CAMERA INCHES IN as she looks up. With total resolve...

                                     CLEAR
                         Because I saw and I heard Alex.  
                         And... I believed him.

                                                                    CUT TO:

               INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - NIGHT

               The survivors 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 silent. 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
                         Here's good.

               The car pulls over.

                                     CLEAR
                         Thank you for the ride.

               She opens the door and flashes one more look at Alex, but he 
               appears unaware. She exits the car and as the door SHUTS...

                                                                    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.)
                         Thirty-nine days have passed since 
                         we've lost our thirty-nine loved 
                         ones, friends, and teachers.

               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
                         As each day passes without a 
                         determining cause for the accident, 
                         we ask ourselves, "Why?"

               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
                         Ecclesiastes tell us, "Man no more 
                         knows his time than fish taken in 
                         the fatal net...

               ALEX

               guiltily averts his eyes. Ken notes this and wraps a 
               comforting arm around his son.

                                     MINISTER
                         ...or birds trapped in the snare...

               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
                         ...like these the children of men...

               ALEX

               turns away, tense. He looks at the minister.

                                     MINISTER
                         ...caught when the Time falls suddenly 
                         upon them."

               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.)
                         And so before we can heal, before we 
                         can escape the presence of Death 
                         Time, we must mourn and celebrate 
                         theirs with this memorial.

               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
                         Hope you don't think, Browning, that 
                         because my name ain't on this wall...  
                         that I owe you anything.

                                     ALEX
                         I don't.

                                     CARTER
                              (re: victims)
                         All I owe is these people.
                              (turns to Alex)
                         To live my life to the fullest.

               Alex winces from Carter's breath...

                                     ALEX
                         Then maybe you should lay off the 
                         J.D.

               Carter has an angry reflexive reaction, grabbing Alex 
               threateningly by the forearm. Terry immediately tries to get 
               Carter to release his hold.

                                     CARTER
                         Don't ever fucking again tell me 
                         what to do. I control me. Not you.

               Carter and Alex lock eyes, Alex refraining from showing any 
               pain caused by Carter's grip. Terry finally gets him to 
               release.

                                     CARTER
                         I'm never gonna die.

               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 gratitude in Carter's presence. As Alex 
               pats her arm, Terry quickly moves off.

               Shaken, Alex considers whether to move forward 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
                         I took my driver's test this week at 
                         the DMV...

               Alex turns to him, incredulously..

                                     BILLY
                         Got a 70. Lowest score, but I passed. 
                         When I was done with the test, the 
                         guy who drives with you during the 
                         test, he goes, "Young man, you're 
                         going to die at a very young age."
                              (beat)
                         That true?

                                     ALEX
                         Not here, not now.
                              (beat)
                         Not EVER!

               Billy sighs, and moves OUT OF FRAME, only to quickly RE-
               ENTER...

                                     BILLY
                         If I ask out Cynthia Paster, will 
                         she say "no?"

               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
                         Ms. Lewton...

               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
                         Don't talk to me. You scare the hell 
                         out of me.

               Alex is shattered as the teacher moves away. Tod ENTERS and 
               faces the memorial.

                                     TOD
                              (a greeting)
                         Hey.

               Alex notices Tod is in line behind him. Alex looks around 
               for Tod's father. He is not in line...

                                     ALEX
                         I don't want to sound gay, or nothin', 
                         but... I miss you.

               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
                         Me, too.
                              (beat)
                         But my dad doesn't understand. When 
                         he's better; you and me, road trip 
                         to the City. Catch the Yanks.

                                     ALEX
                         That's a plan.

               Tod nods. The two friends stand uncomfortably foar a beat 
               before Tod gestures to the podium.

                                     TOD
                         I gotta go. This thing Ms. Lewton 
                         showed me in her class, they're gonna 
                         let me read it. It says what I'm 
                         feeling.

               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
                         Because of you... I'm still alive.
                         Thank you.

               Alex takes the rose and she walks away. CAMERA PUSHES IN ON 
               HIM as he eyes... feels... the red flower.

                                     TOD (V.O.)
                         We say that the hour of death cannot 
                         be forecast...

                                                                  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
                         But when we say this, we imagine 
                         that the hour is placed in an obscure 
                         and distant future.

               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
                         It never occurs to us that it has 
                         any connection with the day already 
                         begun or that death could arrive 
                         this same afternoon.

                                                                    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.)
                         This afternoon... which is so 
                         certain... and which has every hour 
                         filled in advance.

               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 mysterious.

               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 understanding... this is more than a wayward autumn 
               breeze. He moves to close the window, however, CAMERA 
               CONTINUES as the air makes ITS way to the door.

               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 FOLLOWS 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.)
                         And they say that he got crazy once 
                         and he tried to touch the sun.  
                         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.

               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 letters remaining 
               from the centerfold's caption are "...Tod..."

                                                                    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 forward.

               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 frantically moves to a paramedic.

                                     ALEX
                         What happened? Is Tod alright?

               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!

               Alex stops, looks around. Behind the tree and in the shadows 
               of the adjacent house, stands Clear Rivers.

                                     CLEAR
                              (a warning)
                         Get outta here!

               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
                         What... what happened?

               Mr. Waggner glares at Alex, accusingly.

                                     MR. WAGGNER
                         Didn't you... "see" it?

               Alex is stung, guilty. He averts his eyes. Schreck and Weine 
               note this reaction.

                                     MR. WAGGNER
                         Couldn't you "predict" it?  Couldn't 
                         you read his mind?

               Alex remains silent, hurt.

                                     ALEX
                         Mr. Waggner...

                                     MR. WAGGNER
                         You caused Tod so much guilt over 
                         George staying on the plane that...
                              (breaking down)
                         He took his own life.

               Alex is stunned, defensive.

                                     ALEX
                         He wouldn't do it!

               Mr. Waggner turns toward the paramedics van, as if "there's 
               the proof."

                                     ALEX
                         He... he told me we would be friends 
                         again after you got better. After 
                         you got over George. Why would he 
                         make plans for the future if he were 
                         planning on killing himself?

                                     MR. WAGGNER
                         All my wife and I will ever know is 
                         we wouldn't have lost our youngest 
                         son... if you'd told our oldest to 
                         get off the plane.

               Alex is rocked as if having taken a punch to the face. Mr. 
               Waggner begins to walk toward the paramedics 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 paramedics 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.)
                         Almost Autumn.

               Alex looks off toward a small unkempt 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
                         It's only the end of June.

                                     CLEAR
                              (shrugs)
                         Yeah, but everything's always in 
                         transition. If you focus, even now, 
                         one week into summer... you can feel 
                         Autumn coming.
                              (beat)
                         Almost like bein' able... to see the 
                         future.

               Alex reads her intention loud and clear. She returns to her 
               artwork. The dog GROWLS softly as Alex approaches 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
                         Know what this is?

               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
                         Like, um... you're mad about 
                         something?

               She sighs, "thanks a lot," then proud, but not enough to 
               make her appear foolish over her bad artwork, indicates the 
               metal.

                                     CLEAR
                         A piece of debris... from the plane.

               I went to the shore off the crash site and it washed up on 
               the beach.

                                     ALEX
                         You went there? I've wanted to go 
                         there, but I thought it was off 
                         limits.

                                     CLEAR
                         It is. But that didn't stop me.  
                         Shouldn't stop you.

               Alex gently touches the piece of the plane, almost expecting 
               to feel something more than cold metal. He looks to Clear...

                                     ALEX
                         Why were you there last night?

               While she cleans brushes with a can of turpentine...

                                     CLEAR
                         Look, I've seen enough T.V. to know 
                         the F.B.I. doesn't investigate teen 
                         suicides. But they were there last 
                         night, that means: one, they still 
                         don't have a clue what caused the 
                         crash. Two, they haven't ruled out 
                         anything. And the fact that seven 
                         people got off the plane is probably 
                         weird enough, not to mention, that 
                         one of those people had a vision, or 
                         whatever, of it exploding minutes 
                         before it did explode, is highly 
                         suspicious. And it doesn't help that 
                         the visionaries' friend just committed 
                         suicide.

               Alex eyes her for a long beat. She turns away from him, 
               returning the can of turpentine to a shelf.

                                     ALEX
                         Why were you there last night?

               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
                         Know what this is?

               Alex, cocks his eyebrow probably thinking, "a mess?" but 
               tactfully shakes his head "no."

                                     CLEAR
                         It's you.

               Remaining dry and stoned faced, Alex tenses, uncomfortable.

                                     CLEAR
                         Not a likeness. It's how you make me 
                         feel, Alex.

                                     ALEX
                         I'm... really sorry.

                                     CLEAR
                         Like you, the sculpture doesn't even 
                         know what, or why, it is. Reluctant 
                         to take form. And, yet, creating an 
                         absolute but incomprehensible 
                         attraction.

               Uncertain, and yet moved, Alex listens.

                                     CLEAR
                         Before that day, you were just another 
                         suburban nothing that would never 
                         have anything to do with my life. 
                         And I'm sure you thought I was some 
                         Marilyn Manson body-pierced freak, 
                         or whatever.
                              (beat)
                         But at that moment... on the plane...  
                         I felt what you felt. I didn't know 
                         where all those emotions were coming 
                         from until you started freaking out.

               Alex sighs, embarrassed.

                                     CLEAR
                         I didn't see what you saw, but I 
                         felt it. Okay, I'm not into all that 
                         X-Files bullshit... but it was a 
                         psychic connection. Why to me? Why 
                         to you?

               Jarred, he eyes her, frightened.

                                     CLEAR
                         And you can still feel it, can't 
                         you? Something from that day is still 
                         with you. I know, because I can still 
                         feel you.

               Alex is increasingly uncomfortable with the subject, but 
               eased by Clear's apparent, somewhat, understanding. Lowering 
               his tone...

