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Final Destination 2 Movie Script

Writer(s) : J. Mackye Gruber, Eric Bress

Genres : Horror, Thriller

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                    FINAL DESTINATION 2
                          By J. Mackye Gruber and Eric Bress


FADE IN:

INT. DARK ROOM - NIGHT

TITLES OVER:

A padded wall is papered with NEWSPAPER CLIPPINGS that date back to
the early 1900s:

"LOCAL FOWLER BROTHERS LOSE $35 TICKETS TO BOARD TITANIC" appears
over "FOWLER BROTHERS KILLED IN COAL MINE MISHAP." Another series of
articles reads, "JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG"
and "PROFESSOR RABINOWITZ KILLED IN AVALANCHE." Etc...

Continuing along the wall, the newspaper articles all focus on the
fates of the original SURVIVORS of the FLIGHT 180 CRASH.

We DISSOLVE between the various headlines depicting the gruesome
deaths of Tod, Terry, Ms. Lewton, Billy Hitchcock, Carter and Alex
Browning.

Also in the mix are various CRIME SCENE PHOTOS of the deaths.

Decapitated torsos, crushed, mangled bodies, the charred remains of
another and the face- down body of Alex Browning.

MAPS line the walls as well, pinpointing the locations of numerous
deaths, perhaps seeking a pattern. Charts that timeline bizarre
deaths, seating charts of downed aircraft, etc...

LATEX -GLOVED HANDS tear out the last article, apply fun- tack to its
corners and place it in the center of all the others:

A REMEMBRANCE FOR THE VICTIMS OF FLIGHT 180

Friday marks one year anniversary.

END TITLES.

FLASH TO BLACK as a HAND ENTERS FRAME, PULL BACK TO REVEAL:

EXT. KIMBERLY'S NEIGHBORHOOD - DAY

KIMBERLY BURROUGHS, 19, puts a folded AAA map in her mouth. She opens
the back of a RED NISSAN SUV, and pla ces her duffel bag inside.

That done, she lets the map drop from her mouth, catches it in her
free hand and turns to hug her father, MR. BURROUGHS.


                        KIMBERLY
               Thanks, Dad. I'll call you.

                      MR. BU RROUGHS
             You have everything, Kimberly?
             Credit card, cell phone, AAA card?

                      KIMBERLY
             Relax, Dad. It's Daytona, not
             Mongolia.

                       MR. BURROUGHS
                     (playful)
             Fix -A-flat? Road flares?
             Sunblock? Mace?

                      SHAINA (O.S.)
             Condoms, handcuffs, lube?

Kimberly and Mr. Burroughs turn to see --

SHAINA, 19, tall leggy brunette. Tan, tight tube top revealing her
pierced navel, Kimberly's best friend. She walks up the driveway with
her bags.


                      SHAINA
             Just kidding, Mr. B. Don't worry,
             I'll keep an eye on her.

                       MR. BURROUGHS
                     (sarcastic)
             Oh, that makes me feel a lot
             better.

Shaina throws her bags in, shuts the back and climbs in the SUV.
Kimberly hugs her dad, kissing him on the cheek.


                      KIMBERLY
             I know this is the first time we've
             been apart since. But everything's
             gonna be okay.

                      MR. BURROUGHS
             I know, honey. I just --

Kimberly hugs him tighter. Cutting him off.


                      MR. BURROUGHS
             Your mother would have been so
             proud of the way you've handled
             yourself through all of this...

                      KIMBERLY
                    (softly)
             I know, Dad.

                       SHAINA (O.S.)
              Hello, the guys are waiting!

Kimberly gives him a quick kiss, jumps behind the wheel, starts the
car and pulls away as Shaina cranks up the stereo.


                        MR. BURROUGHS
               Buckle up!

Mr. Burroughs waves as the girls roar off. As he looks down he spots
an OIL STAIN left by Kimberly's SUV. As he drags his shoe across the
stain, a SLIGHT BREEZE blows past his face.

CAMERA PUSHES IN as a look of concern crosses his face.

EXT. HIGHWAY ON RAMP - DAY

ON OLD WOMAN

As she pushes her supermarket cart up the on ramp. A SQUEAKY WHEEL is
shrill and disturbing.

DRIVERS of several waiting vehicles avoid staring at her weathered
face as she passes. Up ahead waiting in line, is Kimberly's red SUV.

UP AHEAD

Waiting in line, is Kimberly's red SUV.


                        SHAINA (O.S.)
               Watch it!

Kimberly accidentally KISSES the bumper in front of her while
daydreaming. She calls out to the driver in front:


                         KIMBERLY
               Sorry!   My fault!

Shaina looks over, concerned. In the backseat, the guys DANO and
FRANKIE laugh hard and some of Frankie's milkshake comes out of his
nose.


                        SHAINA
               Want me to drive?

                        KIMBERLY
               No, I'm good.

Shaina looks at Kimberly as a HAND suddenly hits Kimberly's window.
Kimberly spins around, startled.

Kimberly stares transfixed at the Old Woman, who stares back with
chilling intensity.

The kids ad-lib "Let's go" and "Fucking freak." The Old Woman's
PLASTIC BAG BREAKS, sending oranges rolling down the on- ramp. The Old

Woman breaks eye contact with Kimberly as she rushes to retrieve
them.

The signal turns from red to flashing yellow.

Kimberly pulls the SU V onto the highway, looking in the side view
mirror to see the Old Woman look up at her in SLOW-MO.


                       FRANKIE
              Dano, shouldn't we go back and help
              your mother?

                            DANO
              Blo w me.

CU ON KIMBERLY

As she looks back from the mirror and reacts to an ominous electronic
road sign that flashes "WARNING: CONSTRUCTION NEXT 180 FEET".

NISSAN SUV

Kimberly merging into traffic, NEARLY COLLIDES with a speeding yellow
mini- bus carrying a high- school football team.

Kimberly nervously jerks the wheel to the right, then realizing she's
speeding towards the road construction barrels, she swerves back
left, right behind the mini-bus at the last moment.

CLOSE.

Kimberly pulls around the mini-bus as rowdy football players tackle
each other, yelling:


                            FOOTBALL PLAYERS
                 Pile up!    Pile up! Pile up!

Kimberly flicks on the radio and we hear HIGHWAY TO HELL by AC/DC at
earsplitting volume. Kimberly and Shaina jump from the shock and
reach to lower the volume.

Kimberly, disturbed by this, hits SEEK -- an oldies station. A GRISLY
CAR CRASH from Nervous Norvus' TRANSFUSION album.


                          DANO
                 Christ, is this tribute to Princess
                 Di Day or what?

Kimberly passes a car WEAVING on her right. The driver reaching into
the back seat to quiet a BARKING DOG hanging on its head out the
window.


                            KIMBERLY

                     (unnerved)
              Jesus, all the crazies are out
              today.

A CLOUD passes Kimberly's head. She smells it and turns around,
taking her eyes off the road to see Dano smoking a joint.


                       KIMBERLY
              I told you no drugs in the car!    My
              dad will freak!

Dano and Frankie exchange looks, God, what a geek!


                       DANO
                     (laughs)
              Calm down, Kimmy.   It's not drugs,
              just weed.

                       FRANKIE
              Yeah, you should have specified.

Kimberly turns to Shaina, helpless. Shaina spins around, her eyes
wordlessly tell Dano, I know she's a priss, but put it out.

Then Kimberly's CELL PHONE RINGS. She hits the speaker button.


                       MR. BURROUGHS (V.O.)
              Kimberly? It's Dad.

                       KIMBERLY
              Hey, Dad. What's up?

Dano defiantly blows more smoke toward Kimberly, then breaks into an
unexpected coughing fit - looking over to see a HELLS ANGEL laughing
at hi m. The biker's trashy GIRLFRIEND, also laughing, quickly FLASHES
HER TITS at Dano over:


                       MR. BURROUGHS (V.O.)
              Your car's leaking either
              transmission or brake fluid. I
              want you to have it checked ASAP at
              a gas station.

                       KIMBERLY
              You got it, Dad. I'll call you if
              I have a problem.

                       MR. BURROUGHS (V.O.)
              I mean it. Take care of it.

                       KIMBERLY
              I will, Dad. Bye, luv you.

Kimberly passes a STATION WAGON on her right, the DRIVER squinting at
a map while driving. A mattress and some furniture tied to the top
SHIFT as the wagon hits a bump.


                        SHAINA
               Um, Kimberly, your dad's not gonna
               call like every ten minutes is he?

Before Kimberly can answer, Dano sees a CHP speeding up behind him.
He lowers the joint at once.


                        DANO
                      (hiding bag of weed in
                           pants)
               Shit! There's a cop behind us.
               Pull into the right lane now!

Kimberly, scared, does as she's told nearly colliding with a speeding
flat bed semi hauling a huge load of logs !

A HORN BLASTS. The truck swerves. Then speeds by on the right. A
COILED CHAIN drops down to the highway.


                        DANO
               Look first, idiot!

Shaina turns up the radio and leans over to Kimberly.


                        SHAINA
               Ignore 'em.

ON LOG TRUCK

One end of the RUSTY CHAIN holding the logs in place rattles on the
pavement, sparking.

Looking in her rearview mirror, Kimberly turns pale - the COP pulls
in behind her.


                        KIMBERLY
               Dano, put that out NOW.

Dano takes one last drag and flicks the joint out the window. It
bounces on the windshield of a FORD EXPEDITION to their left.

INSIDE THE EXPEDITION

KAT, 28, very corporate America, wears a navy blue power suit and
speaks into a phone headset while smoking a cigarette.


                        KAT

             No, I'm stuck on Jury Duty so I
             won't be able to pitch the
             campaign. Let's get Silverstein to
             come in and...

Kat sees the joint that smoulders in the dried leaves beneath her
windshield wipers. A moment later, a small FLAME crackles.


                      KAT
             What the hell?     No,   not you.

Kat flicks on her WINDSHIELD WIPER FLUID, successfully putting out
the joint, but her worn wipers smear ash and fluid around, impairing
her vision.

Kat turns and looks at --

DANO, dead serious all of a sudden. Staring straight ahead.


                      DANO
             What's the cop doing?      Did he see
             that?

Kat sees the tailgating CHP, smiles, then resumes her conversation.


                       KAT
              Forget it, I'll call him myself.

Kat hangs up, then looks down at her cell phone, squints and dials a
number...

PAN OFF KAT TO OFFICER THOMAS BURKE

Early 20's, rookie cop, who seems to have missed the entire exchange.

INSIDE THE POLICE CAR

Thomas speaks into his radio.


                      THOMAS
             I was supposed to be off today.
             How did I get screwed?

                       DISPATCHER (O.S.)
              No biggie. Drake called in sick.

                      THOMAS
             Copy that.
                    (switches off; annoyed)
             Go on, sleep it off Drake.

Thomas tries to sip from a McDonald's coffee cup on the dashboard,
but it's TOO HOT. He places it back on the dash.

The VIBRATIONS of the road make the COFFEE CUP slide closer and
closer to the edge of the dashboard.

BACK TO KIMBERLY'S SUV

Dano nervously looks back.


                       FRANKIE
              Relax, dude.

But Kimberly still looks uneasy as her dashboard "Check Engine" light
begins flickering.

Kimberly spots a road sign -- Next Service 18 Miles.


                      KIMBERLY
             This trip better be wor th it.
             What's the guy- girl ratio again?

                      SHAINA
             Get ready to smile, five guys per
             girl.

                       KIMBERLY
              I can live with thaaaa --

Kimberly stops mid-sentence when the WHITE VAN in front of her
suddenly SLAMS ON ITS BRAKES and pulls onto the shoulder for no
reason. Kimberly SCREAMS, swerving around the van just in time to
avoid an accident. Frankie instinctively SHOUTS at the van.


                       FRANKIE
              What's your problem, ya fuckin'
              crack baby?!

INSIDE THE WHITE VAN

ISABELLA CRUZ, late 20's and VERY PREGNANT, drives a delivery van
full of funeral wreaths, crosses and classic rose urns. Most are
marked: In Memory of Flight 180.

She chokes back sobs into a cell phone as she pulls over.


                      ISABELLA
             ...couldn't Keep your dick in check
             for another month? I knew this
             would happen when I got pregnant.

She pounds the steering wheel, furious.


                       ISABELLA
              What'd the doctor say? I have to
              come in to test for STDs? Goddamn

               you, Jorge.

A CRATE in the back of her van topples over and CRASHES and a flurry
of sunflower petals sails out the window. Isabella jumps in surprise
and, wiping tears from her eyes, rolls up the windows as petals
shower the visor of --

EUGENE, the Harley Rider, who smears the petals (and some squashed
bugs) around his visor and drops back.

INSIDE NISSAN SUV

Kimberly falls back into the right lane and looks uneasy as she sees
a TRUCK DRIVER guzzling from a flask as it passes the SUV, revealing
its side is an ad for FIRESTONE TIRES.

It finally clears frame, revealing a highway billboard that reads,
"DRUNK DRIVING KILLS."

Kimberly reaches back and pulls on her seatbelt in spite of laughter
from the back seat.

Up ahead, the RUSTY CHAIN seems to have more give to it. LOGS STRAIN
against it.

Suddenly, a black cloud of exhaust from a blue '83 Chevette in front
of them causes everyone to roll up their windows.

OIL DRIPS from its rusty exhaust pipe. The thick exhaust BLINDS
Kimberly.


                        FRANKIE
               Gas it around these idiots. We do
               have 1200 miles to go, you know.

Kimberly tires to enter the passing lane, but she's blocked by a
SUBURU WAGON. In the front seat, a seven- year old kid is sadistically
SMASHING two toy cars together.

Kimberly passes the Suburu and pulls up to a PACER. The Harley roars
by, startling her.

INSIDE PACER

NORA KESNER, 35, and her son TIM, 15. Tim drums on the dashboard with
two ten-ounce Naya bottles.


                        NORA
               Tim, will you cut that out? I
               can't even hear myself think.

Tim frowns and then winces, holding his jaw.


                        TIM

              Damn, it really hurts, Mom.

                       NORA
              I know, we'll be there soon.

Tim drops the Naya bottles on the seat. One of them quietly falls to
the floor, rolls a bit, finally settling UNDER THE BRAKE PEDAL.

INSIDE NISSAN SUV

Kimberly is still behind the smoke-spewing Chevette. She passes it on
the left. Frankie rolls down his window.


                       FRANKIE
                     (yells to driver)
              Ever hear of the Ozone layer,
              asshole?

INSIDE CHEVETTE

RORY, 27, leans down to snort a line of coke off a Def Leppard CD
case. S he looks up to see the Patrol Car is now behind him, he
reflexively taps the brakes.

Rory, eyes like saucers, sits rigidly transfixed at the wheel and
nonchalantly wipes the CD clean on his pants.

INSIDE NISSAN SUV

She has dropped back behind the Chevette and CHP car and is running
down along side of a BLACK TRANS AM.

Up ahead she sees the Hig hway Patrol Car flick on its LIGHTS and pull
into the shoulder around the Chevette and behind the Semi loaded with
logs.

INSIDE THE COP CAR

As Thomas pulls in behind the log truck, his coffee cup lurches
forward, spilling hot coffee all over his lap and the floor.


                       THOMAS
              Son of a bitch.

INSIDE TRANS AM

Its driver, EVAN SCHAEFFER, 21, flashes a cocky smile at Kimberly,
clearly making Frankie jealous.


                       FRANKIE
              A Trans Am. That shit went out
              with New Kids on the Block.

                       DANO

              Yeah. Who does he think he is?
              Knight Rider?

                       FRANKIE
                     (laughs; then)
              Who?

Frankie leans out and tosses milkshake on Evan's window.


                       DANO
              You know, Hasselhoff before he did
              Baywatch.

Evan, pissed off, flips off Frankie. The windshield wipers smear
around the thick milky fluid. The sun blinding him.


                       KIMBERLY
              What's the chance of finding a nice
              mature guy once we get to Daytona?

                       SHAINA
              How does a nice mature fuck sound?

Kimberly laughs, then leans in close to Shaina.


                       KIMBERLY
              Hey, thanks for talking    me into
              this trip. Ever since     my mom... I
              dunno, I just feel like    I'm
              starting to live again,    you know?

Shaina smiles in understanding.

INSIDE POLICE CRUISER

Thomas bends to wipe up the mess. He only glances at the road as he
tries to soak up the coffee.

Suddenly up ahead, THE RUSTY CHAIN SNAPS! The logs roll off the side
of the truck onto the highway.

One bounces as it hits, and slams through Thomas' front winshield and
out the back, taking Thomas' head with it.

EUGENE slams on his brakes. His Harley slides out and he is SLAMMED
to the ground, sliding at 60 miles per hour across the highway, right
in front of the yellow mini-bus.

The MINI- BUS DRIVER brakes to avoid Eugene. The FOOTBALL PLAYERS
tumble forward and hit him in the head. He loses control and slides
off the road onto the grass median.

He blows a front tire and the mini-bus begins to flip, ROLLING
several times int o the oncoming lanes of traffic, and is HIT by a
MACK TRUCK.

Eugene slides into a huge log, and hits it with a sickening crunch.
Only to be HIT and CRUSHED by his sliding motorcycle.

Rory looks up too late and REAR ENDS Thomas' car, EXPLODING the gas
tank and HURLING Rory's dead body halfway through the windshield
where it remains half in/half onto the hood.

KAT, dialing, looks up, slams on her brakes, but SKIDS on oil from
the Chevette.
She swerves into Kimberly, SIDE SWIPES her, then swerves to miss a
huge log -- only to run head on into two more, flipping the
Expedition end over end right next to Kimberly.

Kimberly swerves back from being hit by Kat, just in time to see a
huge log ahead. She tries to turn hard to the right to avoid it, but
hits it broadside --

Sending the SUV FLIPPING OVER the top of the log and SLIDING down the
road. Inside, Shaina, Dano and Frankie are tossed around like rag
dolls, shredded by glass and shrapnel -- Frankie is EJECTED out the
side window.

