Script: "Final Destination" Origionely Called "FLIGHT 180"
EARLY DRAFT
Written By: James Wong and Glen Morgan
January 15, 1999
**NOTE**** THE FOLLOWING MESSAGE IS A SPOLIER FOR THE MOVIE **** DON'T READ
ANY FURTHER IF YOU HAVEN"T SEEN THE MOVIE OR IF YOU DON'T WANT TO BE
SPOILED*****
The whole ending was changed for the movie. They changed it so the ending in
this first draft is not in the final product.
Read the script and at the end it will tell you the new ending.
Submitted By: AlexClare13
My EMAIL: alexclare13@hotmail.com
DEVON SAWA....... ALEX BROWNING
ALI LARTER....... CLEAR RIVERS
KERR SMITH....... CARTER HORTON
KRISTEN CLOKE.... MS. VAL LEWTON
DANIEL ROEBUCK... AGENT WEINE
ROGER G. SMITH... AGENT SCHRECK
CHAD DONNELA..... TOD WAGGNER
AMANDA DETMER.... TERRY CHANEY
SEAN W. SCOTT.... BILLY HITCHCOCK
TONY TODD........ BLUDWORTH
BARBARA TYSON.... BARBARA BROWNING
BRENDAN FEHR..... GEORGE WAGGNER
Awaiting......each of us; a cold...dark...lonely place.
Deny its finality. Dride it's totality. Dread the enescapable
invitability......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; "ERO-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
swivals 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 fans breezes flip throught the pages.
THE TABLE FAN
turns, head swiveling away from the bed.
TIGHTER - THE GUIDEBOOK PAGES
stop flipping, REVEALING A GULLOTINE from the Reign of Terror.
As an American passport is dropped beside the guidebook...
THE TABLE FAN
swivals, 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 swivals 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 conincidence as the blades whirl and head
swivels. The boys 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 (Cont'd)
Tod and Georges 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 envoiusly
at his son.
KEN
My suitcase workn'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?
EXTREAMLY 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 dozon 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 (Cont'd)
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 (Cont'd)
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 continues 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, and 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. (V.O.) (CONT'D)
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
insecerity of her sex appeal. She appears aloof and more wordly 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 haven'
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. CONT'D)
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., CONT'D)
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 (CONT'D)
Did you pack these bags yourself?
The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward.
ALEX'S POV - THE FLIGHT INFORMATION BOARD
Plastic tabs CLACK rapidly, settling on the word... "CANCELLED."
ALEX
CAMARA CREEPS IN on his dawning paranoia...
TICKET CLERK (CONT'D, 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?" CAMARA
INCHES INTO the ticket clerk gesturing pleasantly to the passport and
ticket...
TICKET CLERK (CONT'D)
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. CAMARA MOVES COUNTER to the direstion 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 chaperones, no student, has the nerve to
protest Carters action. Alex, Tod, George and BILLY HITCHCOCK, heavy set
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 your 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 (CONT'D)
That's seven hours and most of
it is in the dark.
ALEX AND TOD
The boys dump their change in a plastic bowls...
TOD
Dude, if we don't get someone
going on thif 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 39
CAMERA ADJUSTS from the sign indicating GATE 39. The class is squirrely and
excited. Mr. Murnau, Ms. Lewton, and the parent chaperones 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 magizines... 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 handmarked
"Boingo" (a cheat the 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 - 747
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 torgue
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 your 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. ANNOUNCMENT 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 Mountian 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 paasenger ramp.
ALEX'S POV - RAMP TUNNEL
CAMERA CREEPS toward it... lit to cheat of feeling of no return.
O.S., distant THUNDER RUMBLES...
WIDER
There is something more emotionally tense about the moment of boarding than
take-off. CAMARA 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! It's parents desperetly 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 kid 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 crames 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 tittie fuck 'em
over Greenland, or something?
TOD
Because of you, I gotta sit
here and watch fuckn' "Stepmom."
As Alex sits, the tray table falls from it's 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 postition, then gives up.
CAMERA FOLLOWS ALEX'S HAND as it rises. CAMERA SWEEPS IN EXTREAMLY 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 nearst 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 VLOUME 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,
angeled as the jets leaves the ground.
ALEX
O.S., hois 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
oxygon masks...
ALEX
his hand trembles as he reaches for the oxygon mask and places it over his
face. The ENGINES resuscutate. SCREAMING. WHINING. Alex checks out his
window.
ALEX'S POV - OUT OF WINDOW
The plane is on it's side losing altitude. A slow, sick spin.
ALEX
breaths deep into his oxygon 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 fuseluge. Human limbs and blood sprays, craft and passengers torn to
shreds.
Dead students sit lifeless in their seats.
Every unrestrianed 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 deafining 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 CRESCENDOES 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 every psyche.
CHRISTA (O.S.)
Alex?
ALEX
Drenched with sweat, trembling in his seat, his eyes dart toward Christa and
Blake. They look great and the'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 sickeninly disoriented. His eyes dart about searching for
evidnece 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 vacent seat. IT BREAKS OFF, JUST AS
BEFORE. CAMARA 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 expiriencing a
serious episode.
Directly across the aisle, Carter Horton and Terry look at him with severe
expression.
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 PLANES GONNA
EXPLODE!