                                     CLEAR
                         That's why I was there last night.

                                     ALEX
                         I've never dealt with death before.  
                         I wasn't alive when my grandparents 
                         died. I wish I could know. I mean, 
                         all this... could just be in our 
                         heads. Now it feels like it's 
                         everywhere.

                                     CLEAR
                         "It?"

                                     ALEX
                         What if Tod... is just the first... 
                         of us?

               The idea sends a shot of apprehension through Clear.

                                     CLEAR
                         Is that something you're "feeling?"

                                     ALEX
                         I don't know. I wish I could just 
                         see him... one more time, then, 
                         maybe...  I would know.

                                     CLEAR
                         Then, let's go see him!

               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 through 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
                              (whispering)
                         Gives me a rush...

                                     ALEX
                         This place?!

                                     CLEAR
                         Doin' somethin' I'm not supposed to.

               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
                         Good call. Very "Quincy."

               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 
               appearance of a corpse 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
                         That... him?

                                     CLEAR
                         I think. But why'd they make him up 
                         like... Michael Jackson?

                                     ALEX
                         That's him, but... he's not here.

               That... whatever... that whatever made him Tod is gone.

               Suddenly, Tod jerks; his hand lifting four inches...

                                     ALEX
                         Ahhh! fuck! You fucking asshole. You 
                         think this is funny, you fucking 
                         dick? Tod, if you're not dead I'm 
                         gonna fucking kill you!

                                     CLEAR
                         Ohmygod! OHMYGOD!  OHMYGOD!  He's 
                         not dead? 

                                     MR. BLUDWORTH (O.S.)
                         Please don't yell...

               Both are jolted again with shock, turning toward the voice...

               MR. BLUDWORTH

               CAMERA PUSHES, LOW ANGLE, INTO WILLIAM BLUDWORTH, an African-
               American man, early 50's, dressed in dark suit and tie.

                                     MR. BLUDWORTH
                         You'll wake the dead.

               He flashes a dry mortician's smile, pleased by his wan pun. 
               Alex and Clear haven't recovered from the corpses' actions 
               to calmly address Bludworth..

                                     ALEX
                         Why..?

               Alex completes his question by raising his hand, ala Tod's 
               dead body. Bludworth nods, understanding...

                                     MR. BLUDWORTH
                         Chemicals in the vascular flush create 
                         cadaveric spasm.

               As the startle of the situation settles, it dawns on Alex 
               that they have been busted. He nervously offers an 
               explanation.

                                     ALEX
                         I'm... a friend of his. His best 
                         friend. See, his father...

                                     MR. BLUDWORTH
                              (ominous)
                         I know who you are.

               The mortician eyes Alex, understanding. Alex senses this and 
               eases. Clear moves toward Tod's body, examining the neck 
               area.

                                     CLEAR
                         They said he hung himself, but there's 
                         no marks.

                                     MR. BLUDWORTH
                         I crafted a reconstruction of the 
                         Laryngeal prominence region with 
                         Velvetone Surgical Wax and Permaseal.

               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
                         What are all those tiny marks?

               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.)
                         Cuticle lacerations.

               WIDER

                                     ALEX
                         Why would he pull at the wire if he 
                         were committing suicide?

                                     CLEAR
                         Why would they say it was a suicide... 
                         if it weren't?

               Because of the supernatural "message" he received, 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
                         His father's pretty fucked up with 
                         denial. Maybe he couldn't deal with 
                         the thought of an other accident...  
                         taking another son.

                                     MR. BLUDWORTH
                         In Death...

               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
                         ... there are no accidents. No 
                         coincidencess. No mishaps.
                              (smiles)
                         And no... escapes.

                                     ALEX
                         You saying Tod did kill himself?

               Bludworth moves to Tod on the draining table, disconnecting 
               the tubes connecting the body to the embalming chemicals.

                                     MR. BLUDWORTH
                         Suicide. Murder. Plane crash. What 
                         does it matter?  He was going to end 
                         someday. From the minute you're cut 
                         loose from the womb... it's a one 
                         way ticket on a trip to the tomb.

               Vile liquid oozes out of the body onto the porcelain table.

                                     MR. BLUDWORTH
                         You may not realize it, but we're 
                         all just a mouse that a cat has by 
                         its tail. Every single move we make, 
                         from the mundane to the monumental... 
                         the red light we stop at, or run; 
                         the people we have sex with, or won't 
                         with us; the airplane we ride, or 
                         walk out of... is all a part of 
                         Death's sadistic design leading to 
                         the grave.

                                     ALEX
                         Design?

               The mortician considers as he drains some yellowish green 
               fluid from the table. He shrugs then continues his work...

                                     MR. BLUDWORTH
                         If Life is like a box of chocolates... 
                         Death... Death is like a big Milton 
                         Bradley game of "Mouse Trap."  The 
                         day you're born is just the boot, 
                         hanging from the streetlamp, kicking 
                         the marble to get things rolling. 
                         Growing up is only the marble rolling 
                         down the curving chute. You feel 
                         immortal having survived school, 
                         sex, drugs 'n' rock 'n' roll, but 
                         you've really only upset the big 
                         hand holding the steel ball that 
                         falls into the bathtub. Marriage and 
                         kids and career seem to make it all 
                         worthwhile until the ball hits the 
                         see-saw and flips the diving man 
                         into the big barrel. In the old folks 
                         home or the hospital you just see 
                         the big cage rattling down until it 
                         captures...  the mouse.
                              (beat)
                         Game over.

               Alex considers as Clear eyes him, conveying "this guys's 
               whacked!" Alex moves toward Bludworth...

                                     ALEX
                         Maybe there's no way to win...  but... 
                         if you figured out the game... you 
                         knew where the "steel ball was 
                         rolling" couldn't you avoid the trap 
                         and extend the playing time? Couldn't 
                         you... cheat Death at Its own game?

               Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON 
               EACH, INDIVIDUALLY... this between the two of them.

                                     MR. BLUDWORTH
                         You already did that by walking off 
                         the plane. Now you gotta out when 
                         and how it'll come back at you.
                              (beat)
                         Play your hunch, Alex. If you think 
                         you can get away from it.
                              (beat)
                         But beware the risk of cheating the 
                         plan, disrespecting the design...  
                         could initiate a horrifying fury 
                         that would terrorize even the Grim 
                         Reaper.
                              (beat)
                         And you don't even want to fuck with 
                         that Mack Daddie.

               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
                         I'm sorry we broke in.

                                     MR. BLUDWORTH
                         No harm. No foul.

               Alex grabs her arm, starting toward the door.

                                     CLEAR
                         We didn't find what we were looking 
                         for.

               Alex looks at Bludworth...

                                     ALEX
                         Yeah, we did.

               MR. BLUDWORTH

               CAMERA PUSHES INTO the mortician, pleased the message has 
               been recieved.

                                     MR. BLUDWORTH
                         I'll see you soon.

                                                                    CUT TO:

               EXT. MAIN STREET - DAY

               BRAKING LOUDLY, startlingly, a public bus PULLS INTO CAMERA 
               and stops. The doors HISS open.

                                     CLEAR (O.S.)
                         The mortician was whacked.

               CAMERA ADJUSTS as Alex and Clear step off the bus and onto 
               the street.

                                     CLEAR
                         He was trippin' on formaldehyde.

               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
                         He said Death has a design. Even 
                         before he said that I had been seeing 
                         patterns.

                                     CLEAR
                              (sarcastic)
                         As in flannels and plaids?

               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
                         How many died on Flight 180?  From 
                         our group?

                                     CLEAR
                         Thirty-nine.

                                     ALEX
                         Remember the gate number?

               As Clear takes a moment to consider, Alex steers them well 
               around the scaffolds, eyes skyward during the move...

                                     CLEAR
                         No.

                                     ALEX
                         Thirty-nine.

               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
                         Remember the departure time?

                                     CLEAR
                         Like... 4:25.

               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.)
                         Do you know when I was born?

               INTERSECTION

               Clear sighs, growing impatient with Alex.

                                     CLEAR
                         4:25.

                                     ALEX
                         Right. April 25th.

                                     CLEAR
                         Wait. I thought you meant the time 
                         of your birth. Four/Twenty-five, as 
                         in, month and day... that's a reach.

               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
                         My birthday is the same as of the 
                         time I was meant to die! That's a 
                         reach!?

               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
                         You're sounding like those people 
                         who, you know... "Oswald shot Kennedy 
                         from a warehouse and hid in a theater 
                         and Booth shot Lincoln in a theater 
                         and hid in a warehouse."

               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
                         I'm not just layin' down a bunch of 
                         math here, with this. I'm talking 
                         about indications... omens... that 
                         day, that we were meant to die. That, 
                         if, we have been aware of... would 
                         have saved everyone on the plane.

                                     CLEAR
                         That's total bullshit. You can find 
                         death omens anywhere you want to.

               She picks up her paper coffee cup.

                                     CLEAR
                         Hey, look! "Coffee" starts with a 
                         "C" and ends with an "E." So does 
                         the word "choke!" We're going to 
                         choke to death! Oh no! Starbuck was 
                         a whaler. We're going to be harpooned!

               Alex angrily glares at Clear. Clear drops her tone.

                                     CLEAR
                         You'll go nuts if you start with 
                         that shit.

               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
                         She's leaving the school. Moving 
                         away.

               Alex studies, appealing to her...

                                     ALEX
                         Clear, how do we know that by just 
                         sitting here, breathing this air or 
                         sipping the coffee, having crossed 
                         the street... we haven't started in 
                         motion the events that will lead to 
                         our death? Fifty years from now. Ten 
                         years. Tomorrow.
                              (beat)
                         You don't unless... you're able to 
                         open yourself to the signs I'm willing 
                         to show you.