Kimberly's SUV slides to a stop on its side. She looks back to her
mangled but still alive friends and up in time to see

NORA'S PACER

Nora sees the collisions ahead and slams on the brakes but the fallen
Naya bottle prevents her from braking, and she SLAMS into the back of
Kat's Expedition.

The crash test dummy collision folds her Pacer and it EXPLODES into a
huge fireball.

EVAN, blinded by the smeared windshield, is too late. He swerves his
Trans Am around the burning cars onto the wet grass.

Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF
FIRE and coast to a stop. Evan comes up battered and bloody but still
alive. He is trapped in his burning car, screaming and trying to
release the seatbelt.

Then, just when she thought it was over, a HUGE SEMI slides thro ugh
the wall of fire, SMASHING the Trans Am out of the way, SPINNING it
like a top. With the back sliding at 90 degrees it keeps on coming.

KIMBERLY'S POV

The semi's grill comes right at her!

CU ON KIMBERLY

She screams and we --

CUT TO:

THE HIGHWAY O N RAMP - NISSAN SUV - 8 MINUTES EARLIER

Sweating profusely, Kimberly's eyes dart around, taking in her
surroundings...


                      DANO (O.S.)
             Flight 180. You know, that plane
             crash with those kids from Mount
             Abraham.

The Old Woman BUMPS the window - scaring the shit out of everyone.

The kids ad-lib "Let's go" and "Fucking Freak!"

Kimberly stares in horror as the Old Woman flashes an evil grin.
Kimberly's eyes lower to the bag of oranges --

Which BREAKS, exactly like before, and the Old Woman scurries after
them. The signal turns from red to flashing yellow.


                      FRANKIE
             Dano, shouldn't we stop and help
             your mother?

                      DANO
             Blow me. Yellow means go,
             Kimberly.

Kimberly hyperventilates in the driver's seat. Freaking. A yellow
mini- bus with football players speeds past.


                          KIMBERLY
                 Oh my god, oh my god...

Dano, confused, rolls a joint.


                      SHAINA
             What is it? What are you?

                      KIMBERLY
             There's going to be a huge
             accident! Everyone's gonna die.
             All of us! I saw it!

Dano hums the Twilight Zone theme.


                          FRANKIE
                 That's it. My turn to drive.

CLOSE UP - KIMBERLY SCREAMS!

AND WE'RE BACK

THE HIGHWAY ON RAMP

Sweating profusely, Kimberly's eyes dart around, taking in her
surroundings.


                      DANO (O.S.)
             Flight 180. Y'know, that plane
             crash with those kids from Mt.
             Abraham?

The Old Woman BUMPS the window - scaring the shit out of everyone.

The kids ad-lib "Let's go", "Fucking freak."

Kimberly stares in horror as the Old Woman flashes an evil grin.
Kimberly's eyes lower to the bag of oranges, which breaks, exactly
like before and the Old Woman scurries after them.

The signal turns from red to flashing yellow.


                      FRANKIE
             Dano, shouldn't we stop and help
             your mother?

                         DANO
              Blow me.    Yellow means go, Kimmy.

Kimberly hyperventilates in the driver's seat. Freaking. A yellow
mini- bus with football players speeds by.


                       KIMBERLY
              Oh my God, oh my God...

Dano, confused, rolls a joint.


                      SHAINA
             What is it? What are you?

                      KIMBERLY
             There's going to be a huge
             accident! Everyone's gonna die,
             all of us, I saw it!

Dano hums the Twilight Zone theme.


                       FRANKIE
              That's it. My turn to drive.

HONK! The drivers behind them start leaning on their horns. Kimberly
leans out the window and sees the Chevette, the Pacer, The White Van,
the Trans Am, the Harley...all the familiar vehicles from the pile
up. She turns on the radio, frantically scans the dial.


                         SHAINA

              Relax, you need to chill the fuck
              out.

                       KIMBERLY
              Highway to Hell, Highway to Hell.

                       SHAINA
              For Christ sakes girl, take a
              breath.

                       D.J. (O.S.)
              Taking you into an all request
              weekend with a classic from AC/DC.

The opening guitar riff to HIGHWAY TO HELL blares from the speakers.
Kimberly turns to Shaina with a "believe me know?" look, but Shaina's
nowhere near on the same page.

HONKING behind them.

Kimberly, shaking like a leaf, pulls the SUV forwards, turning it
sideways to block off all traffic.


                       DANO
              What the hell are you doing?

Dano shifts in his seat and sees - a Highway Pat rol Car ominously
cruising up the shoulder of the onramp. He shoves a bag of weed,
along with the joint, down his pants.


                       DANO
              Five-O's coming!   Let's fucking
              roll, man!

Officer Thomas Burke stops the car behind them.


                       FRANKIE
              Jesus Christ! Here he comes!
              Move!

                        KIMBERLY
              No!   We'll all die if we do!

The cop turns on his FLASHERS.


                       DANO
              I told you she'd ruin everything!

                       SHAINA
              Shut up, Dano, just stay cool.
                     (to Kimberly)
              He's just stoned.

Officer Thomas Burke exits his car and approaches the passenger side
of the SUV, hand on weapon. Thomas taps the window with his knuckle.

                        THOMAS
               What's going on here?

                        KIMBERLY
                      (incoherent, through
                           tears)
               There's going to be a pile up.
               Logs. Bodies everywhere. I saw it
               happen. It happened.

Thomas looks to the guys in back who shrug, "we don't know her."


                        THOMAS
               Miss, please step out of the
               vehicle.

As she does, Thomas discretely unsnaps his holster. RORY nervously
eyes the action. Sneaks a paper bundle into his sock. ISABELLA, the
pregnant woman in the White Van, gets out. She gives Thomas her
friendliest smile, milking the pregnant belly.


                        ISABELLA
               Excuse me, but is there some way we
               could just drive around? I have a
               delivery.

Her CELL PHONE RINGS and she leans back inside to answer it.


                        ISABELLA
               Hey hon, you got a mysterious
               caller on the answering machine
               from Planned Parenthood. What's
               going on?

As she listens, growing agitated, the Harley Rider dismounts and
pulls off his helmet. Revealing EUGENE DIX, 35, a nebbishy school
teacher in cool leathers.

INSIDE PACER

NORA watches the SUV, distressed.


                        NORA
               What on Earth are they doing?

                        TIM
                      (picking up two Naya
                           bottles)
               Who am I, David Blane?

Nora gives Tim a hard stare, then they both break into smiles. Nora
tousles his hair. And doesn't stop.

                      TIM
                    (good-natured laughter)
             Okay, quit it already.

As he laughs, something pains his jaw and he winces. THOMAS isn't
quite sure what kind of insanity he's dealing with yet. Dano and
Frankie, no help, stare dead ahead.


                      KIMBERLY
                    (trying to calm herself)
             The radio played the same songs,
             the old lady's bag broke the exact
             same way it did in my premonition.

Kimberly erupts into a panic when she sees the LOG TRUCK speed past.
She grabs at Thomas for emphasis.


                      KIMBERLY
             THAT's the truck that's going to
             kill everyone!

                      THOMAS
             Alright miss, calm down. I just
             need this lane open. I need you to
             pull your vehicle onto the
             shoulder!

                      KIMBERLY
             You're not listening to me!   You
             have to do something!

EVAN impatiently yells out the window of his TRANS AM.


                       EVAN
              Arrest this whack-job, wouldja?
              Some of us have lives, y'know.

Kimberly looks to Shaina for support, but even Shaina can't meet her
eyes.


                      KIMBERLY
             Why won't anyone listen to me?

Thomas, subtly reaching for his cuffs.


                      THOMAS
             I'm not going to tell you to calm
             down again --

A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD. In the distance. It's
neverending. Horrific. Kimberly's face crumbles. She screams in
horror and collapses against the SUV.

Thomas runs to his patrol car.

The White Delivery Van makes a J- turn out of the line of cars and
SPEEDS down the onramp in reverse, Isabella screaming angrily into
her cell phone.


                       ISABELLA
              You couldn't keep your dick in
              check for a month?!

The other drivers exit their cars, craning their necks to see what's
happened up ahead. Kat takes a deep drag off her smoke.


                       KAT
              Great, now I'm really gonna be
              late.

Thomas barks into the radio handset --


                       THOMAS
              L.A. 51, I need assistance and
              requesting paramedics for a major
              T.A. At --

INSIDE THE SUV

Frankie watches the traffic start to back up as a couple of passing
cars BRAKE HARD. Shaina anxiously watches Kimberly pacing behind the
SUV.


                          SHAINA
                 Kimberly, what's going on?

Kimberly moves toward Shaina's window. As she leans her head into
Shaina's window, an ominous BREEZE blows back their hair and we hear
the BLARING HORN of a TRUCK.

And Kimberly is unexpectedly yanked backward by Thomas!

From nowhere, a SHRIEK of BRAKES as a JACK-KNIFED TRUCK plow s the SUV
across the frame! CRASH! Flying debris misses Kimberly and Thomas by
inches!

Kimberly cries in horror into Thomas' shoulder as her friends burn up
in the wreckage.

EXT. POLICE STATION - ESTABLISHING SHOT

INT. POLICE STATION - CONTINUOUS

CHAOS. Evan, the driver of the Trans Am, impatiently speaks to
DETECTIVE SUBY, late 40s, professional with an open face that makes
him a great listener.

                      EVAN
             I don't know what you want from me.
             Some crazy chic k blocks the highway
             with her car, said there'd be an
             accident and there was. Big deal.
             Even a broken watch is right twice
             a day...

Officer Thomas Burke passes by, heading into --

INT. A ROOM - CONTINUOUS

Kat, Eugene, Nora, Tim, and Rory sit in a large room, waiting to give
statements. Unlike Evan, these witnesses are clearly distraught.


                      KAT
             Not to sound insensitive, but how
             much longer is this going to take?

                      EUGENE
             If I don't get back to my classroom
             soon, the kids'll tear the room
             apart.

                      NORA
             Those poor people. To think it
             would've been us if not for...

PAN OVER TO REVEAL KIMBERLY. She's still in shock, her mind far away.
Thomas sits close to her, speaking softly.


                      THOMAS
             Tell me again how it started.

                      KIMBERLY
             Like I said, it was like I was
             there. I remember everything. The
             sounds of the crashes, the smells,
             the look on Shaina's face...

                      THOMAS
             Do you remember what triggered it
             all?

                      KIMBERLY
             The log truck...and everybody I
             guess. Everyone was driving like a
             maniac. And somehow I knew
             something horrible was going to
             happen, even before it did.

Something clicks for Thomas, but he forces himself to speak calmly,
like a lawyer leading a friendly witness.


                      THOMAS
             You knew? You just mean a hunch,
             right? A bad vibe, maybe?

The other drivers stare at Kimberly.


                       KIMBERLY
              More than that. All the songs on
              the radio were about car crashes.
              Some kid's banging toy cars
              together.
                  (lookin g at her)
              She was dialing her cell phone with
              her headset on.
                  (points to Rory)
              His car was leaking oil all over
              the road.

                       RORY
              Hey, don't be knockin' the
              Chevette.

But the others listen intently now. Especially Kat, who spies her
headset buried deep in her purse.


                       KIMBERLY
              Billboards about accidents. Kids
              yelling "pile up" for no reason.
              It all felt...just wrong.
              Just like...
                  (swallows; hesitates)

                       THOMAS
              Like what?

Kimberly sighs and looks down. The room becomes eerily silent, except
for the FLICKER of a florescent light.


                       KIMBERLY
              I know this sounds crazy...but you
              all heard about Flight 180, right?
              The kid who got off the plane?

Thomas' eyes widen -- then a startling CRASH as Rory, le aning back in
his chair, tips over. Thomas rolls his eyes as Rory grins sheepishly
and picks himself up.


                       THOMAS
              You mean Alex Browning.

                       KIMBERLY
                  (looking down)
              ...My Premonition was just like
              his.

                       NORA
              What are you talking about?

                       EUGENE
                  (sarcastic)

              Oh, you must have read about that
              kid who had a dream about a plane
              crash so he got his buddies off the
              plane? Then the thing blew up just
              like in the dream?

                         NORA
              Maybe...

Eugene sees Nora and Tim are hooked and speaks in scary campfire
tones.


                       EUGENE
              But this is where it starts to get
              freaky. So a month goes by,
              everything seems cool, but then the
              survivors start dying one boy one.
              'Cause when your number's up, it's
              up, right? Some people said Death
              itself started coming for them,
              hunting down every last one, until
              they were all dead.

Everyone tenses up.


                       THOMAS
              Well, not quite all of them. Clear
              Rivers checked herself into a
              padded room at Stoneybrook.

Kimberly, affected, looks to Thomas for confirmation.


                       KIMBERLY
              You do believe me, don't you?

BANG! Everyone jumps as Detective Suby pounds on the door and opens
it.


                       DETECTIVE SUBY
              Officer Burke? Could I see you in
              here?

INT. OBSERVATION ROOM - CONTINUOUS

The DOOR OPENS. Detective Suby enters, leading Thomas. Through a two -
way mirror, they can see the others chatting anxiously.


                       DETECTIVE SUBY
              Tell me you didn't start up on that
              Flight 180 shit again.
                  (beat)
              Did you?

                         THOMAS

              Of course not. That would be
              irresponsible and unprofessional.

Detective Suby's persistent glare makes Thomas uncomfortable.


                       THOMAS
              Look, you weren't there. It was
              weird. She knew that log truck was
              gonna cause an accident, she knew.
                  (beat)
              Never mind.

                       DETECTIVE SUBY
              I thought we we re finished with
              this bullshit. This is police
              work, not the psychic Hot Line.

But Thomas isn't listening. He's glued to Kimberly's words. When
Detective Suby realizes this, he stops and listens.


                       KIMBER LY
              But if I was never meant to pull
              over, then we all should have died
              in the pile up.

                       TIM
              Which means Death could be coming
              for us.

Detective Suby looks pissed o ff.


                       DETECTIVE SUBY
              Way to console the witnesses Burke.

At the same time, we watch Evan enter the other room, grab his jacket
and wave goodbye to the others.


                       DETECTIVE SUBY
              You got 'em thinking Death is after
              them? Shit, they're the luckiest
              sons o' bitches on the planet. Get
              this guy Evan Shaeffer; Yesterday
              the kid wins the lotto and today
              some looney bitch b locks traffic
              and he avoids the worst pile up in
              years. I should be so damn
              unlucky.

INT. A ROOM - CONTINUOUS

Kimberly, Nora, Tim, Kat, Eugene and Rory now seem affected by what
they've heard.


                       KAT

               What if it's true? What if it's
               happening all over again?

The fluorescent light above FLICKERS ominously. Nora, disturbed,
stands up in a huff, grabbing Tim's arm.


                        NORA
               You're all certifiable, you know
               that? I can't believe I've been
               listening to this crap. Come on,
               Tim, let's go outside.

                        TIM
               Jeez, Mom, stop trippin'.

                        EUGENE
               Look lady, we're just yankin' your
               chain.

                        RORY
               Yeah, you're acting like we all
               just got the Diff'rent Strokes
               curse or something.

Eugene and Rory burst out laughin g. Nora shakes her head, disgusted.


                        NORA
               What's wrong with you people?

Nora pulls a reluctant Tim out of the room. As she opens the door,
the others watch Detective Suby and Thomas appear from nowhere to
calm her down . When the door swings shut, an awkward silence.
Suddenly, the door opens again and Thomas leads Mr. Burroughs inside.
Mr. Burroughs sees Kimberly and chokes back tears.


                        MR. BURROUGHS
               Kimberly...

The sight of her fath er crying is enough to make Kimberly's own dam
burst. She rushes over to him and buries her head in his chest,
sobbing.


                        MR. BURROUGHS
               Can I take her home?

Thomas nods.


                        DETECTIVE SUBY
               Sure, you can all go.

By now, the fluorescent light flickers out of control. When Rory, Kat
and Eugene stand up, Thomas looks helpless.

                      KAT
             First I'm stuck with Jury Duty, now
             this nonsense.

                      RORY
             Yeah, I hate to love and leave ya,
             but I've been over this X-Files
             shit since the sixth season.

As Thomas watches them file out, the fluorescent light POPS. Then
DARKNESS.

INT. KITCHEN - DAY

Kimberly sits at the table. Mr. Burroughs sets down a cup of tea
before her. Both are shaken.


                      KIMBERLY
             I know it's crazy, but I'm really
             scared for the others. I've got
             this terrible feeling.

                      MR. BURROUGHS
             What feeling?

                      KIMBERLY
             That it's not over yet.

She picks up the tea, it clatters in her trembling hands.


                       MR. BURROUGHS
             Don 't worry. Everything will be
             fine, you'll see.

INT. EVAN'S STAIRWELL - DAY

A dingy singly light bulb illuminates the narrow stairwell. Evan
appears in the darkness, carrying a brand new television with some
packages on top. He's unable to s ee the long rickety stairwell he
climbs.

The stairs are littered with Chinese take out MENUS and a TONKA TRUCK
apparently left by some kids.

As Evan slowly climbs the staircase, a FAT MAN comes down, forcing
Evan to lean against -

THE RAILING - which CREAKS and BENDS. After the FAT MAN passes, Evan
slowly continues up again, TEARING HIS SHIRT on a nail.


                      EVAN
             Motherfucker.

A HEATING DUCT CLICKS ON. The air blows a TONKA TRUCK slowly toward
the center of the staircase, directly in Evan's path - but Evan just
misses it!

He continues past MORE TOYS, nearing the top stair -

The Airduct coughs, sending menus fluttering toward Evan's feet and
he slips on them! He juggles the TV - but ultimately rights himself
and continues down the hallway.

INT. EVAN'S APARTMENT - CONTINUOUS

Dim, cheap, probably roach-infested. As Evan enters, the small
packages fall off the TV box and onto the floor.