Obviously, no one ever wants to ever hear that. The students tense.
THE FLIGHT ATTENDANT
immediatly turns to other attendants, sighaling for assistance with a quick
definite gesture. In the b.g., attendants hustle toward the economy class
cabin.
CARTER AND TERRY
CARTER TERRY
Shut up, Browning! 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 (CONT'D)
We have to get off this plane!
CLEAR RIVERS
CAMARA PUSHES INTO HER, hearing Alex's declaration.
ALEX (CONT'D)
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 FLIGHT ATTENDANT
Alex. Alex! Easy, man. Take it Sir, if this is a joke, we
easy. don't tolerate such humor.
The flight attendant restrains Crter 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 MR. MURNAU
Alex, Knock it off. It's alright. 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 aggressivly 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 attendants postioning 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 passed a
STEWARDESS to get to his seat. He is blocked by the mass of compatants 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!
Inder 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 hustleing up the
aisles.
MS. LEWTON MR. MURNAU
Everybody just stay where you Mr. Carpenter, keep an eye on
are. Just sit tight. 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 representitive.
CO-PILOT
No one get's back on board.
That's my call.
MS. LEWTON
PLEASE... I've got forty
students going to Paris...
As 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 attemp to calm him
down.
TOD
It's alright. It's alright.
You're off the plane. You're
the plane...
Rattled, Alex is attmpted to compose himself. Ms. Lewton appears, hurriedly
pulling aside Mr. Murnau.
MS. LEWTON
Airlines not taking this very well.
They'll let one of us back on and
the rest can grab a six ten flight
Get's 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 gate, taxiing toward the runway.
INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON
Carter turns over his shoulder, looking back angerily towards Alex. Terry
wraps a calming/restraining arm around Carter's shoulder, but he starts
towards Alex, seated with Ms. Lewton.
MENS ROOM ACROSS FROM GATE 39
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, sho nods. His friend's expression is soothing and open.
With lowered tense tone, meant for only 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 concered glances.
ALEX (CONT'D)
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 sicurity 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 suddnely, 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 180
The unceremonious speed of obliteration of hundreds of lives as 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
tragady.
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 reidual 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 soft spoken strength...
ALEX
You're lookin' at me as if I
cuased it. I did not cuase this.
LEWTON, CARTER, TERRY, AND BILLY
maintain their uncertain expressions. With strained apprehansion, as if not
wanting to "dabble in the occult," but needing in immediate answer.
MS. LEWTON
Is everyone dead? Are there any
survivors?
WIDER
Alex is taken back by the question, yet even his best friends 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 dresses 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.
SEIGAL
Hello. I'm Howard Seigal, 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.
SEIGAL
The cause of the explosion
is undetermined. Nassau county
authorities are on the scene. Naval
search and rescue are on rought.
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,
suspicioulsy, 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. Seigal 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 seditives 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 obsereve; 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 (CONT'D)
I'm not a pyschic... 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 foward...
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 surviviors have all returned to the room. They may be a group, but they
are alone with their thoughts. The door is opened by Ms. Whale.
Alex's Mother and Father lead by a group of parents into the room. Each
moves with grief, yet relief, to their child.
Barbara Browning grabs hold of Alex and holds him tight. The mother begins
to cry. Ken Browning, eyes welling with tears, grabs his son's hand and
squeezes. Alex does not cry. While holding his mother, he watches the
others.
ALEX'S POV - CARTER AND TERRY
Their parents are concerned, but do not demonstratively show affection.
Carter appears as if he wants to hug his MOTHER, but he can't bring himself
to betray his self image.
ALEX
his eyes moves toward...
CLEAR RIVERS
alone, hurt that no one has come to take her home.
ALEX
his eyes find...
TOD AND HIS FATHER
JERRY WAGGNER holds his son, both of them releasing anguished tears. Through
his grief, however, Jerry stares at Alex with an expression of anger and
accusation.
ALEX
CAMERA PUSHES IN ON HIM as he holds his mother tightly. OVERLAPPING... A
CRACK OF THUNDER!
CUT TO:
INT. KEN BROWNING'S CAR - NIGHT
Alex sits in the back against the door, looking out the window at the storm.
Clear Rivers is pressed against the other door. Everyone is slient. Outside,
the STORM angerily 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 spider web 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 (CONT'D)
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 (CONT'D)
Ecclesiastes tell us, "Man no
more knows his time than fish
taken in the fatel net...
ALEX
guiltily averts his eyes. Ken notes this and wraps a comforting arm around
his son.
MINISTER (CONT'D)
...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 (CONT'D)
...like these the children of
men...
ALEX
turns away, tense. He looks at the minister.
MINISTER (CONT'D)
...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 sxy 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
intoroduction, he begins Neil Young's "Long May You Run."
Two other students remove a cloth, unvieling 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 Carters breath...
ALEX
Then, maybe you should lay off
the J.D.
Carter has an angry reflexve 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 refrainingfrom showing any pain caused by
Carter's grip. Terry fianlly 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 gratitiude
in Carter's presence. As Alex pats her arm, Terry quickly moves off.
Shaken, Alex considers whether to move foward to the memorial. He steps
aside to let the others go ahead as Billy Hitchcock, who as 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, increudlously..
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 to Alex.)
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 and 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. Lewto