               He leans forward, removing a piece 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
                         I don't understand... did you see 
                         Tod die? Did it happen again, like 
                         on the plane?

                                     ALEX
                         No, but it might as well be the same 
                         thing. This was a message... from 
                         someone, or something... hinting... 
                         at the design.

                                     CLEAR
                         Alex, on the plane... you must have 
                         experienced... some kind of hyper 
                         awareness. But here... you're 
                         suggesting Tod's death... and maybe 
                         our own... will happen because of... 
                         an active Presence.

               Alex nods, feeling she's understanding.

                                     ALEX
                         The mortician said Death has a design. 
                         Now... if you, me, Tod, Carter, Terry, 
                         Billy, Ms. Lewton messed up that 
                         design, because, for whatever reason, 
                         I was able to see Death's plan... 
                         then we cheated it.
                              (beat)
                         But what if it was our time, what if 
                         we were not meant to get off that 
                         plane? What if it is still is our 
                         time? If... It... is still not 
                         finished with us? We will all still 
                         die; now, not later.

               Troubled and deeply concerned, Clear studies Alex.

                                     ALEX
                         Unless... we find the pattern. And 
                         cheat it again.

               Clear sets the paper down, looking sadly at Alex.

                                     CLEAR
                         After hearing you, just now... I do 
                         believe...

               Alex leans back and sighs, relieved...

                                     CLEAR
                         ...that Tod killed himself.

               Alex is taken aback, hurt and angry.

                                     ALEX
                         Then there's no one left who can 
                         help me.

               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
                         Baby, come on... not now.

               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
                         Carter...

               At that moment, Ms. Lewton exits with an espresso drink. 
               Sensing trouble, she has no energy or desire to involve 
               herself.

                                     CARTER
                         Kind of have a reunion, here.

                                     TERRY
                         Let it go!

               Carter steps before Ms. Lewton, blocking her exit...

                                     CARTER
                         When are you moving?

                                     MS. LEWTON
                         A couple of weeks.

               She can't wait to leave. While trying to walk around Carter...

                                     CARTER
                         We're losing our favorite teacher.

                                     ALEX
                         Look, there's something you should 
                         all know.

                                     CLEAR
                         Alex...

               Carter eyes Alex, continuing the taunt. He raises the volume 
               of his words to drown out Alex's words and incite conflict.

                                     CARTER
                         Lived here her whole life.        
                         This'll be hard to believe.

               Ms. Lewton's eyes flash to Alex, afraid of him.

                                     CARTER
                         And now she has to move.          
                         Listen to me, we may all All because 
                         of Browning.          be in danger...

                                     TERRY
                         Shut up! The both of you!

               The two boys stop their heated exchange.

                                     TERRY
                         They died! We lived!
                              (beat)
                         Get over it! I won't let that plane 
                         crash be the most important thing in 
                         my life. I'm moving on, Carter, and 
                         if you're gonna waste your life 
                         beating the shit out of Alex every 
                         time you see him, then you can just 
                         drop fucking dead!

               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
                         It's that girl... Clear.

               No response from Alex. Ken sighs, then into the phone...

                                     KEN
                         He's in the shower, Clear. Can I 
                         have him get back at ya? Sure...  
                         bye.

               Ken returns to the living room, concerned about his son. 
               Alex averts his eyes, stressed and ashamed. Ken sits nearby.

                                     KEN
                         She's concerned about you.
                              (beat)
                         I'm concerned about you.

               Alex turns his eyes to the glass.

                                     KEN
                         Why don't you want to talk to her... 
                         or me?

                                     ALEX
                         Dad... you and mom have helped me 
                         out, so much. But there's... some 
                         things I need to understand before I 
                         can talk... to anyone about it.

               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.)
                         The National Transportation Safety 
                         Board has a new theory tonight on 
                         the possible cause of Euro-Air Flight 
                         180...

               Alex quickly grabs the remote and turns up the VOLUME...

               TELIVISION

               A computer graphic illustrations the area of the lower 
               fuselage.

                                     CNN ANCHOR (V.O.)
                         Deterioration of silicon insulation 
                         on an electrical connector to the 
                         scavenger pump may have leaked 
                         combustible fluids.

                                     ALEX AND KEN
                         Alex remains riveted to the screen.

                                     CNN ANCHOR (V.O.)
                         A spark in the fuel switch...

               TELEVISION

               The graphic ZOOMS into the area in the rear right side, nearly 
               above Tod's seat.

                                     ALEX (O.S.)
                         That's Tod's seat...

               ALEX

               CAMERA PUSHES IN as he listens...

                                     CNN ANCHOR (V.O.)
                         ... may have ignited the fuel line. 
                         And proceeded to the fuel pump.

               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 demonstration of the arbitrary 
               nature of Death.

               ALEX

               is amped, intensely more frightened as he believes...

                                     ALEX
                         The path of the explosion...
                              (a whisper)
                         That's Death's design.

               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 fuel 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.)
                         Some nights I'm woken up by the sound 
                         of my own voice, you know, inside my 
                         head, goin', "No, you know the whole 
                         French thing. Get on the plane."

               Moving boxes are stacked in the living room; organized 
               disarray of relocating. The house is old, been in the family 
               forever. Dust marks the walls where framed photos and artwork 
               were once displayed.

                                     MS. LEWTON
                         Everything here reminds me... of 
                         sending Mr. Murnau back on the 
                         plane... Right, I'm hoping a change 
                         will help... I lived here my whole 
                         life and wherever I looked were great 
                         memories, you know... but now all I 
                         can see is Mr. Murnau... those kids.  
                         Just looking out my own front yard...  
                         makes me feel nothing but fear.

               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
                              (quickly)
                         Laura, I gotta call you back.

               She immediately hangs up and speed dials.

                                     MS. LEWTON
                         This is Valerie Lewton. I need Agent 
                         Schreck...

               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
                         What are you doing?

               ALEX

               is nervous but determined. He tells the truth...

               ALEX

               Checking the air in her tires to make sure they're safe.

               SPECIAL AGENTS SCHRECK AND WEINE

               after a beat of incredulity...

                                     SCHRECK
                         Get in the car.

               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
                         I believe that... Ms. Lewton's next.

                                     WEINE
                         "Next?"

                                     ALEX
                         Yes... see, there's this...  
                         pattern... that's occuring.

                                     WEINE
                              (sarcastic)
                         Oh, you've noticed it, too?

                                                                    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
                         Oh... mom's favorite.

               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.)
                         He was born in the summer of his 
                         twenty-seventh year...

               Pleased with the feeling of a pleasant memory, Lewton moves 
               off.

               INT. INTERROGATION ROOM - POLICE STATION - NIGHT

               Schreck moves closer to Alex.

                                     SCHRECK
                         Where'd you get this "pattern" from?

               You have another "vision?" Maybe saw it in some T.V. static?

               Alex is insulted by the condescending tone.

                                     ALEX
                         I didn't ask for what happened to me 
                         on the plane. You can make fun of 
                         me.  You can think I'm a nut. I'm 
                         used to it. I saved six lives but 
                         the entire school acts like I'm a 
                         freak. Fine.

               Alex takes a nervous breath...

                                     ALEX
                         I'm not suffering from Post Traumatic 
                         Stress. I haven't developed a 
                         narcissistic deity complex. I'm not 
                         going Dahmer.
                              (beat)
                         This just is. There's a pattern in 
                         place for you. And you. There's a 
                         design for everyone.

               The agents study Alex...

                                     ALEX
                              (sighs)
                         And I'm not sure yet how... but I 
                         intend to break this one.

                                                                    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.  Unsettled, she absently 
               tosses the towel on the counter the edge which, catches a 
               knife blade held in the cutlery 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.)
                         He left yesterday behind him/ You 
                         might say he's born again...

               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, sympathetic, but professional...

                                     WEINE
                         Alex, you got our attention, at first, 
                         because you were under suspicion in 
                         the plane explosion.

               Alex tenses, but Weine shakes his head.

                                     WEINE
                         I know you didn't blow up that plane.

               Alex sighs, eases.

                                     WEINE
                         I don't believe you have magical 
                         powers. No one has any... control 
                         over life and death... unless... 
                         that person is taking lives and 
                         causing death.

               Weine leans forward toward Alex...

                                     WEINE
                         Alex... can you promise me that no 
                         one else will die?

                                     ALEX
                         No... I can't. As long as I'm in 
                         here, it's outta my control.

               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
                         Alright, go on. Get outta here.

               Alex stands and, with no urgency, moves off. He exits the 
               room.

                                     SCHRECK
                         Kid gives me the creeps.

                                     WEINE
                         We got nothing to hold him.

                                     SCHRECK
                         I don't mean that...
                              (beat)
                         There's a couple of times, there...  
                         I almost believed him.

               Weine considers, yet remains skeptical.

                                     WEINE
                         Sometimes, you give me the creeps.

                                                                    CUT TO:

               INT. MS. LEWTON'S HOUSE - NIGHT - CLOSE - TEAPOT

               Whistles.

                                     JOHN DENVER (V.O.)
                         When he first came to the mountains, 
                         his life was far away...

               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
                         You gotta stop this! Stop this!  
                         It's just a stupid mug.
                              (composed)
                         You're outta here. Pretty soon... 
                         you'll be gone.

               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 alcohol 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

               Valerie Lewton tears off a piece of plastic bubble wrap. She 
               stands over her desk, placed against the wall. On the desk 
               is her desktop computer monitor.

                                     JOHN DENVER (V.O.)
                         It's the Colorado Rocky Mountain 
                         High...

               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
                         I've seen it rainin' fire from the 
                         sky...

               CAMERA CRANES DOWN to REVEAL the monitor cable 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 wall and 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.)
                         Rocky Mountain High/ Colorad-oh.

               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... unmercifully 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.)
                         Ms. Lewton!