Evan places the TV by the door, looks at his torn shirt, but fuck it,
who cares; he's on a natural high. He peels his shirt off, revealing
his PIERCED NIPPLES, flicks on the radio and DANCES his way over to
the fridge and grabs a drink.

In the tiny kitchenette area, a small swarm of flies hovers over a
grease-filled frying pan.

Evan recoils, throws open the window and throws the grease to the
sidewalk five stories below. An ominous BREEZE enters --

And a kitchen cabinet slowly BLOWS OPEN. Some FORKS and KNIVES slide
forward on poorly stacked plates. Daring to fall into the toaster.

Evan spills some cooking oil on the range while pouring it into the
frying pan, then dumps in some frozen mozzarella sticks. Evan puts
the frying pan on the stove and turns it on HIGH.

He then grabs a container of CHINESE FOOD and rests it on the counter
next to the fridge. On the fridge, several colorful MAGNETS spell out
HEY E.

PUSH IN on the H - which mysteriously drops into the Chinese food -
the word EY E remaining. Oblivious, Evan puts the food in the
microwave and turns it on.

ANGLE ON STOVE

The cooki ng oil creeps toward the range... Evan hits PLAY on his
answering machine and rushes across the room to tear open his
packages...


                       VOICE (O.S.)
              Dude! You suck! You buy one
              fucking ticket in your whole life
              and win twenty grand? We're going
              whoring in Prague, you know this!
                     (whisper)
              Hold on, the boss is coming.

A CLICK, then hold MUZAK: AC/DC's HIGHWAY TO HELL.

ANGLE ON MAGNET in Chinese fo od. SPARKING. It pops and fizzles. And
ugly sound.

As many similar messages continue, Evan unwraps a new ROLEX! He
slides it over his wrist, admiring it.

ANGLE ON KNIFE

Lazily sliding off the shelf and into the toaster, protruding about
an inch and a half. Hardly noticeable.

By now, Evan has opened the next package; a gaudy gold and diamond
encrusted horseshoe ring.

He carries the ring into the kitchenette, sees the Chinese food is
FLAMING, and his hands flash out to turn it off -- A SMALL EXPLOSION
from the microwave startles him.

The RING falls into his drain/garbage disposal!


                         EVAN
              Damn it!

Evan reaches INTO THE DRAIN, his fingers searching for the ring. When
he tries to pull his hand back out, the ROLEX CATCHES.

Another small EXPLOSION from the microwave, this one cracking the
GLASS. A Solo Plastic Cup nearby begins to melt.

Flames sputter around the rim of the frying pan. In moments, the oil
from the pan IGNITES. A small fire.

Evan sees all this and YANKS with all his might. No use. As the FIRE
slowly spreads to nearby cereal boxes, Evan starts to panic. He
continues yanking... Stuck.

He sees a bottle of PALMOLIVE on the other end of the counter. His
fingers reach for it.

Slightly out of his grasp. But his fingertips are just long enough to
knock the bottle backwards - where it rests against TWO SWITCHES.

The FIRE ALARM goes off. The PHONE RINGS.

Evan desperately lifts his leg and tries to use his foot to edge the
Palmolive over. By pushing the bottle up against the wall, it
threatens to turn on one of the switches.

ANGLE ON FINGERS

In the GARBAGE DISPOSAL. A SWITCH is flipped - but the light goes on.
And the Palmolive lazily falls, resting on the remaining switch.


                         EVAN

              Come on, come on...

Evan makes one last push with his foot - accidently flipping the
SWITCH - the GARBAGE DISPOSAL GRINDS METAL!

Evan, horrified, miraculously yanks his hand free, brushing against
the knife in the toaster.

When the SHOCK goes through Evan's body, his other hand jerks out,
knocking the flaming frying pan to the floor.

The entire kitchen is in flames, including the new TV blocking the
door. The window slams SHUT! The room fills with smoke.


                       EVAN
              Jesus Christ!

Evan grabs a fire extinguisher. A mere dribble of foam comes out. He
begins COUGHING in the smoke.

Evan tries the window - STUCK! He has no choice but to smash the
kitchenette window with the fire extinguisher to get to the fire
escape.

He dr ops the fire extinguisher, starts to climb out the window, hears
a creak and looks up just as --

A large jagged shard of glass comes CRASHING down at him -- Evan
jumps back just in time as it shatters before him. The fire
completely engulfs the kitchen.

He bravely jumps through the window pane, landing on the fire escape.
He runs down the fire escape from floor to floor.

A LARGE BLAST from his window showers him with glass and brick
shrapnel, but ultimately, he makes it to the fire escape's lowest
level, intact.

He tries to lower the rusty metal ladder to the ground. It budges
once, then twice, but won't go down. So he climbs over the railing
and gently drops to the ground.

Safe and sound, he breathes a sigh of relief and turns to walk --

SUDDENLY he s lips on the very grease he threw out the window, his
legs shoot out from under him and he lands on his back.

The rusty ladder suddenly dislodges and hurls downward -- coming
right for Evan's face -- but stops halfway!

As Evan laughs, breathing a final sigh of relief, it suddenly
PLUMMETS again -- impaling Evan through his eye socket!

INT. POLICE STATION - COMPUTER ROOM - NIGHT

Thomas sits at the computer terminal. He checks to make sure no one's
watching as he enters a SEARCH for Alex Browning.

Ten websites come up, all devoted to the Flight 180 Curse. Thomas
scrolls around, seeing the death pix and autopsy photos of Flight 180
"survivors".

Headlines blare, "Freak Accident?" "Bizarre Coincidence?" describing
the way the victims died. As Thomas begins a localized search of the
word, "PREMONITION" --

SPOOKY HUMMING from behind him.

Thomas whirls around to see Det. Suby looking over his shoulder,
humming the music from an old monster movie. Suby presses one hand to
his forehead, the other polishing an apple against his vest.


                      DETECTIVE SUBY
                    (as if entranced)
             Ooooh, I see it now. Your
             future... A transfer to another
             department.

Suby bites the apple, casually offering nothing more. Thomas,
embarrassed, flicks off the computer, stands.


                       THOMAS
              You've made your point.

                      DETECTIVE SUBY
             Good. Cause we just got some new
             info and I don't ne ed you getting
             freaky on me.

                      THOMAS
             What?

                      DETECTIVE SUBY
             Evan Shaeffer's dead. Guess he
             wasn't as lucky as we thought.

Detective Suby shrugs and walks away, munching the apple. Thomas
looks stunned.

INT. KAT'S ROOM - NIGHT

Kat cradles a phone to her shoulder. She watches television and
crushes Oreos into a bowl of ice- cream.


                      KAT
             No, Mom. Just turn on any station,
             they've been playing it all day.
                    (beat; rolls her eyes)
             Yes, Mother. Channel four will do
             just fine. Here it is, gotta go.

She hangs up the phone, mesmerized by the report:

FOOTAGE FROM A HELICOPTER shows the pile up wreckage.


                      ANCHOR MAN (V.O.)
             Route 18 was backed up for almost
             nine hours today when a record
             breaking pile up...

INT. NORA'S LIVING ROOM - CONTINUOUS

Nora and Tim watch the same report.


                      ANCHOR MAN (V.O.)
             ...killed An estimated 18 people.
             Emergency crews spent hours sifting
             through the wreckage.

INT. EUGENE'S LIVING ROOM - CONTINUOUS

Eugene looks up from grading midterm bluebooks to watch.


                      ANCHOR MAN (V.O.)
             ...hoping To recover any survivors
             from this tragic collision. So
             far, the police are refusing to
             release the names of the victims
             until their families are notified.

INT. KIMBERLY'S HOUSE - CONTINUOUS

Mr. Burroughs numbly watches the same report. He doesn't see Kimberly
enter behind him from the kitchen.


                      ANCHOR WOMAN (O.S.)
             The camera of a highway patrol car
             managed to catch this shocking
             footage --

B/W CAMERA FOOTAGE from Thomas' car shows Thomas tackling Kimberly to
the ground just as a jack -knifed truck plows into the SUV.


                       MR. BURROUGHS
              My Lord...

A GASP from behind him. Mr. Burroughs spins to see Kimberly fighting
back tears and picks up the remote, prepared to click of the TV --
but she stops him.


                        KIMBERLY
              Don't.   I have to see this.

Mr. Burroughs reluctantly keeps the newscast on.

INT. RORY'S APARTMENT - CONTINUOUS

It's a party. Rory, surrounded by BUDDIES, shakes a triumphant fist
at the television. HE WHOOPS with delight, spilling popcorn
everywhere.


                     RORY
             Whoohoo! You see that shit? Right
             there? That's my fuckin' car right
             there! Oh God, that's dope.

After high-fiving his peeps, he bends to table level and snorts a
freshly chopped line.


                      ANCHOR MAN (O.S.)
             In other news, a freak accident
             took the life of a lotto winner.

Rory looks up to see the DMV photo of Evan. As he takes in the
report, his mood radically shifts. He looks like he's been hit by a
train.

MONTAGE

Of Kimberly, Nora, Tim, Eugene and Kat watching. They all take the
news very hard as the FOOTAGE shows Evan's BODY being carried away by
EMT workers. Eugene, however, shakes his head sadly but goes back to
grading blue books.

TIM'S BEDROOM - LATER

Tim's eyes are glued to the latest Stephen King novel. Nora peers in.


                      NORA
             Come on, Tim, lights out already.

Tim starts at her voice, then reluctantly puts down the book.


                        TIM
             Mom?

                        NORA
             Yeah?

                      TIM
             You think... You think those guys
             were b.s.-ing us today or what?

Nora swallows, trying to seem brave.

                      NORA
             Oh, please. Some people just need
             some serious rewiring, that's all.

But neither of them are convinced.


                      NORA
             Get some sleep.

Nora kisses his forehead and leaves the room. After she leaves, Tim
opens his nightstand drawer, pulls out a dusty nightlight and plugs
it in.

INT. NORA'S BEDROOM - MOMENTS LATER

Nora closes her bedroom door. And locks it. She nervously checks the
closet and even lowers the blinds. Finally, she takes out a business
card and dials a number. She hangs up, then dials again.


                       NORA
              Officer Burke, please?

INT. KIMBERLY'S ROOM - CONTINUOUS

Mr. Burroughs tucks a still-shaken Kimberly into bed. In one of his
hands is a nearly empty glass of scotch.


                      KIMBERLY
             It's okay, Dad. I'm not ten
             anymore.

Mr. Burroughs catches himself being overprotective.


                      MR. BURROUGHS
             I'm sorry. I'm just so happy that
             you're safe.

                       KIMBERLY
              I love you too, Dad.     Goodnight.

But Mr. Burroughs isn't ready to leave. He finishes his drink.


                      MR. BURROUGHS
             You know, after your mother died...

Kimberly tenses, bracing for the worst.


                      MR. BURROUGHS
             There were so many times I didn't
             think I could last another day. I
             can't even tell you some of the

               things I th ought about.

                        KIMBERLY
               I used to have those feelings, too.
               But that's when I'd think of Mom.
               Her strength...and courage. And
               I'd pray that maybe I'd grow up to
               be as brave as she was. And the
               bad thoughts would go away.

                        MR. BURROUGHS
                      (choking up)
               I don't know what I'd do if I lost
               you.

Mr. Burroughs leans over, kisses her forehead and leaves. Just as
he's out the door, he braces at the distant sound of a CAR SKIDDING
out of control. The ENDLESS SCREECH is nerve shattering. Mr.
Burroughs stands frozen, tensing for the inevitable crunch. But there
is none. And he leaves.

DISSOLVE TO:

INT. KIMBERLY'S ROOM - NIGHT

The room is dark except for one burning candle. Kimberly tosses and
turns. The wind sends a single branch scraping against her window. A
porch swing SQUEAKS back and forth. Adding to her anxiety.

A BREEZE ENTERS, sputtering out the candle. Kimberly sits upright in
bed and sees the WINDOW IS SHUT. Huh? She lights a match and sees the
candle wax dripped onto her table, forming the gooey shape of
a...180? The match goes out in her hand. The room is dark again.

Headlights fr om passing cars cast eerie shadows on her ceiling.
Shadows resembling PLANES seem to transform into a SKULL.

Kimberly, freaked out, looks around to see the blinking light from
the VCR: it flashes 18:0 a few times, then 12:00.

She can't take it anymore. She yanks the VCR cord from the wall and
flicks on the lights, ridding the room of shadows. And anxiously
turns on her computer.

EXT. STONEYBROOK HOSPITAL - DAY

Kimberly drives a beat up Hyundai through an eerie morning mist that
surrounds the grounds of the Stoneybrook Hospital.

ANGLE ON

A computer printout in the shotgun seat: MAPQUEST directions to
"Stoneybrook Hospital".

As Kimberly drives through the gate, the mist almost seems to follow
her inside.

A SIGN offers a choice between "Emergency/Medica l Care" or
"Psychiatric Treatment Center." Kimberly drives to the mental ward.

INT. MENTAL WARD - DAY

A PHYSICIAN in a lab coat leads a nervous Kimberly down the center of
a long corridor. The Physician consults a clipboard.


                      PHYSICIAN
             ...at the request of the patient,
             you are to relinquish any sharp
             objects such as nail files,
             pencils, pens, safety pins, bobby
             pins, no matches, lighters, belts,
             belt buckles, earrings, chokers,
             shoelaces...

Kimberly watches carefully as the Physician comes to a door and
punches "4514" into the electronic lock. They continue down another
corridor.

Lights flicker,patients cackle and moan in the B.G.


                      PHYSICIAN
             ...paper clips, watches, food,
             drinks, keys, poisons, pills and
             medications.
                    (looks at Kimberly)
             You have a cell phone on you?

Kimberly nods, hands it over.


                       PHYSICIAN
              Then I think we're all done.

They arrive at a door to a padded room. The Physician punches in
another code.


                      KIMBERLY
             Wait. Is she...dangerous or
             something?

                      PHYSICIAN
             No honey, but she expects you are.

                      KIMBERLY
             Jesus, how long are you going to
             keep her locked up this way?

                      PHYSICIAN
             Depends on her, I guess.   She's
             voluntary.

The door hisses open.

INT. CLEAR'S PADDED ROOM - CONTINUOUS

REVEAL CLEAR RIVERS

While still beautiful, this young woman bears few traces of her
former self. Her eyes dart around suspiciously, maddened by chronic
paranoia. Her hair is patchy, her eyes dark and haunted. Bordering on
savage. Her movements are fidgety, erratic, always distracted by
something unseen.


                      KIMBERLY
             Clear Rivers?

Clear looks Kimberly up and down and steps back, allowing her inside
her inner sanctum. A mattress on the floor, a plastic bottle of
water, some paperbacks and a bedpan.

Kimberly's jaw drops when she sees the far wall: a SHRINE to flight
180. The wall is papered with art icles about all the survivors (as
seen in the opening title montage).

The door SLAMS. Kimberly jumps.


                      CLEAR
             Kimberly Burroughs, eh?    What do
             you want?

                      KIMBERLY
             I thought...I thought you might be
             able to help me.

                      CLEAR
                    (snicker)
             Yeah, how?

                      KIMBERLY
             I had a premonition about the Route
             18 pile up. .. I saved some people.
             And now I think Death is after me.

                      CLEAR
             Nice work. Maybe if you're real
             lucky, you'll wind up in here with
             me.
                    (gives Kimberly the once
                         over)
             But I doubt you'll survive that
             long.

Kimberly flinches.


                      KIMBERLY
             It's not just about me. Someone I
             saved died last night in a freak
             accident. What if the others are
             in danger, too?

                      CLEAR
             Well, if you put them on the list,
             they're already tits up.

                      KIMBERLY
             What list?

                       CLEAR
              Death's list. The precise order
              you're going to die in.

Clear's eyes bore into a terrified Kimberly's.


                      CLEAR
             The survivors of Flight 180 died in
             the exact order they were
             originally meant to die in the
             plane crash. That was Death's
             original design.

                      KIMBERLY
                    (sudden realization)
             Exact order? Then I'm next! I was
             meant to die with my friends, so
             I'm next!

Clear backs away from Kimberly as if she were lethal, then stops
short.


                      CLEAR
             But you said someone else died last
             night. That means Death skipped
             past you. Someone must have
             intervened.
                    (off Kimberly's confusion)
             Sometime yesterday you must have
             nearly died, but someone saved you.

Kimberly nods, recalling the events.


                      KIMBERLY
             Officer Burke pulled me away from
             the crash that killed my friends.

                      CLEAR
             Congratufuckinglations. That makes
             you last to go. But don't worry,
             once the others are dead, it'll
             come back for you. Always does.

                      KIMBERLY
             That still doesn't make sense. You
             said you die in the same order you
             were originally meant to. But Evan
             Shaeffer died last in my
             premonition, not first.

Clear seems very disturbed by that.


                        CLEAR
               It's moving backwards?    Are you
               sure?

Kimberly reluctantly strains to remember something...

HARD CUT TO:

THE FINAL MOMENTS OF THE PILE UP

Nora's Pacer folds like an accordion, then EXPLODES, followed by Evan
screaming in the Trans Am, which gets CREAMED by the semi!

BACK TO:

Kimberly, shaken, does the math.


                        KIMBERLY
               Yes. In my premonition that Nora
               woman and her kid died first, then
               Evan and then...my friends.

Clear is oblivious when Kimberly breaks into silent sobs.


                        CLEAR
               Backwards...that's new.

Clear sees Kimberly crying and softens.


                        CLEAR
               That's good. Get all your tears
               out now, you'll need your eyes.
                      (off Kimberly's confusion)
               For the signs.

                        KIMBERLY
               Signs?

                        CLEAR
               If you have the same power as Alex,
               you'll be seeing signs soon. When
               you see anything creepy or ominous,
               an in-your- face irony kinda thing?
               Don't ignore it. It usually means
               the difference between life and
               death.