               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.)
                         They say that he got crazy once and 
                         he tried to touch the sun...

               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
                         Ms. Lewton!

               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
                         Hey, Alex...

               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
                         I don't know where he is. He's not 
                         talking to me.

                                     WIDER
                         Agents Schreck and Weine stand before 
                         Clear in her garage.

                                     WEINE
                         Why?

               She studies the men before averting her eyes.

                                     CLEAR
                         Because I didn't believe him.

               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
                         If he should contact you, it would 
                         be in the best interest of your own 
                         safety to contact us.

               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
                         What are you doing?

                                     CARTER
                         Terry's name should be on this wall.

               Clear is touched by the action.

                                     CARTER
                         So, why'd you want us to meet you 
                         here? Now?

                                     CLEAR
                         They're watching me, see if I go to 
                         Alex.

                                     BILLY
                         Are you?

                                     CLEAR
                         They'll follow my car.
                              (beat)
                         That's why you're taking me.

                                     CARTER
                         Why would I want to see him?

               Clear eyes the two of them. With the memorial standing behind 
               them...

                                     CLEAR
                         Because he knows which one of us is 
                         next.

               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:

               "Middletown - 25 mi. New York City - 105 mi."

               INT. CARTER'S CAR - NIGHT

               Carter checks the rear-view mirror. Clear looks out the front 
               passenger window. She shakes her head, as if "no one's 
               following us."  Billy leans forward from the back seat...

                                     BILLY
                         Um... okay... drive the speed limit, 
                         right?

               He sits back, OUT OF FRAME, but quickly darts forward.

                                     BILLY
                         And don't pass on the right.

                                     CARTER
                         Billy! I'm gettin' a vision!  You're 
                         the next one...

                                     BILLY
                              (nervous)
                         Hey, man, why'd you say that?!

                                     CARTER
                         'Cause if you say another word, I'm 
                         gonna fuckn' kill ya!

               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
                         He could be anywhere from here to a 
                         mile down the shore. You guys drive 
                         down there, start this way and we'll 
                         meet around the middle. It'll take 
                         half the time.

               Clear closes the door. Carter and Billy drive off. As she 
               looks to the beach.

                                                                    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 eternal 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.)
                         Are they up there?

                                     WIDER
                         Clear Rivers approaches, barefoot in 
                         the sand. He needn't turn to know 
                         who is behind him.

                                     ALEX
                         Somehow... is 180 still in flight?  
                         Somewhere... are they still safe?

               Clear hasn't met eyes with Alex, but she sits nearby, looking 
               into the sky.

                                     CLEAR
                         When I was a kid, like, six or 
                         seven... I used to worry so much 
                         about my parents dying. Like lying 
                         awake at night... just worrying. I 
                         loved them so much. I didn't want 
                         them to get hurt. And what would 
                         happen to me? What would life be 
                         like?
                              (beat)
                         Every night... it seemed.

               She looks out at the stars. He doesn't eye her, either...

                                     ALEX
                         Most kids do, I guess.

                                     CLEAR
                         Most kids never have it happen.

               Alex hangs his head...

                                     CLEAR
                         When I was ten... my dad went into a 
                         7-11 for cigarettes. I guess he heard 
                         somebody say "Don't turn around." So 
                         on reflex, or thinkin' a friend was 
                         jokin'... he did. And the guy blew 
                         his head off.

               She has lived this so many times, she is long beyond crying...

                                     CLEAR
                         And, let me tell ya, I had every 
                         reason to worry before... because 
                         life became shit. I don't blame her, 
                         I guess, but my mom couldn't deal 
                         with it at all. She married this 
                         asshole, who my mom with my real dad 
                         would cross the street to avoid this 
                         guy. He really didn't want a kid.  
                         And so my mom didn't either anymore, 
                         I guess.
                              (beat)
                         If that was the design for my 
                         father... and my family... then fuck 
                         Death, FUCK IT!

               The waves continue to shore. Clear looks up at the sky.

                                     CLEAR
                         And so, anyway... I've thought of 
                         that "somewhere," Alex. It exists, 
                         that place.

               He looks at her.

                                     CLEAR
                         Where my dad is still safe. Where he 
                         had a full pack of cigarettes and 
                         kept driving. A place where me and 
                         my dad and my mom... are still 
                         together....and have no idea about 
                         this second life, here.
                              (beat)
                         A place where our friends are still 
                         in the sky... where everyone gets a 
                         second chance.

               She looks at him...

                                     CLEAR
                         But that place might only exist in 
                         my heart. And maybe, now... yours. I 
                         haven't experienced too many second 
                         chances in my life. I haven't seen 
                         any. But because of all of this, I 
                         believe... because of you... I will 
                         get a second chance. Because of me, 
                         you will. With you in my life... 
                         that place, right now existing in 
                         our hearts, will spring out... and 
                         become a real part of this life.

               Alex looks within her, as a soft ocean breeze blows through 
               Clear's hair.

                                     CLEAR
                         And that is the only way we can beat 
                         Death... by making something special 
                         out of Life.

               His eyes well with tears. Only as she looks at Alex does 
               Clear become emotional... they move closer, and kiss, the 
               desire for each other, to defy the events around them; 
               darkness; the isolation...

               They dive into a deep feverish kiss. Embracing, as if the 
               tighter, the safer. She pulls him back down to the beach and 
               lifts his shirt over his head.

                                     ALEX
                         This won't be safe.

               Clear looks down the beach, checking for any sight of Billy 
               and Carter.

                                     CLEAR
                         Those guys are probably fifteen 
                         minutes away.

                                     ALEX
                         No.. I mean, I don't have anything 
                         on me. This won't be safe.

                                     CLEAR
                              (sadly)
                         Nothing is... anymore.

               Alex looks to Clear, then kisses her with passion that 
               reflects the defiance of death. He pulls open her shirt and 
               falls into her arms. CAMERA CRANES UP as the young man and 
               woman make love in the sand... consciously and defiantly 
               oblivious, to anything around them... including the stars, 
               possibly Flight 180, up above.

                                                                    CUT TO:

               INT. CARTER'S CAR - NIGHT

               Carter drives. Billy rides shotgun. Alex and Clear are in 
               the back. Everyone anxious, looking for cops.

                                     ALEX
                         I can't go home. After Lewton's, 
                         they'll be after me.

                                     CLEAR
                         We're takin' you to a cabin in the 
                         woods, it's only a couple miles from 
                         my house.
                              (to Carter)
                         Keep off the highways, they'll be 
                         lookin' for us.

               Carter, however, continually glances into the rearview mirror, 
               checking Alex. Finally, hotheaded and unable to withhold it 
               any further...

                                     CARTER
                         Alright, Browning, you fuckin' 
                         warlock... did you know about Ms.
                         Lewton, or what?

                                     ALEX
                         Why do you think I was hiding?

                                     CLEAR
                         Billy told the F.B.I. he saw you 
                         runnin' away from her house.

                                     ALEX
                         They blame me for everything. Her, 
                         Tod, the plane crash...

                                     BILLY
                         Your shoe prints were in the blood.
                         Your fingerprints on the knives...

                                     ALEX
                         I already told you...

                                     CARTER
                              (interrupting)
                         I'm not talkin' about if you did it.  
                         Or if you knew she was dead...
                              (beat)
                         Did you know she was going to be 
                         next... before she was?

               Alex looks at Clear, her expression asking the same 
               question...

                                     ALEX
                              (quietly)
                         Yeah.
                              (almost to himself)
                         When she died... at that moment, I 
                         could tell she saw something... 
                         horrible.

               The three others turn quiet, considering what it must be...

                                     CARTER
                         Out of us... who's next to see it?

               Alex eyes them... hesitant to respond.

                                     BILLY
                         Please tell me I'm gonna get to see 
                         the Jets win the Super Bowl.

                                     CARTER
                         Me, right? That's why you're not 
                         saying.

               Billy looks out the window, despondent.

                                     BILLY
                         Shoulda' felt up Tammy in the pool, 
                         that time...

                                     CARTER
                              (to Billy)
                         Whatta' you whinin' about? He said 
                         I'm next.

                                     CLEAR
                         He didn't say nothin'. Just drive.

                                     CARTER
                         You have a responsibility to tell 
                         me.

                                     ALEX
                         Is knowing going to make it easier?
                         It makes it harder.

                                     CARTER
                         You get off havin' control over me.  
                         Let me choose how to deal with it.

                                     ALEX
                         It doesn't matter who's next... we're 
                         all on the same list.

               The three are silent.

                                     CARTER
                         Aww, fuck... really?

               Carter's expression becomes frightened, but he cannot have 
               this. He counters with an irrational bravado.

                                     CARTER
                         Then why bother? What's the fuckin' 
                         point? Terry and me will be back 
                         together on the other side, so why 
                         wait any longer?

               Carter bares down on the wheel, hits the GAS...

               EXT. AN INTERSECTION - NIGHT

               The muscle car ROARS past a stop sign.

               INT. CARTER'S CAR - NIGHT

               The interior bounces as the car clears a dip past the 
               intersection. Alex, Clear, and Billy tenses...

                                     CLEAR
                         Knock it off!

                                     CARTER
                         May as well go out under my own free 
                         will, right?

                                     CLEAR
                         Not with us in the fuckin' car!

               EXT. ANOTHER INTERSECTION - NIGHT

               The car GUNS IT through another stop sign.

               INT. CARTER'S CAR - NIGHT

               Every passenger hangs on as the car BOUNCES from the next 
               dip.

                         CLEAR
                 Stop it!

                                                      BILLY
                                              Hey, c'mon, man...

                                     CARTER
                         What's your fuckin' worry? If it's 
                         not your time...? I could get nailed 
                         runnin' this red light and you all 
                         wouldn't get shit! Only me, right?

                         ALEX
                 No!

                                                      CLEAR
                                              Knock it off!

               EXT. TRAFFIC LIGHT INTERSECTION - NIGHT

               Red light. A car approaches with the greenlighted right of 
               way. Carter's car TEARS INTO FRAME, just missing being T-
               boned in the intersection as the other car HITS THE BRAKES, 
               fishtailing.

               INT. CARTER'S CAR - NIGHT

                                     BILLY
                         And I fuckin' HATED FRENCH CLASS!

                         ALEX
                 Carter, stop it, you 
                 fuckin' maniac!!

                                                      CLEAR
                                              Get control of yourself!

                                     CARTER
                         That's what I'm doin'!

                                     CLEAR
                         I know what you're doing!  It's 
                         alright to be scared, Carter. You 
                         don't have to prove to us how big 
                         your balls are. Not now.

                                     CARTER
                         I'm not afraid! I DECIDE WHEN IT'S 
                         TIME! I control my life! I control 
                         my death!

                                     BILLY
                         Watch it! Watch it!

               EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT

               Carter barrels through the intersection as a car makes a 
               left turn at the intersection.

               TURNING CAR DRIVER'S POV - CARTER'S CAR

               flying down the road, appears to be heading straight towards 
               him.

               INT. CARTER'S CAR - NIGHT

               Carter takes his hands off the wheel and raises them in the 
               air, like a terrorized child on a roller coaster...

               EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT

               The turning car HONKS, ROARING through the intersection as 
               Carter's car nearly clips the rear end of the turning car.

               INT. CARTER'S CAR - NIGHT

               Cater hooks his elbow on the window and his right arm around 
               the front seat, driving; no hands.

                         CLEAR
                 Stop the car!

                                                      ALEX
                                              Let us out!

                                     BILLY
                         I am... so close to puking, you don't 
                         wanna know.

                                     CLEAR
                         We're afraid, too, Carter, but we're 
                         not going to quit. Maybe you are. 
                         You act like you're not, but you 
                         are!

               Carter eyes Clear in the rear-view mirror.

                                     CLEAR
                         So, stop what you're doing and STOP 
                         THIS CAR! Right fucking now!

               EXT. BACK-STREET - NIGHT

               In the back-seat, Alex and Clear ease... just as a railroad 
               crossing arm drops INTO FRAME in the REAR WINDOW. O.S., the 
               CLANG CLANG CLANG of a RAILROAD CROSSING ALARM.

               OUT OF THE FRONT WINDOW

               The front crossing arm drops INTO FRAME before the car. Carter 
               turns and flashes a "that's why I stopped" smile.

               INSIDE THE CAR

                                     CLEAR
                         Move it!

               Carter turns off the engine, then sits back into his seat 
               and folds his arms, indicating he has no intention of moving.

                                     ALEX
                         Billy, get out!

               Scared to death, Billy fumbles with the car door handle. 
               From the front passenger seat, he looks up and to his left...

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

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

               RETURN

                         CLEAR
                 Can't you open the door?!

                                                      ALEX
                                              Easy, Billy, just open it.

               Billy collects himself...

               CLOSE - BILLY'S DOOR HANDLE

               POPS open!

               EXT. TRAIN TRACKS - NIGHT

               The train appears around the blind bend...

               INT. CARTER'S CAR - NIGHT

               Billy opens the door and pours out. Clear and Alex are quickly 
               behind him. Carter remains in the drivers seat.

               EXT. TRAIN TRACKS - NIGHT

               The train WARNING WHISTLE BLOWS as Alex, Clear and Billy 
               hustle away from the car, on the same side of the tracks. 
               They quickly turn around, desperate to convince...

                                     CLEAR
                         Carter, get out!

                         ALEX
                 Don't do it! Don't do 
                 it!

                                     BILLY
                         It's coming! It's coming!

               INT. CARTER'S CAR - NIGHT

               Arms crossed, Carter remains in the front seat. As the 
               interior fills with light from the headlight of the oncoming 
               train, Carter turns and looks at them with a smart ass smile, 
               pleased that he's shown how brave he truly is. With a beam 
               of cocky defiance...

                                     CARTER
                         It ain't my time.

               He coolly turns back to the ignition, grabs the key and turns 
               it over... only to be met with the DULL CLACK of a dead 
               engine.

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

               CLOSE - IGNITION

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

               CARTER

               looks up...

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

               is moments away.

               ALEX, CLEAR AND BILLY

               assess the situation...

                         ALEX
                 Get out! Get out of the 
                 car!  Get out of the 
                 fuckin' car!

                                                      CLEAR
                                              Get out! Get out of the 
                                              car!

               INT. CARTER'S CAR - NIGHT

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

               CARTER'S POV - REAR VIEW MIRROR

               the passing shadow is darker than any surrounding darkness.

               CARTER

               as if the image has effected him, he looks to his lap belt 
               and CLACKS the button. He tugs at the restraint, but it will 
               not move. He's strapped in.

               He tries to open the door... it won't open. He pulls at the 
               door handle... tugs at the seat-belt... panicked. Horrified, 
               he whips towards the others.

                                     CARTER
                         I can't get out!

               EXT. TRAIN TRACKS - NIGHT

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

                                     BILLY
                         Man, he really is next.

               Alex takes off toward...

               CARTER'S CAR

               Alex hustles around the drivers' side. CAMERA SWEEPS INTO 
               THEM as Alex desperately tries freeing the seatbelt.

               THE TRAIN

               the WHISTLES SCREAMS!

               CLEAR AND BILLY

               tense, as the train nears...

               ALEX AND CARTER

               Alex grabs Carter by the shoulders and strains with all his 
               might to pull the much more muscular kid out of the driver's 
               window.

               CLOSE - CARTER'S SEAT BELT

               the shadowy presence is reflected by the chrome buckle, 
               however, after it passes... the seat belt begins to TEAR.

               ALEX AND CARTER

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

               ACROSS THE TRACKS

               The train TEARS THROUGH the front end of the muscular car! 
               GLASS and METAL ERUPT as the locomotive THUNDERS THROUGH 
               FRAME.

               CLEAR AND BILLY

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

               ALEX AND CARTER

               Alex holds Carter by the shirt at the shoulders, dragging 
               him away from the wreckage. The two boys collapse on the 
               road as the train continues to ROAR PAST...

               TRAIN TRACKS

               as the heavy train wheels THUNDER and CLACK, a broken two 
               foot long shard of the car's debris BOUNCES upon the tracks, 
               kicked about by the train wheels.

               CLEAR AND BILLY

               run to the two survivors.

               CLEAR

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

               ALEX, CLEAR, CARTER AND BILLY

               Carter lies on the road, urine stains around his crotch, 
               hyperventilating and near tears.

                                     CLEAR
                         Scared now?

               Carter looks at the piece of seat-belt.

                                     CARTER
                         It broke!

                                     BILLY
                         No one's that strong.

                                     CLEAR
                              (to Carter)
                         Bullshit. He saved your life...again!

               CLOSE - TRAIN WHEELS

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

               RETURN

               The THUNDERING TRAIN intensifies the situation...

                                     BILLY
                         THAT'S RIGHT! HE'S RIGHT! YOU ARE 
                         NEXT! I'M GETTING THE FUCK AWAY FROM 
                         YOU!

               Billy begins backing away from the others.

                                     CARTER
                         SHUT UP, BILLY!

                                     CLEAR
                         WE DON'T NEED THIS NOW!

               Billy continues backing away, horrified.

                                     BILLY
                         I DON'T NEED IT EVER! GET AWAY FROM 
                         HIM! HE'S NEXT!

               CLOSE - TRAIN TRACKS

               the debris rattles beneath the wheels...

               CARTER AND ALEX

               still on the ground...

                                     CARTER
                         FUCK YOU, BILLY! I'M NOT DEAD!

               BILLY

               backing away...

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

               TRAIN TRACKS

               the debris bounces directly on the track. With great power 
               and force, a train wheel runs over the debris, cutting it in 
               half. It catches in the wheel and is spun around until shot 
               out with the force of a missile...

               BILLY

                                     BILLY
                         AND YOU AIN'T TAKIN' ME WITH YOU!

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

               ALEX, CLEAR AND CARTER

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

               EXTREMELY WIDE - ACROSS THE TRACKS

               The train CLEARS FRAME and is gone... REVEALING, across the 
               tracks, Alex, Clear and Carter can do nothing but watch 
               Billy's decapitated body macabrely wobbling on its two front 
               feet before falling to the ground.

                                     CARTER
                         Jesus fucking Christ!

               For a beat, there is SILENCE... until, in the distance, SIRENS 
               can be heard, approaching. As Alex stands and Carter manages 
               to rise on wobbly legs... none of them can remove their eyes 
               from Billy's body.

                                     ALEX
                              (to Carter)
                         You should have been next. After 
                         Lewton, you should've been next.  
                         That's the only pattern. You should 
                         be dead.

                                     CARTER
                         You're the fuckin' devil.

                                     ALEX
                              (to Clear)
                         But I saved him. I intervened. Just 
                         like the plane. That's the design.

                                     CLEAR
                         Police are coming.

                                     ALEX
                         That's why It skipped Carter and 
                         went to the next one in the path of 
                         the explosion; Billy.

               Alex looks at Clear as if experiencing an intense epiphany.

                                     ALEX
                         My intervention in the death of 180 
                         survivors will cheat the design.

                                     CARTER
                         "Intervention?" What are you, God 
                         now?!

                                     ALEX
                         Of course not! Gods aren't afraid to 
                         die! Gods don't die! We do!

                                     CLEAR
                         You're losin' it. The police will be 
                         here. We have to go to the cabin.  
                         You can hide there. Get your head 
                         together.

               Alex considers, mind racing... then realizes...