                        KIMBERLY
                      (to herself)
               The songs on the radio.
                      (to Clear)
               But wait. I don't understand.       Why
               is this even happening to me?

                      CLEAR
             That's what Alex used to ask
             himself right up until...

For an instant, we see a gentle side of Clear.


                      KIMBERLY
             It's obvious you know what you're
             talking about. You beat it. You
             have to help us.

Clear suddenly toughens up, an abrupt mood shift.


                      CLEAR
             I didn't beat it; I hid from it.
             If you were smart you'd put a down
             payment on a burial plot and say
             goodbye to the dog, because what
             little life you have left is over
             as you know it. Don't make new
             friends, don't fall in love, and
             don't ever bother trying to save
             others. That's the worst killer of
             them all.

                      KIMBERLY
             How can you say that?    What kind of
             monster are you?

At once, Clear, enraged, is in her face, speaking through clenched
teeth.


                       CLEAR
              My family is dead.   My friends are
              dead. And Alex...

Clear angrily peels a Polaroid off the wall and shows it to Kimberly.
While we don't see the photo, Kimberly's horrified face paints a
gruesome picture on its own.


                      CLEAR
             And yes, that's the blade of a
             fucking ceiling fan in his head.

Clear pounds on the door, apparently done with Kimberly. A GUARD
opens the door. Kimberly, devastated, turns to leave, then summons
her courage and turns back to Clear.


                      KIMBERLY
             Know what? I think you're a
             coward. I think you hide out in
             here because you're too damn bitter
             and selfish to care about another

              living soul. In my opinion, you're
              already dead.

Kimberly leaves, giving Clear something to think about.

EXT. KIMBERLY'S HOUSE - DAY

As Kimberly pulls into her driveway, she's surprised to see a STRANGE
CAR parked there. Then --

THOMAS, wearing street clothes, peers through the front window of the
house. He guiltily backs away as Kimberly gets out.


                       THOMAS
              I tried calling last night but your
              father --

                       KIMBERLY
              Evan Shaeffer's dead.

Thoma s nods and leans against the large glass windows that reflect
the sky behind them.


                       THOMAS
              I know. I've gotten calls all
              morning from everyone who was on
              the onramp. We're all meeting at
              my apartment tonight.

                       KIMBERLY
              Then you believe all this?? That
              Death is working off a list?

Thomas hesitates before answering.


                       THOMAS
              I didn't. Until I was dispatched
              to clean up one of the Flight 180
              survivors.

                       KIMBERLY
              Clean up? I don't...

Suddenly through the reflection of the window glass, Kimberly sees
hundreds of pigeons dive bomb her at once!

Like a scene out of THE BIRDS, Kimberly must duck and cover as the
pigeons assault her from every angle.

But when Kimberly turns away from the reflection, toward the actual
pigeons, THEY'RE GONE. ALL IN HER HEAD.


                       KI MBERLY
              Did you see that??

Thomas, concerned for her, saw nothing.


                       KIMBERLY
              Pigeons... It's a sign! If Clear's
              right about the order, then Nora
              and Tim are going to be attacke d by
              Pigeons!

                       THOMAS
              I'm not following you --

                       KIMBERLY
              They're next on the list.   We have
              to find them.


EXT. MEDICAL COMPLEX - DAY

ANGLE ON

Woman's N ike shoe on a down-moving escalator. Reveal Nora taking her
son Tim to a dentist's office. The SHOELACE snags on a bolt of one of
the steel side panels, untying it...

                       TIM
                     (mischievous smile)
              You think the tooth fairy's gonna
              come tonight? I'm thinkin' like
              fifteen bucks.

                       NORA
              Nice try, kiddo.

Tim smiles, then winces from the pain in his mouth.

THE DANGLING SHOELACE heads straight for the escalator grate. IT GETS
SWALLOWED UP. As Tim steps off, Nora TRIPS forward. Her caught
sneaker is pulled tighter into the innards of the metal staircase.

                       TIM
              Mom!

Tim watches helplessly as Nora reaches down, tug ging at her sneaker,
fear mounting. Tim also grabs her sneaker and yanks. Finally, the
shoelace SNAPS, and Nora's free again.

                       TIM
              You okay?

Nora puts on a brave face and begins tying one long shoelace to the
stubby one.

                       NORA
              Sure hon. I'm fine.   Let's shake
              it, we're late.

Tim nods. The wind picks up as they continue past a --

CONSTRUCTION CREW

Who apply industrial suction cups to large, thick sheets of PLATED
GLASS .

Tim stares in childlike fascination as they pass JACKHAMMERS, a
CEMENT MIXER, and an EXCAVATOR.

INT. CLEAR'S PADDED ROOM - DAY

Clear Rivers applies fun- tack to the back of a newspaper article and
sticks it on the wall devoted to Flight 180.

REVEAL

A photo of Eva, "Lotto Winner Killed By Ladder".

Clear backs away, pausing to look at a group photo of the Survivors
of Flight 180 just before take off. Smiling faces.

                       TIM
              Not so much.

Dr. Lees keeps a skeptical smile to himself.

INT. WAITING ROOM - CONTINUOUS

The RECEPTIONIST appears next to the fallen fish food with a VACUUM.
She plugs it in an outlet below the fishtank.

A startling GRIND as the vacuum turns on and coughs up a nail. She
vacuums up the fish food around Nora's feet.

The DEAD FISH gets sucked into the water filter in the fishtank which
sputters and stops. The water level RISES, spilling water over the
side of the tank. The water TRICKLES closer to the outlet.

EXT. SUBURBAN STREET - DAY

Thomas drives his car into a friendly neighborhood. Kimberly, riding
shotgun, hangs up her cell phone.

                       KIMBERLY
              Turn around. The cleaning woman
              said they're at the dentist's.
              14th and Main.

                         THOMAS
              Hold on.

Thomas expertly skids into a U-turn.

INT. DENTIST OFFICE - CONTINUOUS

Tim looks petrified as Dr. Lees unveils a tray full of PICS, CARVERS
and EXTRACTING FORCEPS.

The KA-CHUNG of construction outside makes it im possible to
concentrate, but, hands trembling slightly, Dr. Lees picks up a pic
and mirror and starts examining Tim's mouth. CU of PIC gently
prodding Tim's teeth.

                      DR. LEES (O.S.)
             I'm a little disappointed, Tim.
             Does your mom know you've been
             smoking?

Tim groans "uh-uh", then suddenly flinches.

                      DR. LEES (O.S.)
             Yeah, that'll have to be filled.

A BANG from the window startles Dr. Lees. His HAND JERKS, but luckily
the pic was removed from Tim's mouth.

Dr. Lees whips around in time to see a PIGEON flutter away from the
window.

                     DR. LEES
             Jesus. Every day at the same damn
             time. Now this'll only sting for a
             moment.

Dr. Lees picks up a large SYRINGE and moves it toward Tim's open
mouth.

                       DR. LEES
              Open big. Wiiiiider...

Tim's eyes radiate fear. The MOUTH OPENS. Reluctantly. Tim nervously
eyes the window as the needle enters...

ANGLE ON

NEEDLE heading toward his gumline --

BANG! Another pigeon takes a header into the reflection. Dr. Lees'
hand jerks, nearly jabbing Tim's tongue. Tim squirms violently. Dr.
Lees looks towards the window angrily.

                      DR. LEES
             How the hell do they expect me
             to... Would you rather have the
             laughing gas?

Tim nods his head ferociously.

                         DR. LEES
             Jean?     I need you in here.
                       (waits)
             Jean??!

INT. WAITING ROOM - CONTINUOUS

Jean continues vacuuming. The vacuum makes contact with Nora's foot.

INT. DENTIST OFFICE - CONTINUOUS

After a minute, Dr. Lees angrily switches on two compressors: Oxygen
and Nitrous Oxide.

By now, the NO mask has been attached around Tim's nose. As Tim
drifts off, Dr. Lees lowers a DRILL into his mouth.

                       DR. LEES
              Open big. Wiiiiiider.

Excruciating SOUNDS of the drill going through enamel.

INTERCUT KIMBERLY AND THOMAS

Racing to the medical complex throughout.

THE WAITING ROOM

The WATER TRICKLES into the outlet. The vacuum sparks and dies just
as --

BACK IN DR. LEES' OFFICE

BANG! SFX: BROKEN GLASS - it sounds like a pigeon finally crashed
through the window. In the other room.

                       DR. LEES
              Goddamn it already.

Dr. Lees marches out of the room to investigate. Another quick
electrical surge and the OXYGEN COMPRESSOR flutters off. The needle
drops. But the NITROUS flow remains strong.

ANGLE ON FISH MOBILE

Spinning from a new breeze. Suddenly, a small round PUFFER FISH FALLS
directly into Tim's mouth.

Soft, gurgling and choking.

INT. WAITING ROOM - CONTINUOUS

Nora stares at a pigeon with a broken wing frantically trying to fly
right. Dr. Lees makes a half- hearted attempt to soothe and catch it.

BACK IN DR. LEES' OFFICE

SLOW DOLLY up to Tim. Choking, gurgling. His eyes are open, but
rolled up. His hand limply reaches up...then drops.

Sounds of commotion in the next room seem to fade away as we continue
our SLOW DOLLY into Tim's eyes.

They GLAZE OVER...the choking stops. And a HAND reaches into frame
and pulls the puffer fish out of Tim's mouth.

REVEAL JEAN looking petrified at the close call, looking around to
make sure nobody saw...

EXT. MEDICAL COMPLEX - LATER

Nora and Tim, feeling better now, walk past the CONSTRUCTION CREW. A
CRANE OPERATOR smiles at Tim, who smiles back.

From across the mall, the tiny running figures of Kimberly and Thomas
appear in the dis tance, pointing and screaming.

                        TIM
               What are they doing here? And why
               are they yelling "pigeons"?

Just then, Tim and Nora walk into a large cluster of PIGEONS who
suddenly burst into flight, startling the Crane Operator, whose hand
inadvertently jerks a lever -

A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE
SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him, his
mangled body visible underneath.

As two pearly whites roll around on the sidewalk, NORA SCREAMS.

DISSOLVE TO:

EXT. MEDICAL COMPLEX - LATER

Emergency vehicles everywhere. Thomas seems exhausted as he walks
back to Kimberly, who stands by his car. In the BG, EMTs load a
stretcher into an ambulance.

                        THOMAS
                      (shaking his head)
               Nora's not coming. She refuses to
               leave her son.

                        KIMBERLY
               We have to tell her she's in
               danger!

                        THOMAS
                      (sadly)
               I did. And right now, I don't
               think she cares.

EXT. KIMBERLY'S HOUSE - DAY

Thomas' car turns into the driveway and parks. Kimberly holds up her
hand and watches it tremble.

                        KIMBERLY
               It's happening again.   It's fucking

              happening again. I hoped we'd get
              there and they'd be okay, that
              Clear Rivers was full of shit and
              Evan's death was just a freak
              accident...

Thomas kills the engine to listen.

                       KIMBERLY
              But we're all going to die. We
              can't stop it. It's just a matter
              of time. I'm so scared.

Thomas takes her hand and squeeze s it reassuringly.

                       THOMAS
              I am too. But you can use that
              fear. It'll sharpen your
              instincts. Keep you alert fro
              signs. It's the only way you'll be
              able to sav e the others...and me.

Kimberly, seeming overwhelmed, pulls her hand back. Thomas senses
he's losing her, and softens her approach.

                       THOMAS
              I know you didn't ask for any of
              this, Kimberly. But I don't think
              you have it in you to quit either.

Kimberly stares straight ahead, the weight of the world sinking in.
BANG! A startling pound on the roof of Thomas' car.

Kimberly jumps, then spins around to see:

CLEAR RIVERS - standing in the driveway. A determined, powerful
presence. Kimberly exits the car. A MOMENT where Kimberly and Clear
stare each other down.

                       KIMBERLY
              Clear/Thomas. Thomas/Clear.

Clear nods absently to Thomas, still focused on Kimberly.

                       KIMBERLY
                     (bitter)
              The second one just dies.   A 16
              year old kid.

                       CLEAR
                     (nods; a faint trace of
                          guilt)
              I hope you're ready for this.


EXT. FUNERAL HOME - DAY

Thomas' car pulls into a partially filled parking lot. Kimberly,
Thomas and Clear file out and head to the door.

                       KIMBERLY
              This is cheery.

                       THOMAS
              Who is this guy, anyway?

                       CLEAR
              A mortician. He seemed to know a
              hell of a lot more about death than
              he ever told us.

                       THOMAS
              Should we knock?

                        CLEAR
                      (looking ill)
              He probably already knows we're
              coming.

INT. FUNERAL HOME - MOMENTS LATER

Kimberly, Thomas and Clear open the large wooden doors into a small
chapel, creat ing a loud CREAK. A corpse in an open casket sits at the
front of the chapel, post -wake.

Kimberly, Thomas and Clear are forced to walk around the dead body to
get to a side door.

INT. CORRIDOR - MOMENTS LATER

The three slowly edge towards a room at the end of a creepy hallway.
An ORANGE GLOW flickers from the far room. The unmistakable sounds of
a furnace make it all the more eerie.

As they near the door, they're able to see inside the room; the
shadow of a figure looms against a steel oven.

They edge closer. They peek inside the --

INT. CREMATORIUM

Oddly there is no one there. As they enter, passing the furnace, a
momentary WHOOSH of flames startles them all!

They jump back - bumping right into:

MR. BLUDWORTH, the dark, sinister mortician from FD1, who has
inexplicably appear BEHIND THEM.

                       MORTICIAN
              Hello, Clear. I've been keeping an
              eye out for you.

The mortician rolls a metal gurney carrying EVAN'S EYELESS BODY
toward the firing oven. Kimberly and Thomas are scared.

                       KIMBERLY
              Oh my God. That's Evan Shaeffer.

Clear, however, seems to expect nothing less.

                       MORTICIAN
              Come to... Pick my brain?

The Mortician slides a gleaming set of medical pliers into Evan's
mouth. And YANKS out a gold tooth. Kimberly recoils as he discards
the bloody tooth on a metal tray.

                      MORTICIAN
                    (to Kimberly)
             Flesh and bone require 1,600
             degrees for cremation. Gold,
             prosthetics and other metals must
             be removed before the final --

                       CLEAR
                     (not falling for this
                          again)
             Just a simple question and we'll
             leave you alone with your new
             friend.

The Mortician grins; he likes the new Clear. He crosses the room and
hits a LEVER. KA- CHUNK! The oven begins to blaze.

                      MORTICIAN
             Fire away.

                      CLEAR
             How do you cheat Death once and for
             all?

The Mortician, recrossing the room, passes Kimberly and stoops down
to sniff, no INHALE, a terrified Kimberly's essence.

                        MORTICIAN
              Dead.   But still fresh.

Kimberly shudders as the Mortician moves back to Evan's body. Clear
has had about enough.

                      CLEAR
                    (to the Mortician)
             Look, we drove a long way to get
             here. So if you happen to know how
             to get this death monkey off our
             backs, it sure would be swell if
             you told us.

The Mortician now CLAMPS THE PLIERS around Evan's NIPPLE RING.

                       MORTICIAN
              For what purpose? You seek a back
              way out of a room with but one
              door. You can't cheat Death; there

              are no escapes.

                       CLEAR
              Bullshit. You told me Death has a
              distinct design, a blueprint,
              unalterable. But Alex and I
              cheated Death not once, but dozens
              of times. If the design is flawed,
              it can be beaten.

A sick smile crosses the Mortician's lips. He yanks the nipple ring
OFF! Kimberly looks on both horrified and awed when Clear doesn't
flinch back from the pliers, where a bloody nub dangles.

                       MORTICIAN
              Such fire in you now. People are
              always most alive just before they
              die. Don't you think?

Clear steps back from him, hate flashing in her eyes.

                       CLEAR
              It can be beaten.   And you know it.

CREEEAAAK -SLAM! The Mortician rolls Evan's body into the oven.

                        MORTICIAN
              Some say that there is a balance to
              everything. An equilibrium that is
              the connective tissue of the
              universe. They say that for every
              lif e there is a death, and for
              every death a life...

His words hang in the air. An ominous BREEZE enters.

                        MORTICIAN
              Solus novus anima licet evinco
              mortis; Only new life can defeat
              death.
                     (off their confusion)
              The list of life is forever set by
              the Divine Plan, the guiding hand
              that plots the course of the
              universe, down to its tiniest
              element s.

Thomas looks to Clear; what's he talking about? The Mortician focuses
on Kimberly as if the others had ceased to exist.

                       MORTICIAN
              The list accounts for every life;
              from the dawn of man to the great
              apocalypse. But the introduction
              of life that was not meant to be, a
              soul forbidden to roam the earth,
              that could invalidate Death's list,
              shatter its very existence.

Evan's other eye POPS , startling Thomas and Kimberly.

                       THOMAS
              What the hell does that mean?

                       MORTICIAN
                     (with finality)
              To figure that out you'll have to
              follow the sign s.

The Mortician grabs Kimberly.

                       MORTICIAN
              But be warned. To disrupt the
              grand design is to unravel the
              tapestry of the universe. When you
              pull all the threads apart, you may
              find yourself hanging from them.

The Mortician finally lets Kimberly go.

                       CLEAR
              One last question. Why is Death
              working backwards this time?

The Mortician glances at his watch - Evan's bran d new Rolex.

                       MORTICIAN
                     (shakes head; a sick
                          smile)
              Sorry, time's up.

EXT. GAS STATION - DAY

CLOSE UP - GAS DRIPPING

From the nozzle in Thomas' car. Thomas fills the tank, watching for
signs of danger. Clear's hand is poised over the gas pumps' EMERGENCY
CUT-OFF VALVE

Some SKATE RATS exit the mini -mart with a pack of Camels, followed by
Kimberly, who carries a couple of Red Bulls and hands them out.

                       THOMAS
              New life defeats death? Follow the
              signs? Where the hell did you find
              that guy?

                       KIMBERLY
              Yeah, I thought he was supposed to
              be helpful.

                       CLEAR
              He was. If we can use your ability
              to see the signs, we can cheat
              Death long enough to figure out
              what "new life" means.
                     (off their looks)
              I know, it worries me that I

                understand him.

Thomas tops off the tank. Some gas spills to the ground. Quick looks
all around -- sure enough, one of the Skate Rats is about to strike a
match.

CLEAR'S HAND SLAPS the kid in the back of the head, stopping him mid -
motion.

                         CLEAR
                What the fuck are you thinking?

The startled Skate Rat shrinks back from Clear's rage.

                         SKATE RAT
                I'm thinkin', suck my junk, bee
                yatch.

Thomas chuckles to himself and looks at Kimberly who --

SMASH CUT TO:

EXT. LAKE - DAY

POV DRIVER. Grease-covered female hands reach out toward a steering
wheel of a white van speeding out of control TOWARD A LAKE!

The van crashes through a railing and PLUNGES into the water. In
moments, the van fills with water, the driver inside trapped.
Drowning. Horrible.

SMASH CUT TO:

INT. GAS STATION - DAY

KIMBERLY

Comes to Thomas' arms - GASPING uncontrollably for breath. Terror-
stricken. She begins hyperventilating.

                         THOMAS
                What is it? What did you see?

It's so bad, Kimberly can't speak. She coughs and gags as if recently
drowned. Clear scans the perimeter for immediate dangers.

QUICK CUTS:

A POWER REPAIRMAN

On a cherry picker messes with the transformer, a LAWN BOY pull-
starts a WEED WHACKER close to broken glass, a MECHANIC on a tall
ladder changes out the gas price numbers, a female DOG WALKER with
three dogs approaches the ladder.

                         CLEAR

             You have to tell us now.

                        KIMBERLY
             I...I...

Clear shakes her head by the shoulders and barks commands like an
angry drill sergeant.

                      CLEAR
             You're strong. Do you hear me?
             You're a fucking warrior. Nothing
             scares you. In fact you happen to
             be the single most powerful woman
             on earth. Now what did you see?

The words slowly take affect. Kimberly becomes centered, getting her
breath back, and speaks without a hitch.

                      KIMBERLY
             I was driving a white van. It
             must've gone out of control because
             it crashed into a lake and I
             drowned. It was...horrible.

                      CLEAR
             You were there?

                      KIMBERLY
             I can practically taste the water
             in my throat. And something else.
             The smell of flowers...

                      CLEAR
                    (confused)
             Then it wasn't just a sign. It was
             a premonition?

Thomas gently releases her, paces.

                      THOMAS
             Remember the onramp? There was a
             pregnant woman in a white delivery
             van.

                      CLEAR
             Holy shit. He said "only new life
             can defeat death."
                    (off looks)
             If she gives birth to a baby that
             was never meant to be born, a brand
             new soul that was never part of
             Death's Design...

                      KIMBERLY
             It throws the entire Death list out
             of whack. And a new list has to be
             rewritten f rom scratch. We all
             start over with a clean slate.

                       THOMAS
              It sounds all well and good, but

             what if we're wrong?

                      CLEAR
             Please, what else could it mean?

                       KIMBERLY
                     (to Thomas)
              So if you give us the pregnant
              lady's number, we can warn her
              about the lake and she'll live long
              enough to have the baby.

                       CLEAR
              So let's do it.

                      THOMAS
                    (realization)
             Shit, I don't have her number. She
             was never interviewed. She took
             off right after the accident.

                      KIMBERLY
             How are we going to find her?
             There must be thousands of white
             vans in this state.

                      THOMAS
             Hey, I'm a police officer,
             remember?

INT. A/V ROOM - POLICE STATION - LATER

Thomas works a VCR, scanning BACKWARDS through the video footage from
the patrol car camera. We see the SUV's explosive collision with the
jack- knifed semi. Kimberly is taken by surprise by the sight of the
crash.

                       KIMBERLY
              Oh God...

Thomas sees Kimberly and quickly flicks off the monitor.

                       THOMAS
              I, uh...sorry.

Kimberly notices Clear watching her and toughens up. She forces back
the tears and qui ckly wipes the rest away.

                      KIMBERLY
             I know, I know. We need my eyes.

Clear sits beside Kimberly.

                      CLEAR
             It's all right.    I'll take watch.

Kimberly looks grateful, and a moment passes between them, but she's
already buried the need to cry.

                       KIMBERLY
              I'm okay. Just caught me by
              surprise. Put it back on.

Clear does, watching the cars seemingly pass in reverse.

                       CLEAR
              Make sure all these people will be
              at the meeting tonight.

                       THOMAS
              Taken care of.

THE MONITOR

Back, back, back until the Patrol Car slowly creeps backwards down
the onramp.

                       KIMBERLY
              There it is.

                        THOMAS
              Got it.

Thomas hits play and we see footage from the patrol car cruising past
the White Van. A clean shot of the license plate. Jackpot.

As Thomas slides his chair to a data base and types in the plate
number, the pause function dislodges, slowly advancing the tape frame
by frame.

                       CLEAR
              I don't get it. Why is everything
              happening so fast? After Flight
              180. A month went by before anyone
              died. And now five people are dead
              in less than a day.

Thomas' computer screen finally fills with information.

                       THOMAS
              Here we go. The vehicle's a
              delivery van registered to Jorge
              and Isabella Cruz. And Christ,
              there's almost a dozen domestic
              disturbance complaints on these
              two.

                       CLEAR
              We need to hurry.

They all get up and leave.

Ominously, THE MONITOR shows the NEXT VEHICLE creeping behind Nora's
Pacer - a white van!

INT. CRUZ HOUSE - NIGHT

Thomas pulls up to an upper-middle class house. Thomas, Kimberly and
Clear get out and start up the unlit path. It's dark, hard to see
where they're going, so they negotiate by feeling the bushes aligning
the walkway.

                      THOMAS
             Let's lay this on her gently now.
             The stress alone could upset the
             pregnancy.

Kimberly nods, ever creeping closer to the front door -- when
AUTOMATIC LIGHTS FLASH from over the garage.

All three freeze for a moment, during which we hear STOMPING emanate
from within the house, and the lights SHUT OFF.

But nothing else happens. No one comes to a door. Thomas sighs, and
as if suddenly remembering his status, he walks fearlessly and
purposefully to the front door.

He makes a fist, is about to knock - when the DOOR FLINGS OPEN and a
ROTTWEILER LUNGES for his throat - only to have its collar snagged at
the last second by its owner -

JORGE CRUZ, late 30's, handsome, cocky. He speaks above Rotty's
BARKING:

                       JORGE
             What?

                      THOMAS
             I'm Officer Burke.    I'm looking for
             an Isabella Cruz.

Suddenly, with an unexpected fury, Jorge SCREAMS at his dog.

                      JORGE
             Shut up!!!

The Rottweiler cowers, and Jorge shoves it to the floor, where it
lands on its feet and fearfully trots away. Jorge's face is once
again pleasant, but it's a thin veneer.

Jorge sees Clear and Kimberly behind Thomas and frowns.

                      THOMAS
             Are you Jorge Cruz?

                        JORGE
              Maybe.   What's this about?

                       THOMAS
              May we come in?

                       JORGE
             No.   What's this about?

ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile
floor. She takes in what she can see of --

THE ROOM

As if a tornado had hit it. Wedding photos smashed and torn.
Furniture over-turned.

                       THOMAS
                     (a little stern)
              It's about your wife, Isabella.
              Now is she here?

Jorge's eyes flicker ever -so- involuntarily behind him.

                        JORGE
              No.   I'm alone.

But by now, Thomas has seen everything Clear has and more. He stares
through the house, into a bedroom and sees -

A FEMALE FOOT lying half0buried under the bedspr ead.

                       THOMAS
              Look, pal, it's probably nothing.
              But I need to see --

Jorge is already closing the door.

                       JORGE
              Forget it. You'll need a warrant.
              I know, I'm a lawyer.

Clear rushes the door, shoulders it and expertly wriggles past
Jorge's grasp.

                        JORGE
              Stop!!!   You can't go in there!!!

Clear tears into the bedroom, grabs the bedspread and THROWS it to
the floor to reveal a YOUNG WOMAN, naked, trembling with fear, takes
a closer look at Clear.

                       YOUNG WOMAN
              We never meant to hurt you
              Isa...You're not Isabella!

Meanwhile, Jorge yells at Thomas.

                       JORGE
              I'm going to sue your ass!

                       KIMBERLY
              Whose blood is that on the floor?

Defensively, Jorge holds up his arm. Freshly cut.

                        JORGE
               Mine, you idiot. The dog went nuts
               this afternoon. Now arrest her!

                        KIMBERLY
               Where's Isabella? Did you finally
               kill her you fucking wife beater?

Jorge flinches. It's time to come clean.

                        JORGE
               We had a fight. Some things got
               broken, the dog went crazy, she
               left me. Wouldn't say where she
               was going.

                        THOMAS
               What was the fight about?

                        JORGE
               Take a guess.

                        THOMAS
               Does she have a cell phone?   A way
               we can contact her?

                          JORGE
               She did.

He eyes a SHATTERED CELL PHONE on the floor.

                        CLEAR
               We're wasting time with this piece
               of shit. Let's just get to the
               meeting.

Jorge turns to soothe the frightened Young Woman in the bed.

                        JORGE
               Hey, when you find her, tell her
               the kid's half mine.

Clear mutters something as they exit the house.

                        CLEAR
               We can only pray it doesn't come
               out retarded.

Jorge hisses something at the Rotty, which CHARGES them and SPRINGS!
But Thomas slams the door on the frothing dog just in time.

DISSOLVE TO:

EXT. THOMAS' APARTMENT BUILDING - NIGHT

Rory sits in his Chevette outside an apartment building, staring up
at the address. He quickly snorts some powder off his key and wipes
his nostrils free of crystals. He takes a breath and exits the car.

INT. THOMAS' APARTMENT BUILDING - NIGHT

Rory follows some PEOPLE into the elevator. The elevator doors close
on his shoe -- trapping Rory in an awkward position.

One MAN frantically pushes the DOORS OPEN button to no avail.
Finally, as the elevator rises, Rory YANKS his foot free.

                        MAN
               Jesus Christ. I wrote to
               management two weeks ago about
               these friggin' bumpers.

Rory bends down and inspects his shoe.

                        RORY
               Damn, is that dogshit?

Rory briefly holds the shoe too close to the Man's face - see? -
before disgustedly slipping it back on.

DING. The doors open. The man hurries out and the elevator DOORS
CLOSE on Rory's smirking face.

HARD CUT TO:

INT. THOMAS' APARTMENT - LATER

REVEAL - Nora, Rory, and Kat, mortified, sit on a couch. It's obvious
the bomb's been dropped, reality has set in. Clear and Kimberly await
their reactions. Nora raises a trembling hand.

                        NORA
               Does anybody have a Valium?

Kat opens her purse and hands her a blue pill.

                        KAT
               You'll want to take --

Nora pops it in her mouth.

                        KAT
               -- half of that.

Nora chews, her eyes half dead from bereavement. Across the loft,
Thomas paces, phone in hand.

                        THOMAS
                      (quietly, into phone)
               Any word yet on the Dodge van?
               Damn.

Eugene alone seems unafraid. He uses a GRABBER - a long pole with
movable claw on the end - to OPEN THE SKYLIGHT. When done, he
balances the long pole precariously against the wall.

An OMINOUS BREEZE enters. Clear notices MAGAZINE PAGES blowing over
the desk by the couch.

                      NORA
             So that would mean... I'm next.

                      EUGENE
             Nobody's next. This is crazy.
             First death's stalking us and now
             premonitions?

                      KAT
             This can't be happening. My
             career's at a peak, I finally met a
             cute guy, I just bought a new
             house...

                      RORY
             Just shut the fuck up and maybe
             you'll live.

Kat's hands ball into fists. The hatred is mutual. Clear reaches for
a nearby cardboard box on the desk, noticing MAGAZINE PAGES blowing
over until their weight tips over a PENCIL HOLDER which spills pens
out. She takes the box to Nora.

                      CLEAR
             You're not next, Nora. Nobody has
             to be next. That's the point.
             Last time, we didn't plan. We
             weren't organized. Now we can help
             each other.

She reaches into the box and passes out cell phones to Nora and the
others.

                      CLEAR
             Think what would have happened if
             Kimberly had been able to warn you
             with the word pigeons...

Nora's head falls. Kimberly senses her anguish and takes over.

                      KIMBERLY
             The point is, as long as you know
             what to beware of, you have a
             fighting chance. It can be beaten.
             If I call you and say subway, get
             to a high rise fast. A place where
             no subway could possibly go, get
             it?

Everyone nods in understanding. Rory fidgets, sniffling, then POUNDS
the table in frustration. Startling Kat.

                      RORY
             Why the hell did I ever get on
             Route 18 in the first place?
             That's me, Mr. Dumb Fucking Luck.

Clear, very alert, looks at the tipped PENCIL HOLDER. PENS ROLL
toward the end of the desk, toward a large White Pages directory
which hangs precariously off the edge just so.

                       CLEAR
              Anyone read today's paper?   The
              article on Evan Shaeffer?

No one says a word.

                      CLEAR
             The only reason he was on Route 18
             was because he own the lottery and
             had to collect the winnings.

                       RORY
              That lucky bastard.

                      CLEAR
             What about the rest of you?
             Kimberly, you were driving to
             Daytona. Was Route 18 your first
             choice?

                      KIMBERLY
             The new freeway was faster, but
             Route 18 was the way my mom used to
             take, so...

They take turns going around the room.

                      THOMAS
             Route 18 is Drake's assignment, but
             he called in sick so I got...
                    (blanches)
             Drake's never sick.

                       KAT
              I was my first day of jury duty.

                      EUGENE
             Jury duty? That's randomly
             selected by social security
             numbers.

                      CLEAR
             Random, sure.

                      EUGENE
             What, you think Death planned for
             each of us to die in the pile up
             weeks ago? You're nuts.

Clear fumes. Rory looks ill and reaches into his wallet.

                      RORY
             Last July I dialed a wrong number
             and got a radio station by
             accident. They asked me what
             number means "good luck" in Jewish.

                       KAT
              Eighteen. And it's "Hebrew".

                       RORY
              Anyway, I guessed it right and won
              these.

Rory holds up two Yankee tickets.

                       RORY
              The best way to get to Yankee
              Stadium is Route 18.

                       KIMBERLY
              I don't know what's weirder, the
              dialing a wrong number part or that
              Death would set you up nine months
              in advance.

                       THOMAS
                     (realization)
              Whoa, nine months?

                       KIMBERLY
              Are you thinking what I'm thinking?

INT. CHEAP MOTEL - NIGHT

ANGLE ON ISABELLA'S PREGNANT BELLY.

REVEAL she's lying down, binging on take- out food, while speaking on
the motel phone. A disturbing metallic SQUEAK SCRAPE -SQUEAK can be
heard, nearly drowning out the SCREAMING COUPLE next door.

                       ISABELLA
              Yes, I'd like to report a domestic
              squabble - my name? Isabella Cruz
              why, does it matter? I'm at the
              Super 8 motel. Yes, I own a white
              van. So what? Just get over here.

Isabella hangs up, recoiling at VIOLENT THUMPS against her wall. PULL
BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a
rickety, wobbling CEILING FAN.

INT. THOMAS' APARTMENT - NIGHT

Kimberly whispers into the phone.

                       KIMBERLY
              I'm sorry, Dad, we're having a hard
              time with Shaina's eulogy. I'll
              stay here at Virginia's tonight and
              see you tomorrow. I love you too.

She hangs up, looking guilty for having lied to her father. Clear
keeps her eyes on the pens that ROLL on the slightly canted table
into the about-to -fall White Pages directory.

                      CLEAR
             Remember everyone, just because
             Kimberly's got the power doesn't
             mean we're not all capable of
             seeing signs to some extent.

The pens softly tap the phone book one by one until it lazily tips
over and PLOPS HEAVILY onto a GOOSE-DOWN THROW PILLOW.

Small feathers from the pillow are carried upwards by the breeze.
Everyone in the room watches them rise.

                      RORY
             It's like Forrest Gump.

They float across the room, ultimately landing on a MOUSETRAP! SNAP!
The trap flies over and knocks into the base of the unstable Grabber
- which tips and slowly slides down the wall.

Clear, in a chair, looks directly above her head at a LARGE SWORDFISH
mounted on the wall.

The Grabber picks up speed, arcs downward and hits the mounted
SWORDFISH. The supporting brackets give, causing the SWORDFISH TO TIP
and SLIDE DOWNWARD!

Clear lurches back in her chair just in time - the razor sharp bill
impales the seat cushion between her legs!

                     CLEAR
             Fuck. Should have seen that
             coming. The institution's made me
             soft.

Clear gets up, carefully easing herself around the swordfish. Eugene
isn't quite sure what to make of what he's just seen.

                      EUGENE
             If Death has got such a hard-on for
             you, maybe you should get the hell
             away from us.

                      KIMBERLY
             We need her. She's the only one
             who's dealt with this before,
             idiot!

Kimberly looks self-conscious by her outburst. Clear, however, looks
grateful.

                      CLEAR
             We're all going to have to open our
             eyes from now on. Look out for
             each other. Sleep in shifts.
                    (looks around apartment)
             And we've got to safeproof this
             deathtrap.

MONTAGE - SAFEPROOFING THE APARTMENT

Everyone but Nora and Eugene helps unplug appliances, put out the
fire, take down hanging objects, switch off the gas, put sharp
objects away, affix padding to chart corners...

Kat, placing poisonous cleansers and flammable liquids in a box,
nervously pulls out a pack of smokes. Thomas watches as he takes a
hanging mirror off the wall.