                                     ALEX
                         After Billy... it's me. And then 
                         you.

               Clear grabs Clear and touches her face.

                                     ALEX
                              (to Clear)
                         Hey, I won't let it happen, okay.

               Carter turns to them; it's as far as he will go to admit he 
               believes... or will help...

                                     CARTER
                         Then, get out of here.

               As she moves to Alex, Clear nods her acknowledgement and 
               appreciation to Carter. She takes Alex by the hand and the 
               pair begin running away, off into the woods.

               In the DISTANCE, a TRAIN WHISTLE BLOWS, eerie, as if Death 
               was punctuating the moment.

                                                                    CUT TO:

               EXT. CABIN - NIGHT

               The windows are boarded. The front steps are worn and 
               dilapidated. In the early evening moonlight, the dwelling 
               appears eerie and ghostly. CAMERA CREEPS TOWARD the house, a 
               pre-storm breeze swaying branches and blowing leaves. In the 
               distance... LIGHTNING...

               INT. CABIN - DAY - A SMALL TABLE

               A final piece of duct tape is applied to the corner of the 
               table, dulling any sharp edges. Even though it is sunny 
               outside, all the shades are pulled. The room sits in dark 
               shadows broken by occasional bright shafts of light.

               CAMERA FOLLOWS a hand as it carefully picks up a Coleman 
               lantern and sets it atop an empty can placed in the center 
               and above the water line of a large metal tub; a fire 
               protection moat.

               ALEX

               finds his way to a chair in the center of the room, away 
               from everything except a nearby table holding a fire 
               extinguisher and a first aid kit, both at less than arm's 
               reach.

               Unshaven, a week and a half's growth, and unkempt, Alex looks 
               horrible. An anxious zombie, especially in the dim glow of 
               the lantern. Dark circles, from lack of sleep. Thin, from 
               lack of food. Pale, from lack of sunlight.

               He places workman's gloves on his hands before picking up a 
               can of Underwood chicken spread. With some degree of 
               difficulty, he works the gloves beneath the tab and pulls. 
               Careful not to cut himself, he reaches out and drops the lid 
               into a small trash can.

               Alex removes the gloves and, with a plastic spoon, begins to 
               eat. CAMERA PUSHES IN as he begins to chew methodically, 
               chewing and chewing and chewing with concentration until... 
               after steadying himself... prepares to swallow... then, 
               carefully does.

               Pause... he's alright. He takes the spoon. Scoops some more. 
               And the process begins again.

                                                                    CUT TO:

               INT. BATHROOM - CLEAR RIVER'S HOUSE - DAY

               A pink circle fills THE ENTIRE FRAME.

               EXTREMELY CLOSE - CLEAR'S EYES

               look downward, anxious and full of thought.

               HOME PREGNANCY TEST

               the results are positive, two pink dots, confirming.

               WIDER

               Clear sighs, frightened as she tosses the test upon a half 
               dozen other discarded tests. You can never be too sure. 
               Outside, WIND of an approaching storm blows. CAMERA tensely 
               INCHES IN ON Clear...

                                                                    CUT TO:

               INT. CABIN - NIGHT - CRACK BENEATH DOOR

               The resulting THUNDER RUMBLES. A breeze blows beneath the 
               door, carrying some Autumn leaves. CAMERA FOLLOWS the breeze 
               across the floor to Alex's pant legs which slightly flutter.

               CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid 
               and obsessively cautious, his eyes move towards the door, 
               anticipating the consequential events. Following the path of 
               the breeze, Alex turns around...

               ALEX'S POV - TRASH BAG

               the brown shopping bag tips over. Amongst the trash spread 
               on the floor, a can rolls out and across the floor.

               ALEX

               tenses. He doesn't look to where the can has been, but where 
               it is going.

               ALEX'S POV - CAN

               rolls across the floor and gently hits the end of a fishing 
               pole, propped in the corner. The pole teeters and falls over.

               FISHING HOOK

               falls, hooking a closet door. The door begins to swing open.

               ALEX

               is quickly out of his safe chair, hustling towards...

               THE DOOR

               Alex slams the door shut before it can open. Behind the door, 
               a CRASH as something falls. Alex cracks a wicked half smile, 
               cocky he has caught Death before this attempt has brought to 
               fruition.

               Alex removes the hook from the door and places the pole on 
               the floor. He cautiously opens the door, REVEALING an old 
               fish scaling knife embedded on the back side of the door, 
               unaware. Removing the knife and securing it, his eyes turn 
               towards the floor.

               CLOSET FLOOR

               a tackle box has spilled thick, rusted old treble and aberdeen 
               fishing hooks upon the floor. Alex bends down and examines 
               them.

                                     ALEX
                              (as if to Death)
                         Rusted. Tetanus. Nice touch.
                              (defiant)
                         I overlooked it. You tried to 
                         capitalize. But I caught you, you 
                         fuck. I can beat you. Not forever, 
                         but I got this cabin rigged to beat 
                         you NOW!

               O.S., a sound. Like a THUMP near the cabin steps. He freezes, 
               like an animal sensing danger. THUNDER RUMBLES. The light 
               around him begins to flicker and sway.

               COLEMAN LANTERN

               a draft creeps beneath the glass enclosure. The flame, 
               dancing.

                                                                    CUT TO:

               INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY

               ENTERING FRAME, Clear peeks out the window, careful not to 
               be seen.

               EXT. CLEAR RIVER'S STREET - DAY - CLEAR'S POV

               The unmarked F.B.I. sedan maintains surveillance. Schreck 
               and Weine sit inside.

               INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY

               Distant... APPROACHING THUNDER RUMBLES as she steps away. 
               The weight of the world on her shoulders, Clear paces, 
               considering her options. She looks to a bookshelf...

               CLOSE - AN OLD PHOTOGRAPH

               A man, early thirties, holds a six year old girl in his arms, 
               waving at the camera. Both appear happy and alive. They are 
               standing before the cabin surrounded by the thick woods.

               The photograph is turned over. On the back is marked in a 
               young girl's handwriting, "me and dad at the cabin. 1986."

               CLEAR

               As CAMERA PUSHES INTO HER... considering life. Then, now and 
               what is to come.

                                                                    CUT TO:

               INT. UNMARKED CAR - NIGHT

               Weine sits in the passenger seat looking through the pair of 
               binoculars. Schreck is behind the wheel.

                                     WEINE
                         She was up there a minute ago...

               A figure steps into the drivers side window, from the rear. 
               The two agents are startled as Clear Rivers leans into FRAME. 
               She pauses, gauging their trustworthiness, then...

                                     CLEAR
                         I'm not turning him in. There's 
                         another life that needs him now.

               The two agents remain respectful...

                                     CLEAR
                         I go with you.

                                     WEINE
                         You can't.

               She considers... and understands.

                                     CLEAR
                         Don't hurt him.

                                     WEINE
                         Tell us where he is. Wait at home, 
                         and I promise... we'll bring him 
                         back safe, in protective custody.

               As she senses the agents' sincerity...

               INT. CABIN - NIGHT

               Distant THUNDER ECHOES. Alex kindles a fire in the fireplace, 
               balling up old newspapers. He begins to crumble the local 
               news... then pauses.

               A headline catches his attention. CAMERA INCHES IN ON HIM, 
               tense, while THUNDER RUMBLES. As he unrolls the paper, his 
               expression is rocked... anxious... he cocks his head to 
               consider... recalling... as CAMERA PUSHES ALL THE WAY INTO...

               HEADLINE - CRUMPLED NEWSPAPER

               "PARENTS TO ESTABLISH MEMORIAL SCHOLARSHIPS." Besides the 
               headline are two yearbook photos; Christa Marsh and Blake 
               Dreyer.

               ALEX

               his expression reflects a terrifying revelation...

                                     ALEX
                         I... never moved. Christa asked me 
                         to move, but I didn't change seats.  
                         I would've moved up... next to Tod... 
                         How could I not remember... that... 
                         I never moved. Clear's seat was in 
                         front of mine...

               CAMERA PUSHES into a TIGHT CLOSE UP...

                                     ALEX
                         She's next.

                                                                    CUT TO:

               INT. CLEAR RIVER'S HOUSE - NIGHT

               Clear paces in her living room. She moves to the curtains 
               and checks out the window. Although it is not raining, 
               LIGHTNING CRACKS across the sky!

               EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE

               The lightning STRIKES the top of the pole, SNAPPING two power 
               lines, which whip in the wind.

               INT. CLEAR RIVER'S HOUSE - NIGHT

               The power goes out. The room turns dark. Outside, brilliant 
               bluish white arc lights CRACKLE. Clear moves to the window.

               EXT. CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S POV - POWER LINES

               ARC violently striking the ground and each other. Each line 
               whips unpredictably like an uncontrolled garden hose with 
               the water turned on full. And yet, there's a mean, angry and 
               taunting personality to the two power lines. As if Death 
               were within them.

               INT. CLEAR RIVER'S HOUSE - NIGHT

               She assesses the situation and moves to a pair of candles on 
               the mantle, lightning them with a Bic. O.S., from the 
               backyard, a DOG BARKS. Clear brings the candle through the 
               small house.

               INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT

               Clear moves quickly to the kitchen, holding the candle. 
               Outside, BLUE ARC LIGHT CRACKLES. She looks out the backyard.

               EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S POV

               An old circular clothesline turns like a pinwheel in the 
               wind. In the center of the yard is an oblong, tarped above 
               ground pool. In the furthest corner of the yard, her dog is 
               chained to a tree, BARKING AND FREAKED OUT. An old tire swing 
               rocks in the storm. From the manner in which the house is 
               situated and the length of the snapped power lines, one is 
               capable of reaching the backyard.

               The power line STRIKES the ground, "closing in on" the dog.

               INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT

               Clear considers the danger of venturing out to get the dog.