                      KAT
             Screw this. I'm going outside for
             a smoke.

                      THOMAS
             You think you should?     It's not
             safe out there.

                      KAT
             So? Nora's gotta bite it before me
             anyway, right?

Kat steps towards the front door, then remembers the cell phone and
grabs it just in case. Thomas smiles 'good job' at her.

Kimberly, unscrewing the light bulb, looks up when Nora rises from
the couch in a stupor and struggles to put on her jacket. Kimberly
looks concerned.

                      KIMBERLY
             Where are you going, Nora?    You
             okay?

Nora fights the sleeve, dazed and defeated.

                      NORA
             Four years ago my husband died.
             Now Tim. There's nothing left for
             me.

Kimberly stops pouring liquor down the drain.

                      KIMBERLY
             Don't say that. Once you lose
             hope, it's already too late.

Eugene snickers. Nora looks up, anger surfacing.

                       NORA
              If it's my time to go, to be in
              heaven with my family, then I can
              accept that.

                      KIMBERLY
             You can't give up. Don't accept
             Death's plan. Trust me, you can
             fight this. If we can just survive
             long enough until that baby is
             born, we can --

Nora looks more resolute than ever.

                       NORA
              If you'll excuse me, I have a
              funeral to prepare.

Everyone looks crushed when Nora heads for the door. Except Eugene,
who stands up as well.

                      EUGENE
             Yeah, why am I listening to a girl
             who just got out of the nut house?

As Eugene heads out, Kimberly becomes enraged and grabs him.

                      KIMBERLY
             Seeing you die once was enough for
             me.

                      EUGENE
             Whatever. I control my life, not
             fate.

                      CLEAR
             I'll be sure to put that on your
             tombstone.

Rory presses a cell phone into Eugene's hand on his way out.

                      RORY
             Be careful. And even if you don't
             believe, give this to Nora.


INT. THOMAS' APARTMENT BUILDING - NIGHT

Eugene pushes the elevator button a thousand times. Nora nervously
ties her long hair back in a single braid.

INT. THOMAS' APARTMENT - CONTINUOUS

The nervous group finishes safe-proofing the apartment.

RORY, standing on the couch, pulls a POLICE ACADEMY DIPLOMA off the
wall - and slips - stumbling BACKWARDS into the closet.

Staggering, he accidentally knocks some COAT HANGARS and a VOLLEYBALL
TROPHY from the high shelf to the floor.

Thomas whips around and sees that Rory's not hurt. He then lowers his
gaze and sees --

The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble of
wire COAT HANGARS. Suddenly, STREETLIGHT FLICKERS ON for the evening.
Oddly, it only illuminates the Trophy/Hangar array.

From Rory's vantage point, it looks like a surreal sculpture of a man
with hooks emanating from his body. The sodium vapor lamp casts an
OMINOUS GLOW around the image.

                      RORY
             ...man with hooks. I see a man
             with hooks. Someone?!?!

The others look over, trying to see what he does.

                      THOMAS
                    (unsure)
             I kinda see it, yeah. So...Nora's
             going to be killed by a man with
             hooks?

Kimberly and Clear stare at the volleyball trophy - the street lamp
ominously FLICKERS OUT AND DIES.

Everyone looks around for a hesitant beat, then Thomas picks up his
cell phone. Clear first walks, then RUNS out the door.

INT. THOMAS' APARTMENT BUILDING - CONTINUOUS

The elevator finally comes. Eugene and Nora get inside, standing in
front of a gaunt looking man holding a cardboard box full of
PROSTHETIC LIMBS.

MUZAK plays AC/DC's HIGHWAY TO HELL.

                      EUGENE
             Going down, right?

The Gaunt Man says nothing. The DOORS CLOSE.

INT. ELEVATOR - CONTINUOUS

Eugene stares blankly at the CONCAVE MIRROR in the upper corner. He's
disturbed by the WARPED REFLECTION OF:

THE GAUNT MAN leans closer to Nora's hair and as the doors finally
close, he leans over and SMELLS it. Creepy.

                      EUGENE
             Um, by the way, your shoe's untied.

Nora bends down to tie her shoelace (the one that snapped). She tries
tying the long dangling shoelace to the stubby one as Eugene's cell
phone VIBRATES in his hand. Startled, he drops it to the floor. Then
looks embarrassed.

                      EUGENE
             Probably for you, anyway.

Nora picks it up. STATIC CRACKLES. It's hard to make out Thomas'
yelling.

                          NORA
                 Officer Burke?   I can't hear...

A beat of confusion, then she slowly turns to see the clawed hooks
and hands of the Prosthetic limbs. Terror. She freezes.

                      EUGENE
             What is it? What's wrong?

But Nora's too frightened to speak. Eugene grabs the phone, hearing
unintelligible STATIC.

INTERCUT CLEAR

As she frantically hits the elevator button. When it fails to come,
she runs downstairs.

INT. ELEVATOR - CONTINUOUS

Nora slowly rises to her feet, feverishly mouthing a prayer... As the
door opens, Nora rushes out - unseen to her, her long braid gets
snagged on one of the PROSTHETIC HOOKS, YANKING her backwards.

                          NORA
                 Let me go let me go!

                      EUGENE
             Oh, watch it, you've caught your
             uh...

The Guant Man's sweet voice and demeanor are a clear contrast to his
outward appearance.

                      MAN
             Goodness gracious, darling, let me
             help you with...

Nora panic,s as Eugene and the Man try to untangle her braid. Nora
desperately spins her body around, sticking her head back inside the
elevator.

Kat appears in the lobby, smoking a cigarette.

                      KAT
             You alright, Nora?

The elevator DOORS begin to close, and CLAMP around Nora's neck, her
head inside, body outside the elevator.

Eugene pounds on the BUMPERS, but they don't seem to work!

                          NORA
                 My God, someone please let me out
                 of this --

INTERCUT

The UP BUTTON is lit. Clear rushes to the lobby.

The Elevator RISES!

INSIDE THE ELEVATOR, Eugene watches Nora's head drop to floor level -
then he pounds the Emergency Button - which SHORTS OUT!

Nora's body lifts upwards from the force of the elevator floor!

Nora's screams of terror and agony fill the air as the elevator
repeatedly LURCHES UPWARDS.

Kat gasps in horror to see this poor woman suspended above the floor.

It lurches. And lurches. And lurches. The horror never ends.

Clear comes from the stairwell and is shocked by the sight. She runs
to the elevator doors, trying to pry them apart to no avail.

All Kat can do, crying, is grab hold of Nora's flailing legs and try
to pull her back down.

The elevator lurches a final time. NORA'S HEADLESS BODY fall down
into Kat's arms, knocking her to the floor. Kat freaks, skittering
away as the body convulses.

INSIDE THE ELEVATOR

Eugene balls his hands to his mouth in undeniable fear. A
bloodcurdling moan escapes him. He stares transfixed as Nora's head,
still aghast in terror, rolls around the floor.

The sight clearly sends Eugene over the edge. He SCREAMS, CLAWS AND
POUNDS, desperate to escape the elevator.

INT. THOMAS' APARTMENT - MOMENTS LATER

Eugene suddenly bursts through the door, babbling incoherently.
Kimberly, Thomas and Rory look on, bewildered.

                      EUGENE
             ...no escapes my ass. I control my
             fate. I die on my terms, hear me
             Reaper cockscuker?!

Eugene's in another world. He approaches Thomas and lunges for his
GUN - yanking it from the holster!

                      THOMAS
             What the hell are you...?

                       EUGENE
              Ain't going out like that.   On my
              terms!

                      THOMAS
             Just take it easy!

A twisted insane smile comes to Eugene's face as he jams the
gunbarrel to his temple. The others shrink back in terror.

He PULLS THE TRIGGER. CLICK! Eugene tries again. CLICK!

Thomas looks stunned as Eugene goes through every round, CLICK CLICK
CLICK CLICK CLICK CLI CK...

Kimberly breaths a sigh of relief.

                      KIMBERLY
             You don't keep it loaded?

Thomas' eyes disagree. He reaches in and GRABS the gun away from
Eugene, who stands there trembling. Thomas cracks open the cylinder.
Loaded.

                      RORY
             Maybe they were all duds.

                       THOMAS
              Six in a row? Never. Impossible.
              That's like
                     (sinking realization)
              ...winning the lottery.

                       CLEAR (O.S.)
              It wasn't his turn to die.

Everyone turns to see Clear and Kat, standing in the doorway,
DRENCHED IN BLOOD. Kat trembles uncontrollably.

                      KAT
             Can we find the pregnant woman,
             please?

                                 DISSOLVE TO:

INT. THOMAS' APARTMENT - DAWN

Flashing lights from rescue vehicles illuminate the living room. In
the newly conformed safe house, Kat and Clear relax as best they can
in Thomas' dry clothes.

Thomas makes another phone call. In the corner, Eugene shivers to
himself. Desperately looking for signs of danger. He looks over to
Clear.

                      EUGENE
             Um, Clear? I'm sorry...about
             before. I...

                      CLEAR
             Your entire world view just went
             out the window. I couldn't expect
             a religious conversation overnight.
             We'll get through this.
                    (beat)
             I promise.

Eugene looks immensely relieved. Rory ambles over to Kimberly, his
typical callousness gone.

                      RORY
             Can I ask you a question?

                       KIMBERLY
              Sure.

                       RORY
              When I die. Is it gonna hurt?

                      KIMBERLY
             I...I don't know.

Rory nods. He expected as much. He fishes his LICENSE and KEYS out of
his pocket.

                       RORY
              And you're gonna die after me,
              right?

                      KIMBERLY
             I guess so.

                      RORY
                    (re: keys and license)
             Would you take these? And if I
             die...
                    (tears well up)
             Could you throw all my drugs out?
             Paraphernalia, porno, you know...
             Anything that would break my mom's
             heart.

Kimberly looks deeply into his eyes, looking for the punchline. When
she doesn't see one, she nods tenderly and takes the keys.

The PHONE RINGS. Rory jumps at the sound, paranoid eyes in scan mode.
Thomas answers, speaks softly, hangs up.

                      THOMAS
             A one very pissed off Ms. Isabella
             Cruz is being detained up in
             Greenwood. Let's finish this
             thing.

EXT. COUNTRY ROADS - DAY

Kat's Ford Expedition winds its way through rural New York.

A SPORTS CAR speeds past on the left, then as it pulls in front of
the Exped ition, its slipstream sucks over some debris from the
shoulder; a thin metal piece of trim, which bounces in front of Kat's
Expedition's left front tire.

CU KAT'S WHEEL WELL -- the metal trim is shot upward into the wheel
well, where it lodges firmly, its sharp metal edge GRINDING AGAINST
THE RUBBER.

INSIDE THE CAR

Kat drives, Thomas reading directions in the shotgun seat. Kimberly,
Eugene and Rory ride in back. In the CARGO area, Clear scans out the
rear window for danger.

Rory fidgets.

                         RORY
                Is this safe, guys? I mean,
                someone in this car is about to get
                whacked. Do the rest of us really
                feel like sitting next to him?
                       (off Kat's glare)
                Or her. Hopefully her.

An uncomfortable beat.

                         THOMAS
                Guys, let's not panic.   Isabella's
                safe.

                          KIMBERLY
                 How do you know?

                         THOMAS
                You said she was going to drive
                into a lake. How can she when
                she's in protective custody?

INT. SHERIFF'S STATION - DAY

Isabella, pissed, is in a holding tank. Small town deputy STEVE
ADAMS, 30's, CLEANS HIS GUN in her direction.

                         ISABELLA
                What do you mean "grand theft
                auto?" This is insane.

                          STEVE
                Hopefully the district judge can
                straighten it all out by Monday
                mor ning.

                         ISABELLA
                       (figures it out)
                Jorge. When I get out of here I'm
                going to sue his cheating ass off.

As she fumes, a rivulet of WATER streaks down her leg.

                          IS ABELLA
                 Oh my God.

Steve, at first confused, sees the water and gasps.

                         STEVE
                Are you kidding me?!   Oh, man.

He rushes across the room, pulls a lever, unlocking the cell.

                         STEVE
              C'mon.    Let's go.

As Steve throws on his jacket, we reveal its prominent emblem:
GREENWOOD LAKE SHERIFF DEPARTMENT.

EXT. SHERIFF'S STATION - MOMENTS LATER

Small town station. Only one patrol car. In the patrol car, Isabella
buckles up in the sho tgun seat, the belt stretched tightly across her
belly.

Deputy Steve tries the ignition, but the car won't start.

                       STEVE
              Damn, they always stick me with the
              clunker.

                       ISABELLA
              Take my van!

EXT. WESTCHESTER COUNTY - DAY

KAT'S EXPEDITION speeds through a yellow light and continues on.

CLOSE ON EXPEDITION'S LEFT TIRE

Metal sheers away more rubber.

INSIDE THE EXPEDITION

Rory, antsy, rubbing his nostrils, stares at two Yankee tickets.

                       RORY
              Here's what I don't get. For nine
              months, Death does all this shit to
              make sure I win these tickets and
              end up on Route 18 at exactly the
              right time for the pile up...

                        KAT
              Yeah?

                       RORY
              But why single me out? What am I
              in the great scheme of things?
              You'd think I stepped off Flight
              180 or something... Fucking weird,
              man.

                       THOMAS
              You want weird? Last year, my
              partner and I were heading out for
              the graveyard shift. A call comes
              in about a train wreck and Frank
              decides to let me handle it alone.

                    (beat)
             Frank died that night in a
             shootout. I'd be dead too if that
             call had come in just ten seconds
             later.

Everyone nods in that 'life's weird' reverence kind of way.

                      KAT
             I got that beat. So like, last
             May, I was supposed to stay at this
             cheesy bed and breakfast in
             Pennsylvania. There was a major
             gas leak no one knew about and all
             the guests suffocated during the
             night.

                      RORY
             Yeah, so what happened?

                      KAT
             I never mad it. The Greyhound bus
             I was on splattered some chick all
             over the road and we had to stop.

                      CLEAR
             Was that in Mt. Abraham?

                        KAT
              Yeah.   How did you know?

                      CLEAR
                    (sinking realization)
             That bus you were on? It killed
             Terry Mathers. She was supposed to
             die on Flight 180.

                      KAT
             I'm not sure I--

                       THOMAS
              Shit. The call about the train
              wreck that saved my life? That was
              the night I scraped up Billy
              Hitchcock.

                       RORY
              Who?

                      KIMBERLY
             Another kid from Flight 180.

A chill passes over the group.

INT. WINDING ROADS - DAY

Deputy Steve speeds the White Van up the narrow winding road.
Isabella breathes Lamaze- style through intense pain.

                       ISABELLA
              Promise me...I won't have the

              baby...in this van.

Speeding up the incline, Steve tries to speed around a Volkswagon
Beetle, but cars scream by in the opposite direction.

                       ISABELLA
              Get around it!!!

Steve leans on the horn and stomps the gas, dangerously riding the
shoulder around the Beetle.

Way ahead of the Beetle, on the left side, is a LAKE.

EXT. WINDING ROADS

BRIAN GIBBONS, 15, cheerfully drives a TRACTOR hauling a WHOODCHIPPER
across the high crest of the empty road toward a pile of thick
branches.

The Tractor unexpectedly stalls in the middle of the road. He tries
the ignition, pumps the gas. Nothing...

Only by standing on the tractor can Brian see the White Van speeding
up the hill toward him. He jumps down and frantically tires starting
the tractor. Once, twice, nothing.

EXT. KAT'S EXPEDITION - CONTINUOUS

CU FRONT TIRE - METAL shreds away more rubber.

INT. KAT'S EXPEDITION - CONTINUOUS

Rory excitedly makes a connection.

                      RORY
             Remember the theater in Paris that
             collapsed last year, killed
             everyone inside?

Everyone nods, anticipating...

                      RORY
             I had tickets to go, but one day
             I'm in Paris, trippin' on acid,
             sippin' lattes an' such, and this
             dude gets whacked by a falling
             sign.

                        CLEAR
              Carter.

                      RORY
             Freaked me out so bad I hid in a
             shopping cart for four hours.
             'Course, missed the show...

                        CLEAR

                 What about you, Kimberly?   Did you
                 anyone from Flight- ?

Clear stops when she sees all the color has drained from Kimberly's
face. Even Eugene looks concerned.

                      EUGENE
             Are you okay?

The car becomes completely silent (except for the slight SCRAPING) as
Kimberly prepares to tell her story.

                      KIMBERLY
             A little over a year ago, my mother
             and I went to the mall. I was
             supposed to meet her outside, but I
             got caught up watching some news
             report about some kid who committed
             suicide. I kept thinking, "How can
             you strangle yourself in a
             bathtub?" That's retarded.

Thomas mouths, "Tod?" to Clear. Clear nods.

                          KIMBERLY
                 It felt wrong. And yet...
                        (continuing)
                 There were gunshots outside and I
                 ran...
                        (chokes up)
                 Some kids tried to jack her car.
                 She fought them off - she was a
                 fighter - and they killed her.

Kimberly looks to Clear.

                      KIMBERLY
             After the funeral I had this
             overwhelming feeling that it should
             have been me. I figured that's how
             everyone must feel. But I guess I
             was right.

Thomas reaches between the seats and takes Kimberly's hand. As he
looks into her eyes, Kat takes her own eyes off the road to light a
cigarette.

INTERCUT BRIAN

The tractor is safely off the road next to a wood pile. Brian grabs a
cord and starts up the whoodchipper.

INT. KAT'S EXPEDITION - CONTINUOUS

                      CLEAR
             It's all starting to come together.
             When Alex got us off Flight 180, it
             didn't just change our lives. It

               affected everyone and everything
               we've come into contact with ever
               since.

                        EUGENE
               I'm not sure I understand.

                        CLEAR
               Being alive after our time caused
               an outward ripple - a rift in
               Death's design.

Eugene nods, slowly getting it.

                        EUGENE
               So if you never got off the plane,
               none of us would be ali ve in the
               first place.

                        CLEAR
               That's why Death is working
               backwards. It's tying up all the
               loose ends, sealing the rift once
               and for all �


This chapter of the screenplay contains scene(s) that do not appear
or occur elsewhere in the final movie. In order to maintain the
integrity of the screenplay, it has not been edited.

CU LEFT TIRE

A thick retread sheers itself onto the pavement.

BRIAN

The wood chipper roar s loudly. Suddenly, some forgotten stray chunk
SHOOTS from the spout --

The airborne chunk of WOOD CRACKS the White Van's windshield. Steve
veers out of control.

Kat sees the White Van ahead swerving into HER LANE. She quickly
jerks the wheel to the right.

Kat's LEFT FRONT TIRE BLOWS! It sends rubber flying and the entire
SUV pulls hard to the left, spinning her out of control into the
oncoming lane of traffic - toward the White Van!

Isabella SCREAMS! Steve jerks the wheel to the left! The White Van
has a close near miss with the Expedition, and goes off the road
toward a LAKE!

                          STEVE
               Hang on!

The SUV misses the tractor -- but sails off the other side of the
embankment, spinning and rolling towards --

THE GIBBONS' FARM

At the bottom of the hill of a large rural farm, a PROPANE TANK sits
at the edge of the property!

The SUV barrels down the hill - coming right for it!

INSIDE THE SUV

All Kat can do is cover her head with her arms.

THE WHITE VAN

Speeding toward the lake! Isabella SCREAMS, in pain, not fear. The
White Van is ready for splashdown.

Steve finesses the hand brake while tapping the accelerator. He's
able to right the van away from the water without so much as a hard
jerk.

                         STEVE
                We're okay, we're okay.

THE PROPANE TANK

It's about to get creamed - but the bouncing Expedition just barely
misses it! It continues, backwards, CRASHING through a temporary
fence and right into --

AN AGRICULTURAL CONSTRUCTION SITE!

The Expedition plows past earth movers, crashing through irrigation
ditches and pipes, shrapnel flying everywhere.

Just as the Expedition comes to a stop, an IRRIGATION PIPE ROCKETS
through the rear window -- miraculously missing Clear and Rory --
coming to a rest just behind Kat's head.

INSIDE THE WHITE VAN

Steve sees the wreckage on the other side of the highway and slows
down. Isabella squeezes his hand white.

                          ISABELLA
                Please.   It's not going to wait.

                         STEVE
                I've got to stop and help those
                people.

                          ISABELLA
                 Do you want to deliver this baby?

Steve looks ill, then sees another car stopping by the crash. He
floors it and speaks into the shoulder mic of his cop radio.

THE EXPEDITION

The dust settles in the silent car. The only sound is a QUIET, WET
WHEEZE. Clear, dazed, looks around carefully, avoiding the METAL
SPIKE that skewers the vehicle.

Rory holds his trembling hand before his eyes as if amazed to see it.
Kimberly shakes her hair, spilling glass onto the floor. Kat tries to
open the door, but it won't budge.

                       KAT
              Not my time.     Amazing...

                          THOMAS
                 Is everybody alright?

A BLOODY HAND SEIZES HIS SHOULDER!

Thomas turns to see

Eugene SPASMING in the back seat! He clutches his ribcage in agony
and wheezes! Blood trickles from his mouth.

                       KAT
              He can't breathe!        He can't
              breathe!

                          CLEAR
                 Oh my god, Eugene!?

Eugene's head tilts forward, unconscious.

EXT. GIBBONS' FARM - DAY

BRIAN GIBBONS jumps off the tractor and sprints down the hill toward
the accident. At the edge of the property is a common farm FENCE made
from wooden posts bridged by two thick wires.

Brian skillfully climbs between the wires and runs past a DEAD OAK
TREE ten feet inside the fence. In the BG, MR. GIBBONS darts inside a
double-wide construction trailer.

                        MR. GIBBONS (O.S.)
              Call 9- 1-1!

WE FOLLOW BRIAN

To the crash site. Brian's jaw drops as he absorbs the chilling sight
of a guy and a girl dragging a blood- soaked man from the back seat to
perform CPR on him.

Around Brian, voices mesh in a surreal haze.

                       THOMAS
              Stop it, don't move him!

                         KIMBERLY

               He can't breathe damn it.   I think
               his lung's collapsed!

                        CLEAR
               Someone call for help!

We STEADICAM around Brian to reveal a woman screaming from the
driver's seat. The sound is surreal.

                        KAT
               I can't move my fucking leg!
               Please get me out of here before it
               explodes!

The color drains from Brian's face as the dying man on the ground
coughs blood and the girl performing CPR recoils.

The moment is still surreal as Brian steps back, further away from
the horrors he can't face. Into the street --

And Rory yanks him back from imminent death as an AMBULANCE SPEEDS
onto the property.

                        RORY
               Watch it, dude!

That SNAPS Brian back to reality. Sounds become normal again. Brian
collects himself and SNIFFS the air. He then drops to ground level,
looking under the Expedition for something.

                        KIMBERLY
               Help us, we need help over here!

                        BRIAN
                      (to Kat, reassuringly)
               I don't smell any gas. And none's
               dripping, either.

Brian sticks his head in Kat's window and peers down at her trapped
leg. He swipes the broken glass away from the window with this thick
flannel sleeve, reaches in, and tries to YANK the door open with all
his might.

No good, Kat SCREAMS in pain.

                        KAT
               Stop that! I still need this foot,
               thank you.

Brian steps back as the emergency vehicle speeds over.

DISSOLVE TO:

EXT. GIBBON'S FARM - LATER

Clear watches two EMTS lo ad Eugene into the back of an ambulance. An
oxygen mask has been placed over his mouth.

                      CLEAR
             Be careful with that, check the
             gages on the regulator and be
             mindful of overdoses. Oh, watch
             for potholes and puddles.

As Clear continues, the exasperated Paramedics do their best to
ignore her. When she tries to climb inside, she is pushed away.

                      CLEAR
             Look, I made him a promise --

                        PARAMEDIC
              Sorry.   There's no room.

Again, she's shoved away and steps back, helpless.

Thomas and Kimberly stand by Kat, still trapped in the SUV.

                      THOMAS
             Get that over here!   Move move
             move!

A RESCUE WORKER carries the JAWS of LIFE past Clear towards the
Expedition.

                       RESCUE WORKER
              Excuse me, hot soup coming through.

The hydraulic hose that leads back to the Power Unite WRAPS AROUND
CLEAR'S LEG.

As the hose tightens, Clear realizes she's surrounded by shards of
glass and metal. She quickly WRESTLES herself free of the hose and
watches the Paramedics lock Eugene's gurney into place.

                      CLEAR
             One more thing.   Watch out for
             power lines.

The doors slam, revealing the PHELPS MEMORIAL HOSPITAL logo. The
ambulance speeds off, spraying gravel at her.

She reaches into her pocket and withdraws a CRUSHED cell phone. Shit.
She runs back over to Thomas.

                       CLEAR
              We have to contact Isabella now!

A NEWS VAN tries to weave through the emergency vehicles to get
closer to teh accident.

ANGLE ON NEWS VAN UNDERCARRIAGE

It sinks into the loose dirt, SCRAPING A LARGE ROCK. The gas tank
PUNCTURES.

EMT'S angrily wave the news van back to the road, where it parks near
the twin wire fence opposite the DEAD OAK TREE.

Immediately, A CAMERA CREW exits the van to catch the action. Rory
steps behind the News Van, making sure he can't be seen, and digs
into his sock, coming up with a bindle. A SMILE...

                        THOMAS (O.S.)
              Rory!!!

Rory cringes at his name, pockets his stash, then EXITS FRAME. WE
PUSH IN, the news van gas tank is leaking. A SMALL DRIP...

EXT. GIBBON'S FARM - CONTINUOUS

Thomas, Kimberly, Clear and Rory watch the JAWS OF LIFE being clamped
onto Kat's door.

                       THOMAS
              Where's the cell phone Clear gave
              you?

                       RORY
              I dunno. I think I gave it to
              Eugene back at your place.

                       THOMAS
              Damn it. We have to call the
              Greenwood Police Station and warn
              Isabella.

Thomas runs in the direction of some local POLICE. After he leaves,
Rory drifts away from the pack, hand in pocket.

Kimberly moves back to Kat, who chain -smokes in the front seat of the
Expedition.

                       KIMBERLY
              You doing alright in there?

                       KAT
              My legs are starting to cramp up.
              And God, why am I so thirsty? Does
              anyone have any Fiji?

The KA-CHUNK of the Jaws of Life next to Kat startles her half to
death.

                       KAT
              Christ, you wanna give me a heads
              up next time, pal?

Brian and Mr. Gibbons approach with a cup of tap water. They hand it
to kat, who frowns but drinks anyway.

CUT TO:

THE DRIP

Of the leaking gas becomes a steady trickle. GAS SLITHERS over packed
dirt, around debris, toward the crash site.

BACK TO:

THOMAS DARK ROOM

Speaks to another COP who clicks off his radio.

                       COP
              She's at Phelps Memorial. They're
              prepping her to give birth right
              now.

                       THOMAS
              Where's that?

                       COP
              A few miles up the road.   Near the
              docks.

KAT

Lights one cigarette off the other KA -CHUCNK! The sound makes her
flinch, dropping the cigarette on the floor.

                       KAT
              Damn, can't you be quieter with
              that thing?

                       RESCUE WORKER
                     (dripping scorn)
              Sure, I'll just set it to the
              "quiet" mode.

Kat rescues the glowing cigarette from around her feet and inhales.
KA-CHUNK!!! She jumps again, but maintains her composure.

MEANWHILE

The gasoline purposefully trickles down corrugated steel, through
pipes, closer and closer to the Expedition. At one point, the gas
even disappears into a hole in the ground, only to resurface twenty
feet closer to the site...

KIMBERLY

Looks confused to watch Rory climb between the fence wires and drift
the Dead Oak Tree into the field. Thomas runs down the hill toward
Kimberly.

                       THOMAS
              We gotta go now.   Isabella's in
              labor.

Rescue Workers pull off a large chunk of door. KA-CHUNK! Kat
Flinches.

                       KIMBERLY
              What about that?

                       CLEAR
                     (calls over to Kat)
              How you doing in there, hero?

                       KAT
                     (re: spike behind head)
              I guess it could be worse.

Brian hands out drinks to Rescue Workers.

                       THOMAS
              So let's go...Where the hell is
              Rory?!

Thomas sees Rory in the field and angrily hops the fence, heading
directly under the dead Oak Tree.

Rory, his back to everyone, finally opens the BINDLE. Enraptured, he
delicately unfolds it...

KIMBERLY

Is put on alert by a fresh BREEZE. Her attention is caught by the
WINDOW of an emergency vehicle. IN THE REFLECTION, Kimberly sees a
man sitting on the Expedition, but when she spins ar ound, there's no
one there.

KA-CHUNG! The door comes off the Expedition, finally freeing Kat!
Everyone applauds!

                        KIMBERLY
              Wait!

Mr. Gibbons, applauding with everyone else, chooses that very moment
to sit on the bumper.

DEPLOYING THE AIRBAG!

SLAMMING Kat's head backwards through the spike, HEAD-KABOB.

Kat's dead limp hand drops her last cigarette -- which bounces along
the hard dirt -- toward the oncoming gas. Closer, closer,.. The
BREEZE KICKS UP, aiding the cigarette.

WHOOSH, the gas fuse catches. The blusih flame travels through pipes,
over rocks, racing toward the news VAN.

Kimberly , half-traumatized, watches an ominous BREEZE rustle through
the field, up to the trees, toward Thomas.

The GAS BURNS up an incline, and disappears into the ground... And
pops up twenty feet closer to the News Van.

Kimberly follows the BREEZE to the dead oak tree under which Thomas
stands. And blows a large branch until it snaps! A startled Thomas
sees it fall just in time to DIVE to safety.

Clear, seeing the flame, instinctively runs from the van.

                      CLEAR
             Get back!

BOOM! The news van's explosion hurls two fence posts just over
Thomas' head, end over end, the two lengths of wire stretched between
them. The flying garrote heads directly for --

Rory, who sorts hard, stands up with a satisfied smile - and is
sliced into three sharp cuts of beef.

The silence from the emergency crew is deafening. Mr. Gibbons starts
crying hysterically.

                      MR. GIBBONS
             I didn't mean to do it - I didn't
             know.

Kimberly numbly stares at the fallen branch, the one that caused
Thomas to step out of the path of the flying fence.

                      KIMBERLY
                    (to herself)
             It wasn't his turn.   And it's not
             my turn.

Kimberly sees the corpses of Kat and Rory, buries the pain, and
approaches Mr. Gibbons.

                      KIMBERLY
             Give me the keys to your truck.
             Now!

                      MR. GIBBONS
                    (hysterical)
             Anything you want. Anything.      I
             wish I knew. I didn't...

Mr. Gibbons hands Kimberly the keys.

EXT. WESTCHESTER COUNTY - MOMENTS LATER

Kimberly drives Thomas and Clear in the Gibbons' truck. All are numb.

                      THOMAS
                    (buckling up)
             Hurry up. There's no time.   She's
             about to give birth.

Kimberly unbuckles her seatbelt and floors it.

                      CLEAR

             What are you doing?     You're going
             to kill us!

                      KIMBERLY
             No. If anyone dies from a crash
             now, it'll be me. But I can't die
             if Eugene and Isabella are still
             alive. I'm last on Death's list.

                      CLEAR
             Are you crazy? What makes you
             think you'd survive?

                      KIMBERLY
             What happened when Eugene tried to
             kill himself out of turn?

                      CLEAR
                    (considering)
             Six duds in a row.

                      KIMBERLY
             And when it was Rory's turn to die,
             and Thomas was in the way?

                      THOMAS
             That branch fell and saved my life.
             You're right, Death's maintaining
             the order.

                       KIMBERLY
              Let's pray that Isabella's still
              alive.

The truck speeds into the horizon.

EXT. PHELP'S MEMORIAL HOSPITAL - ESTABLISHING SHOT

INT. DELIVERY ROOM - DAY

Typical chatter as the staff preps Isabella. Steve paces nervously in
the background.

                      STAFF
             ...contractions coming quicker now.
             Take her pressure and CTG. One
             centimeter dilation. Prep the
             epidural stat.

Isabella breathes Lamaze style in the hospital bed, her feet in
stirrups. A NURSE rocks Isabella's body back and forth, until her
back arches almost unnaturally forward.

In the BG, an OBSTETRICIAN, 50s, sterilizes his hands in a scrub
sink.

A female ANESTHESIOLOGIST hustles over, swabbing a LONG EPIDURAL
NEEDLE. The nurse places a mask over Isabella's face. The
Anesthesiologist lowers the needle to the base of Isabella's spine.

                       ANESTHESIOLOGIST
              She's going to have to stop moving
              if I'm going to --

The Nurse SNEEZES.

                       ANESTHESIOLOGIST
              Goddamn it, keep her still!

                       NURSE
              Sorry, doctor.

XCU NEEDLE

Tracing skin between Isabella's constantly moving vertebra.

ANGLE ON BUMBLEBEE

It buzzes about the room, darting between the he ads of the doctors
and nurses, hovering above the --

ANESTHESIOLOGIST, who traces the long needle down Isabella's spine,
finding the proper vertebrae.

                       ANESTHESIOLOGIST
              Perfectly still now...

Everyone freezes. SILENCE. As the tip of the needle presses the skin
down --

The BEE lands on the Anesthesiologist's ear. And STINGS!

FLINCH!

The NEEDLE SINKS IN - a NURSE GASPS. Did something go wrong?

                       ANESTHESIOLOGIST
              Done.
                     (tears welling)
              Now could someone please find the
              open window and fucking close it?

EXT. SUBURBAN STREET - CONTINUOUS

Kimberly speeds the truck down some dangerously twisty roads slick
from wet leaves.

                       KIMBERLY
              This makes no sense. Isabella was
              supposed to crash her van into a
              lake. Could we have altered her
              destiny when we had her arrested?

                       CLEAR
              I don't think so. Alex's
              premonitions happened exactly as he
              saw them no matter how much we

               tried to change it.

                        THOMAS
               Then the only way to survive is to
               get to the hospital and protect
               Eugene and Isabella for as long as
               we can.

                        CLEAR
               If only Alex and I had done that
               with the others, Alex might still
               be...

A somber beat. Then Thomas looks over at the speedometer.

                        THOMAS
               Um, Kimberly? This is a
               neighborhood. You may wanna slow
               it down.

                        KIMBERLY
               Don't worry. Nothing can happen to
               us.

                        THOMAS
               I wasn't worried about us.

Suddenly, Kimberly clutches her throat!

HARD CUT TO:

INT. HOSPITAL ROOM - DAY

UNKNOWN POV

A NURSE hovers over us in a hospital, WRESTLING us down by the look
of things. There is SCREAMING all around. The image comes at us so
fast, we see only the briefest glimpse of the NAMETAG on her uniform:

KALARJIAN

                        THOMAS (O.S.)
               Kimberly! Slow down!

                                     BACK TO:

INT. TRUCK - CONTINUOUS

Kimberly "comes to" at the wheel -- FLAILING DESPERATELY at the
steering wheel. She even claws at Thomas who tries to control the
neglected steering wheel.

                        CLEAR
               Slow down! We're...

Kimberly looks up as the truck comes around a blind curve, where cars
are backed up at a stop sign. Kimberly screams and SLAMS on the
brakes.

The truck SKIDS on wet leaves, completely out of control, towards a
LANDSCAPING TRUCK parked on the shoulder.

Kimberly's truck hits the loading ramps and launches itself twenty
feet into the air, DUKES OF HAZZARD-style.

And lands miraculously without a scratch! On a parallel road. And
keeps going. Dumb, insane fucking luck.