               Although no window is open, and the power outage has shut 
               off any air conditioning... the candle flame whips, then 
               extinguishes. The blue smoke swirls ominously into the room.

               EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLOTHESLINE

               Sharp metal edges spin. Glinting blue arc light...

                                                                    CUT TO:

               EXT. CABIN - NIGHT

               Alex charges out the front door, leaping over the steps. 
               O.S., SEVERAL CARS APPROACH, headlights pan across the trees. 
               Alex stops dead in his tracks and runs off into the woods, 
               just as the F.B.I umarked sedan and three Sheriff 4x4s THUNDER 
               up to the cabin, siren lights swirling.

               INT. UNMARKED CAR - NIGHT

               Weine is driving, leading the other vehicles. Schreck points 
               out the passenger window.

                                     SCHRECK
                         There!

               EXT. CABIN - NIGHT - WEINE'S POV - THROUGH CAR WINDOW

               Full sprint, Alex disappears into the dark forest.

               WIDER

               the cars BRAKE to a stop, SKIDDING in the dirt. Sheriffs 
               leap out of their vehicles. High powered flashlights shoot 
               beams in Alex's direction. The officers take after the 
               suspect.

                                                                    CUT TO:

               EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT

               The backdoor opens. Clear charges out into the backyard.

               THE DOG

               Helpless, chain wrapped around the tree. THUNDER RUMBLES.

               CLEAR

               continues to run...

               THE CIRCULAR CLOTHESLINE

               is whipped by a power line. SPARKS FLY as the base pole snaps 
               in two.

               CLEAR

               the metal poles plunge into the ground just before and behind 
               her, inches from impaling her. She stumbles, but quickly 
               steps aside and continues toward the tree.

               THE CIRCULAR CLOTHES-LINE FRAME

               is rolled by the winds, across the yard toward...

               ABOVE GROUND POOL

               the clothesline frame punctures the pool. Water streams from 
               the rupture.

               CLEAR

               reaches the tree and begins unfastening the dog's collar 
               from the chain.

               THE POWER LINES

               whipping, strike one another causing an angry FLASH!

               THE RIVETS

               holding the pool frame begin to BREAK and POP. Water floods 
               into the yard.

                                                                    CUT TO:

               EXT. FOREST - NIGHT

               CAMERA MOVES WITH Alex, blindly running through the forest, 
               sheriffs' flashlight beams crossing behind him... in pursuit.

               Looing back to check the position of the agents, Alex blindly 
               runs over the lip of a downward slope...

               GULLY

               He rolls and tumbles uncontrollably down the hillside. As he 
               nears the base...

               ALEX

               stops with a CRUNCHING THUD... his face an inch from being 
               impaled by a sharp, thick protruding branch.  No time to 
               catch his breath, he's up and running.

                                                                    CUT TO:

               EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S FEET

               water floods, pooling the backyard, cascading over Clear's 
               feet. She looks down, in the reflection of the puddle, the 
               dark shadow passes. Clear whips up, checking the position 
               of...

               A POWER LINE

               coils, like a cobra, ready to STRIKE!

               TREE

               Clear drops the chain and hits the dog on its backside.

                                     CLEAR
                         Run!

               The dog starts to tear off toward the house. Clear runs toward 
               the hanging tire. Leaps...

               THE POWER LINE

               whips, the frayed wires hitting the puddle of water...

               CLEAR

               in mid-air, desperately grabs the tire, hanging on, literally 
               for her life. O.S., the dog YELPS. Clear turns back...

               CLEAR'S POV - THE DOG

               convulses in the small pool of water, burning from the 
               overwhelming amounts of electricity.

                                                                    CUT TO:

               EXT. FOREST - NIGHT - SMALL CREEK

               Distant flashlights reflect in a small stream, barely two 
               inches deep. Alex's foot splashes in the water. THUNDER 
               RUMBLES.

               ALEX

               races along the path of the stream.

               SHERIFFS

               continue their pursuit through the dark trees.

               ABOVE

               Lightning CRACKS a tree branch.  SPARKS FLY! The tree tumbles 
               down the branches.

               ALEX

               The thick branch falls from above, landing on top of him. 
               He's knocked to the ground and pinned... face down in the 
               creek.

               CAMERA MOVES IN... his nose and mouth, just below the water 
               line, but he cannot move. His eyes flash with panic, as he 
               struggles... battles to move and avoid drowning in two inches 
               of water.

               As he struggles in the f.g., Weine and a pair of Sheriffs 
               appear ten yards beyond him. They pause, confused, panning 
               their flashlights across the forest.

               WEINE'S POV - FOREST

               the lights actually expose the area where Alex lies. From 
               their position, however, he is covered by the branch and out 
               of sight.

               ALEX

               struggles to raise his head above the water, chest bursting...

               WEINE AND SHERIFFS

               believing Alex is not in the area, move ahead into the woods.

                                                                    CUT TO:

               EXT. BACKYARD - CLEAR RIVERS'S HOUSE NIGHT

               Clear pulls herself up to a tree branch. Lighting and THUNDER 
               CONTINUE amongst the ARCING, CRACKLING POWER LINES. She 
               searches for an escape.

               CLEAR'S POV - THE TREE BRANCH

               extends toward the house.

               CLEAR

               straining in the storm, begins moving up the branch...

                          CUT TO: EXT. FOREST - NIGHT - CLOSE - ALEX'S EYES

               dart open. Taking a tenth of a second to gather all of his 
               strength, all his courage, he arches his back, pushing with 
               his hands, anything to lift his face out of the stream.

               With a DEEP GASP, he does so. Drinking up the air. It appears 
               to infuse him with another blast of adrenaline as he manages 
               to push with his arms and free himself from the pinning tree 
               branch.

               He pauses only for a couple gulps of air... and is off.

                                                                    CUT TO:

               EXT. WINDOW - CLEAR RIVER'S HOUSE - NIGHT

               Clear leaps from the end of the branch to her window, grabbing 
               the sill awkwardly, she dangles outside the house. With a 
               breath, she pulls herself inside, just as the power line 
               bites, ARCING, at her feet.

                                                                    CUT TO:

               EXT. FOREST - NIGHT

               Weine RUNS INTO FRAME, looks around, frustrated...

                                     WEINE
                              (into radio)
                         Lost him.

               ANOTHER PART OF THE FOREST - SCHRECK

               Desperately scans the area.

                                     SCHRECK
                         From the direction... there's only 
                         one place he can heading...

                                                                    CUT TO:

               EXT. CLEAR RIVER'S HOUSE - NIGHT

               The power lines strike the rooftop.

               INT. CLEAR RIVER'S HOUSE - NIGHT

               Clear River's stands in her bedroom just as it fills with 
               blinding blue light. Her television screen BLOWS OUT. Sparks 
               jet across the room. Blasts of FLAME erupt from the electrical 
               outlets. She quickly turns, racing toward the hallway.

               INT. HALLWAY - CLEAR RIVER'S HOUSE - NIGHT

               CAMERA IS LOW, RACING WITH HER as SPARKS EXPLODE FROM the 
               lamps and electrical outlets. She cuts and leaps three steps 
               at a time down the staircase...

                                                                    CUT TO:

               EXT. EDGE OF THE WOODS/BACKYARD - NIGHT

               Alex tears across the fenceless backyards towards Clear's 
               house. Blue ARC light glowing from the front yard.

                                                                    CUT TO:

               INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               A mid-eighties Corolla is parked amongst Clear's artwork. A 
               door, adjacent to the kitchen flies open. Clear hustles 
               through, running to the car and entering via the passenger 
               door, for the sake of expediency.

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               The power lines WHACK angrily against the door.

               INT. COROLLA - NIGHT

               Clear scoots into the driver's seat. She CLICKS the automatic 
               garage door opener...

               GARAGE DOOR OPENER MOTER

               connected to a metal arm, attached to the door, remains 
               motionless - there is no power.

               INT. COROLLA - NIGHT

               Realizing the motor is dead, Clear takes a beat, STARTS THE 
               ENGINE and SHIFTS INTO REVERSE...

               EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT

               Alex reaches the backyard. CAMERA PUSHES IN as he quickly 
               tries to deduce the deadly situation. HE RUNS OUT OF FRAME...

               INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               Clear guns the small car in reverse.

               GARAGE DOOR

               as the rear of the car makes impact with the door...

               THE GARAGE OPENER

               trembles, the long metal arm collapses, falls...

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               BAM! In reverse, the Corolla SMASHES through the garage door.

               THE METAL ARM

               of the garage door opener RIPS through the windshield, locking 
               upon the windshield wiper grille. The other end remains 
               attached to the garage roof interior, essentially acting as 
               an anchor.

               INT. COROLLA - NIGHT

               The car SHUDDERS, wheels spinning uselessly, as the arm 
               "holds" onto the car.

               INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER 
               MOTER

               the screws holding the arm to the ceiling begin to pull 
               away...

               A METAL CAN

               on a shelf, is rocked as, O.S., the CAR rattles the garage, 
               trying to break free. The can is marked "TURPENTINE: EXTREMELY 
               FLAMMABLE." The can tumbles over the shelf.

               GARAGE FLOOR

               the can SMACKS on the floor, edgewise, REVREALING the can is 
               sealed tight with a cap.

               EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE

               thick cable ARCS, snapping toward the car INTO FRAME.

               INT. COROLLA - NIGHT

               Foot to the floor, Clear SCREAMS for the car to move.

               INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER 
               MOTOR

               pulls away from the ceiling.

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               The Corolla lurches backward, freed from the grasp of the 
               house.

               INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               a chunk of the ceiling collapses upon Clear's artworks, 
               including the canvas incorporating a jagged piece of debris 
               from Flight 180. The metal SLAMS to the floor, on top of...

               THE CAN OF TURPENTINE

               which causes the flammable liquid to stream out, toward the 
               driveway.

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               As the Corolla lurches away from the house down the sloped 
               driveway...

               THE POWER LINE

               THUDS upon Clear's car.

               INT. COROLLA - NIGHT

               An ear splitting CRACKLE. SPARKS FLY! The electrical system 
               of the small car erupts and the engine dies. The car stops.

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               From the rear of the house appears Alex. CAMERA SWEEPS IN ON 
               HIM as he reacts to the situation...

                                     ALEX
                         Don't move!

               WIDER

               The power line sadistically rests atop the automobile. The 
               exposed end of the cable flutters and whips like a cat's 
               tail, SPARKING, CRACKLING, as it hits the ground.

               INT. COROLLA - NIGHT

               Clear looks up desperately to Alex.

               EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT

               Alex extends his hands. O.S., CARS approach THUNDEROUSLY...

                                     ALEX
                         You're grounded in the car. Don't 
                         touch anything. DON'T MOVE.

               IN THE STREET

               The unmarked F.B.I. vehicle and two sheriff patrol cars pull 
               up on the street. Schreck and Weine hustle out of the car.

                                     WEINE
                         Alex, get away from there!

                                     SCHRECK
                         Any part of that line touches you, 
                         you're dead.

               THE POWER LINE

               SNAPS in ALEX'S DIRECTION.

               ALEX

               lurches back...

               THE STREAM OF TURPENTINE

               is ignited by a single spark from the power line. It flows 
               toward the car.

               ALEX

               backs away, eyes locked with Clear's, assuring she's remaining 
               in the car.

               CLEAR

               keeps her eyes locked on Alex, watching him. Suddenly, a 
               BURST OF FIRE FLASHES FROM BELOW FRAME...

               ALEX

               reacts, shocked. He realizes...

               WIDER

               the underbelly of the Corolla has ignited from the stream of 
               combustible fluid.

               SCHRECK AND WEINE

               step forward...

               THE POWER LINE

               atop the car, whips, ARCS, warning everyone away.

               IN THE COROLLA

               Clear can see the flames, her instinct is to grab the handle 
               to get out.

               CLEAR'S POV - GARAGE WALL

               The fire roars angrily in the f.g., on the garage wall, 
               however, the shadows do not match that of the flames, rather, 
               the approaching form of Death appears.

               ALEX

               steps closer...

                                     ALEX
                         NO!

               CAMERA PUSHES IN ON ALEX as he quickly considers, then moves 
               toward the hood of the burning car...

               SCHRECK AND WEINE

                                     WEINE
                         Get back! You'll both die!

               ALEX AND CLEAR

               hearing this, Alex's mind is made up. He looks to Clear.

                                     ALEX
                         You know what to do.

                                     CLEAR
                         No! No! Don't!

                                     ALEX
                         When I do this.. it'll have skipped 
                         you... and it'll all be over.

               At that moment, Clear doesn't understand. She looks to him, 
               scared...

                                     ALEX
                         You know what to do. I'll always be 
                         with you.

               He reaches out and grabs the power line, falling back to 
               pull it away from the hood of the car. The cable ARCS 
               furiously.

               COROLLA

               Clear opens the driver's side door and runs out, knocked to 
               her feet as behind her the car EXPLODES.

               ALEX

               is engulfed in the flames.

               ALEX'S POV - THE SHADOWS

               the edges of the FRAME are collapsing. Alex's face, gray and 
               emotionless appears, yet, before it can transform into 
               decay...

               ALEX

               through the flames, as if sensing the oncoming horror, defying 
               the image...

                                     ALEX
                         NO!

               He looks toward...

               CLEAR - ALEX'S POV

               She... is the last sight he'll ever see.

               WIDER

               The power line ERUPTS! Alex disappears behind the wall of 
               fire and sparks before falling limp on the driveway.

                                     CLEAR
                         Schreck, Weine and PARAMEDICS rush 
                         to the girl. Schreck turns back, 
                         calling out to a paramedic, helplessly 
                         watching by their burning car.

                                     SCHRECK
                         Is he alive?

               CLEAR'S EYES

               flash open, horrified, answering the question...

               THE SKY

               a web of LIGHTNING CRACKS across the Heavens, as if Death 
               was making a final angry proclamation.

               SCHRECK AND WEINE

               CAMERA EASES IN on the agents, exchanging rattled expressions 
               that convey their unease in the proof that Alex was right.

               CLEAR - OVERHEAD

               As a pair of paramedics work on her, a soft breeze blows 
               across the girl, and only the girl. CAMERA MOVES DOWN TO HER 
               FACE, her eyes opened... welling with tears... seeming to 
               realize... to sense, he is gone.

                                                                    CUT TO:

               INT. DELIVERY ROOM - DAY - CLEAR

               SCREAMS, as if reacting to Alex's death, but in actuality it 
               is a reaction to the pain of delivering her child.

               DOCTORS AND NURSES

               stand between Clear's legs in the stirrups...

                                     DOCTOR
                         A little more. Little more!

               CLEAR

               breathes, pushes hard. Alex's parents stand on each side of 
               her, holding her hand, wiping her forehead.

               THE DOCTOR

               cuts the umbilical cord.

                                     DOCTOR
                         He's here. A beautiful boy.

               CLEAR, KEN AND BARBARA

               smile and fight back the tears. Clear begins to laugh 
               euphonically through the tears.

                                     CLEAR
                         I felt him! When the baby was born... 
                         I felt Alex pass through me... like 
                         the night he died...

               Clear lifts her head up, still battling the pain of labor...

               CLEAR'S POV - THE BABY

               covered in goop, eyes shut... a new life arrives.

               DOCTOR

               looks at the clock and reports to an attending nurse. Another 
               nurse cleans up the baby, weighs him and places him in a 
               hospital bassinet.

                                     DOCTOR
                         13th of May... 4:25 p.m.

               CLEAR, KEN AND BARBARA

               Barabra places a cool wet cloth on Clear's forehead...

                                     BARBARA
                         Exactly a year... to the minute.

               Everyone recognizes the eerie, yet beautiful coincidence. 
               Clear leans her head back, relieved, euphoric...

                                     CLEAR
                         We beat it, Alex.

               Cleaned and wrapped in a swaddling blanket, the baby is placed 
               in the mothers arms. The long retrospective harmonica of 
               Neil Young's "Long May You Run" reprises as Clear looks at 
               the I.D. bracelet...

                                     WRIST BRACLET
                         "Alexander Chance Browning II."

               DELIVERY ROOM

               CAMERA PULLS BACK. The birthing room is quiet; the people 
               introspective. The doctors. The family. The mother and child. 
               A room of new life, in which, each recalls a life lost.

               As "Long May You Run" OVERLAPS...

                                                               DISSOLVE TO:

               INT. ALEX'S BEDROOM - DAY - FLOWERS

               A bright, colorful arrangement of flowers is carefully placed 
               into a vase. CAMERA ADJUSTS to REVEAL Alex's bedroom is now 
               lived in by Clear and the baby. Clear makes the final 
               adjustment in the arrangement, then checks the sleeping baby 
               in the bassinet.

               Clear moves to her bed with a book. As she settles in, O.S., 
               a faint RUSTLE. CAMERA INCHES IN ON CLEAR as she looks to...

               CLEAR'S POV - THE FLOWERS

               a soft breeze causes the petals to flutter...

               CLEAR

               looks toward...

               CLEAR'S POV - THE WINDOWS

               which are closed.

               CLEAR'S POV - THE FAN

               which... is off.

               CLEAR

               looks across the room... 
               

               CLEAR'S POV - THE ROOM

               The breeze moves through the flowers... billows the curtains, 
               posters and photos on the wall... until seemingly settling 
               over the bassinet. The lace trim and blankets rustled by the 
               breeze, it is hovering over the child.

               CLEAR

               CAMERA SETTLES, but her expression does not reflect fear. 
               She knows Alex is here... and she smiles, tears welling in 
               her eyes.

               THE BABY

               the bassinet trim settles, as if the presence is leaving. 
               Before it fully departs...

               CLEAR

               the wind softly and rapidly passes over Clear. He smile 
               remains as the room becomes still and her eyes looks across 
               the room.

               CLEAR'S POV - ON THE WALL is a pencil rubbing, like people 
               take away from the Vietnam veteran's Memorial. The name... 
               "ALEX BROWNING..."

                                                                    CUT TO:

               EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - MONUMENT

               "ALEX BROWNING" is marked in the granite. CAMERA PULLS BACK 
               TO REVEAL the name has been added to the memorial, along 
               with Tod Waggner, Valerie Lewton, Terry Chaney and William 
               Hitchcock.

               A hand ENTERS FRAME, fingers hover in space before they gently 
               trace over "Terry Chaney." CAMERA ADJUSTS TO REVEAL Carter 
               Horton, staring at the name. Alone, he allows himself the 
               moment to grieve. Carter glances up to find Clear approaching 
               with the baby in the stroller.

               Carter straightens and nods, then begins to walk away. He 
               hesitates, then turns back to Clear.

                                     CARTER
                         Alex was right.

               Clear looks up.

                                     CARTER
                         It did skip us.

               Clear smiles. As she takes the baby out of the stroller...

                                     CLEAR
                         I believe... that's what Alex 
                         believed. But how do we know... this 
                         wasn't the design all along?

               Clear holds baby Alex up to the monument, showing her son 
               his father's name. Carter stands, watching. CAMERA WIDENS to 
               REVEAL the entire monument against the deep blue sky. At the 
               base in readable, but understandable lettering... "FLIGHT 
               180."

               CAMERA HOLDS as "Long May You Run" CONTINUES... RETURNING 
               each of us to the awaiting darkness.

                                                                  FADE OUT:

                                         THE END