Kimberly shakes off her premonition and looks out the rear window.
She turns around with a cocky smile.

She rubs her throat and FLOORS IT again to Thomas' horror, more
determined.

                       CLEAR
                     (eyes darting)
              What did you see? What am I
              looking for?

                       KIMBERLY
              No, it's not here. This one was
              different. More like the pile up
              and the van going into the lake.
              It wasn't just a sign, I was there.

                       CLEAR
                     (confused)
              Another premonition?

                       KIMBERLY
              Yes. I was in a hospital. There
              was screaming... A nurse was
              choking me. I couldn't tell wh at
              she looked like, but the name tag
              was right in my face. Kalarjian.

                       THOMAS
              Kalarjian?

                       KIMBERLY
              I think a nurse named Kalarjian is
              going to choke Isabella to death!

INT. PRIVATE ROOM - DAY

WIPING FRAME, a NURSE enters a room and reads a clipboard on an
unseen patient's bed.

REVEAL EUGENE lying in a hospital bed, wired to the latest medical
hardware. Nearby, a RESPIRATOR plunges up and do wn, the RESPIRATOR
TUBE snaking down Eugene's throat.

The NURSE'S HAND reaches down to Eugene's neck...

Eugene WINCES when the Nurse gives the tube a friendly little SHAKE
to check if it's stable.

                       NURSE

              Sorry. Can you feel that in your
              trachea?

Eugene rolls his eyes. Stupid question.

                       NURSE
              Quite complaining. I got burnt
              babies in the Children's Ward
              braver than you.

She sticks an electri c thermometer in his ear. Eugene opens his mouth
as if to speak.

                       NURSE
              Don't bother. You won't be talking
              for at least a month. Think you
              can handle that, Jabberjaw?

Eugene looks ready to cry. The Nurse sits on the bed, jarring Eugene
enough to make him WINCE again.

                       NURSE
              Don't worry. Everyone learns to
              love me once they get used to my
              sense of humor, okay?

Eugene looks grat eful to see a humane side to this creature.

EXT. WINDY ROADS - DAY

The pick up truck races to the hospital. As Kimberly speeds past a
billboard, a POLICE CAR pulls in hot pursuit.

                       KIMBERLY
              Shouldn't we pull over?

                       THOMAS
              No time. Keep going. I wouldn't
              know how to explain any of this
              anyway.

At the next intersection, TWO MORE COP CARS APPEAR.

                       KIMBERLY
              Oh come on.

The pick up truck blows by the second pair of cop cars, which
instantly join the high speed chase. Kimberly takes a long look in
the rearview mirror at the TAILGATING COPS. She then inspects the
road ahead.

UP IN THE DISTANCE

A busy six-lane intersection.

                       KIMBERLY
              What do you want me to do?

                      CLEAR
                    (hesitated beat)
             Speed up.

                       KIMBERLY
              Yeah, fuck 'em.
                     (to Thomas)
              No offense.

Kimberly SPEEDS toward the intersection. She pulls her seatbelt
aside, making sure it offers ZERO protection. Thomas jumps in the
backseat, buckles up...

                      CLEAR
             Be alive, Isabella, please be
             alive.

Kimberly's eyes widen in fear. Her foot hesitates over the brake
pedal as --

The truck blindly blazes through the busy intersection, miraculously
missing every car!

The police are just barely able to fishtail into 90 degree turns,
avoiding the intersection completely.

Kimberly's eyes open and she lets out a victory cry.

INT. PRIVATE ROOM - DAY

ANGLE ON

Oxygen valve. PAN OVER AND DOWN TO

Eugene tries to watch a news flash of HIS accident on the TV across
the room, but a bulky ORDERLY blocks his view.

                      ANCHOR MAN (O.S.)
             ...ironically impaled through the
             head as a result of an emergency
             airbag deploying.

As Eugene shudders with dread, the Orderly pushes a huge cart in
front of him, again obscuring his view. Eugene frantically pantomimes
writing.

                       ORDERLY
              Need a pen? Sure. If you like,
              I'll bring crosswords for you, too.

Eugene tries nodding his thanks, but the tube in his throat hampers
his movement.

                       ANCHOR WOMAN (O.S.)
              ...police Have speculated that one
              of the deaths may have been

              narcotics related and urge children
              to stay away from d rugs.

Finally, the Orderly pushes the cart away, revealing the TV. An
ANCHOR MAN taps his pages on the desktop.

                      ANCHOR MAN
             Good advice, Sue. And stay in
             school. Up next, Johnny Showers
             has the weather...

A WEATHERMAN dressed as a frog points out cloud formations.

Eugene, tormented, stares at the screen as the Orderly begins pushing
the huge cart out of the room.

The sound of a SKIDDING CAR fills the room. It comes from the TV
which shows a PSA featuring CRASH TEST DUMMIES.

                       ORDERLY
              Jeez, it's freezing in here.

The Orderly flicks the thermostat and one by one, VENTS CLOSE just
below the ceiling.

Eugene's eyes fill with terror - he knows something's wrong.

ANGLE ON OXYGEN HOSE -

Bursting. It HISSES softly. We follow the OBLIVIOUS ORDERLY out of
the room.

INT. HOSPITAL CORRIDOR - CONTINUOUS

A hospital ADMINISTRATOR briskly strides up to the Orderly.

                      ADMINISTRATOR
             What are you doing? The Henzels
             are still waiting for you in the
             Children's Ward --

The Orderly smacks his forehead - shit. Totally forgot.

                      ORDERLY
             Right, right, right.     Gregory's big
             day.

                      ADMINISTRATOR
             And Mrs. Dempsey in hydrotherapy
             can't feel her legs.

The Orderly, nodding rapidly, is halfway down the hall by now. The
Administrator shakes his head in disgust and walks past.

The HUGE CART. Which now blocks the door on Eugene's room.

EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS

Kimberly seems to have ditched the cops. She speeds the pick up
through the medical facility.

EXT. EMERGENCY ROOM - DAY

The pick up skids to a halt in front of the hospital. Kimberly,
Thomas and Clear run outside and into the building.

INT. PRIVATE ROOM - DAY

The OXYGEN HOSE hisses, but is drowned out by the volume of the TV.
Eugene's eyes dart frantically as a blaring fast food commercial
ends. The n, a NEWS REPORT comes on. The BANNER:

ROUTE 18 TRAGEDY

Footage showing grieving families, wreaths on doors, yellow ribbons,
and emergency crews pulling wreckage apart, dissolve together over:

                       ANCHOR    WOMAN (O.S.)
             Mor e tears were    shed this morning
             in the wake of     yesterday's tragedy
             that rocked the     Tri -State area...

Suddenly, the FRAYED ELECTRIC CORD of Eugene's TV begins sparking.
The sound DROPS OUT, the picture SPUTTERS.

Eugene goes white with terror. He looks back to --

The broken OXYGEN TUBE. HISSING softly. The BEEPS of the EEG machine
frantically increase. Eugene reaches for the nurse call switch.
Mockingly out of reach by mere millimeters.

INT. NURSES STATION - DAY

Clear, Kimberly and Thomas dash toward the main desk.

                       CLEAR
              Isabella Cruz.    What room's she in?

                       RECEPTIONIST
              I'm sorry, I can't give out that
              info unless you're a relative.

                       CLEAR
              I'm her sister.

The Receptionist eyes her dubiously.

                      RECEPTIONIST
             I'll have to see your ID, Ms. Cruz.

Clear vaults over the counter, straight-arms the Receptionist and
seizes the computer. Thomas and Kimberly look on, stunned.

                      CLEAR
             Delivery rooms are downstairs.
             I'll find Eugene and catch up with
             you.

Kimberly and Thomas hurry to the elevator banks...then reconsider and
enter the stairwell.

INT. PRIVATE ROOM - CONTINUOUS

Eugene scratches the top sheet of the bed, trying to inch the call-
switch closer and closer to him. But it won't budge.

A RAT APPEARS behind Eugene's pillow, CRAWLS over his chest and
disappears by his stomach!

He pounds desperately on the empty food tray, his side rails, looks
toward the door --

INT. HOSPITAL CORRIDOR - CONTINUOUS

Outside the door, you can't hear a thing in the bustling hallway as
people rush by. Kimberly and Thomas rush past his door, lost.

                          THOMAS
                 Hurry, I think she's this way.

BACK TO EUGENE

His eyes scream insanely, but he respirator tube prevents any sound
from escaping him. And that's when the RAT appears on the floor and
begins gnawing on the respirator's power cord!

When Eugene sees this, the EEG machine climbs off the charts.

INT. NURSES STATION - CONTINUOUS

Clear takes off down the hallway. The Receptionist, shaken, dials her
phone.

                          RECEPTIONIST
                 Security?

INT. DELIVERY ROOM - CONTINUOUS

The Obstetrician voices concern.

                          OBSTETRICIAN
                 Listen to me, Isabella, I need you
                 to stop pushing.

                          ISABELLA
                 What's wrong? IS the baby all
                 right?

                          OBSTETRICIAN
                 It's a breach. If I can't reverse

              it, we may need to do a Caesarian.

The Obstetrician's hands go to work. Steve looks ill.

                       STEVE
              Maybe I should step outside.

INTERCUT KIMBERLY AND THOMAS

Running down the corridor.

                       PA ANNOUNCEMENT
              Code Blue in Delivery Room 6.   Code
              Blue!

INT. PRIVATE ROOM - DAY

The rat GNAWS away at Eugene's power cord, Eugene looks trapped,
helpless, tortured.

His eyes dart from the sparking TV to the gnawed power cord to the
useless call- switch.

INT. HOSPITAL CORRIDOR - CONTINUOUS

Clear walks up and down the corridor, scanning room numbers as she
passes. A -169, A- 171, A-173...

                       CLEAR
              B-187...B-187...

A HAND suddenly GRABS Clear and shoves her against the wall. REVEAL A
SECURITY GUARD leering at her.

                      SECURITY GUARD
             Just where do you think you're
             going?

Clear struggles to get away, getting sympathetic looks from an OLD
MAN walking a rolling IV STAND down the corridor.

INT. DELIVERY ROOM - CONTINUOUS

Isabella is pushing again.

                       OBSTETRICIAN
              Almost there. I see the head...

The NURSE takes a pair of SCISSORS off a tray.

INT. HOSPITAL CORRIDOR - CONTINUOUS

Clear plays possum, offering no resistance to the Security Guard as
the Old Man wheels his IV STAND along.

Suddenly, Clear grabs the stand - and WHAMS the heavy wheeled base
into the Guard's BALLS! As the Guard recoils, she thoughtfully hands
the IV back to the Old Man and runs.

INT. DELIVERY ROOM 0 CON

The Nurse is startled when Kimberly and Thomas BURST THROUGH the
door. In the BG, a puzzled Steve peeks inside until Kimberly pulls
the door closed.

                      NURSE
             What are you doing in here?    Get
             the hell out! Right now!

Finally we hear the BABY CRY! The Nurse immediately moves in to
swaddle the newborn. Dr. Kalarjian beams at the very groggy looking
Isabella.

                       OBSTETRICIAN
              Isabella, look down and see your
              son.

To the confusion of everyone around them, Kimberly and Thomas BURST
INTO CHEERS! They jump, dance and hug each other.

It's a magical moment --

EXT. EUGENE'S PRIVATE ROOM - CONTINUOUS

The RAT stops gnawing. The TV stops sparking. A wave of intense
relief washes over Eugene. He pantomimes reaching into his shirt
pocket and lighting a victory cigar.

INT. HOSPITAL CORRIDOR - CONTINUOUS

Relaxed and invigorated, Kimberly and Thomas giddily exit the
delivery room as Clear runs up to them.

                      CLEAR
             A guard grabbed me before I could
             find Eugene.

                      THOMAS
             Don't sweat it.   It's over.

                      CLEAR
             She had the baby?

                      KIMBERLY
             New life defeats death. We've done
             it. Death has to rewrite the list.
             We're safe.

Steve watches, confused, as Clear whoops with delight and HUGS the
others.
Clear laughs with a relief that seems completely foreign to her.
Kimberly laughs with her, then is suddenly rocked by a vision --

HARD CUT TO:

UNKOWN POV

Looking up a the EEG machine. Flatlined!

                        THOMAS (O.S.)
               Kimberly! Are you okay?!


INT. HOSPITAL CORRIDOR - BACK TO PRESENT

Kimberly, on the ground, looks frazzled as she SNAPS out of her
trance. Thomas helps her to her feet.

                        THOMAS
               Are you okay? You just face
               planted!

                        KIMBERLY
               I know how it feels to be dead.

Her lips blue, Kimberly shivers uncontrollably. Clear sees TWO
SECURITY GUARDS round a distant corner and quickly walks the others
toward an EMERGENCY LOADING ZONE.

                        CLEAR
               What did you see?

                        KIMBERLY
               I was dead. And came back to life.
               An EEG machine. Where's Eugene?

                        THOMAS
               But it's over. Isabella's baby was
               the key. You saw her die and
               everything, right?

                        KIMBERLY
               I don't...what if I made a mistake?

                        THOMAS
               Impossible. She was on the onramp.

Kimberly reluctantly closes her eyes and remembers.

CUT TO:

PREVIOUSLY UNSEEN

Moment of the pile-up premonition. A WHITE VAN in fr ont of Kimberly
suddenly slams on its brakes and pulls onto the shoulder.

Kimberly screams, swerving around the van just in time to avoid an
accident.

BACK TO:

Kimberly, overcome with self- doubt.

                       KIMBERLY
              I'm not sure... I don't think
              Isabella was ever destined to die
              in the pile -up.

                       THOMAS
              Then what's the premonition of the
              lake supposed to mean?

                       CLEAR
              Can you remember anything about it?

Kimberly shuts her eyes, remembering:

EXT. LAKE - DAY

POV DRIVER

Grease-covered hands reach out toward a steering wheel of a white van
speeding out of control TOWARD A LAKE!

The van crashes through a railing and PLUNGES into the water. In
moments, the van fills with water, the driver inside trapped.
Drowning. Horrible.

And on the rearview mirror, six floral scented AIR-FRESHNERS.

BACK TO:

Kimberly looks down at her grease -covered hands and looks ill.

                       KIMBERLY
              ...the Same hands from the van.

Finally everything makes sense to Clear.

                       CLEAR
              It's you Kimberly. The
              premonitions are about you.

Kimberly trembles, refusing to accept what she's hearing.

                        KIMBERLY
              No!   It can't be.

                       CLEAR
                     (suddenly remembering)
              I have to save Eugene!

Clear leaves Kimberly and Thomas together. Kimberly verges on tears
and Thomas consoles her with a hug.

IN THE BACKGROUND

Clear looks at passing room numbers while hurrying down the corridor.
She comes to a room with a HUGE CART parked outside, blocking the
door. She looks up to see - B -187.

Clear leans into it, pushing it out of the way of the door.

                           CLEAR
                Eugene?    Are you in there?

EUGENE'S ROOM

Eugene strains to hear through the thick door.

                         CLEAR (O.S.)
                Can you hear me? I'm coming in .

An intense wave of relief washes over Eugene.

BACK TO:

As Kimberly hugs Thomas, she watches Clear push the cart past the
door.

                         ORDERLY (O.S.)
                Make way, make way lovebirds.

Kimberly spins as Eugene's Orderly passes her; a paper, pen and a
crossword book in one hand, A BIRTHDAY CAKE in the other.

The CAKE reads "Happy Birthday Gregory". The THIRTEEN SPARKLING
CANDLES on top ODDLY FRAME Clear's head.

                           KIMBERLY
                Oh no...

The Orderly speeds down the corridor toward Clear, whose hand reaches
for Eugene's door handle. She leans into it --

                         ORDERLY
                       (to Clear)
                Thanks hon, the Henzels are going
                crazy for this thing.

THOMAS AND KIMBERLY

Watch as Clear opens the door, briefly revealing Eugene, a whoosh of
Oxygen --

BOOM!!!

Clear's body is obscenely hurled END OVER END towards the CAMERA,
heading straight for Kimberly and Thomas!

Thomas throws himself and Kimberly around the corner to prevent being
crushed by Clear's lifeless body!

The hospital erupts in total chaos. Just as Kimberly is about to
break down completely, she sees --

A WOMAN hurrying down the hallway in their direction, pushing a crash
cart.

Kimberly sees the nametag: KALARJIAN.

                         KIMBERLY
                Nurse Kalarjian...

                         DR. KALARJIAN
                Doctor Kalarjian. Excuse me,
                please.

ANGLE ON CART

DEFRIBULATOR PADDLES rest on top. And then Dr. Kalarjian passes them
toward the area of the explosion.

KIMBERLY OMINOUSLY TURNS, the camera following her view, until she
sees a small lake across the street from the hospital.

                         KIMBERLY
                Oh my God. That's it. The lake.
                The EEG machine. Nurse Kalarjian.

                         THOMAS
                What?

Just then, an AMBULANCE SKIDS up to the nearest entrance. PARAMEDICS
jump out and run towards the blast site.

                         KIMBERLY
                You can't cheat destiny. I know
                what I have to do to save us. I
                have to die.

                         THOMAS
                That's crazy. You can't give up
                now. We can still fight this
                thing.

But Kimberly isn't listening. She stares through the glass doors at
the --

AMBULANCE

A red stripe down the side, but the hood is completely white. Six
floral scented air-fresheners hang from the rearview. The 'van' from
her vision! And it's running!

                         KIMBERLY
                I have to do this.

Kimberly wipes tears from her eyes, kisses Thomas' cheek, then turns
and runs before he can speak.

EXT. HOSPITAL ENTRANCE - CONTINUOUS

Kimberly heads right for the open ambulance. The driver's door almost
seems to swing open for her as she gets in.

INT. HOSPITAL ENTRANCE - CONTINUOUS

Thomas frantically tries to get through the electric doors, which
SPARK and short out. He struggles to pry them apart.

EXT. HOSPITAL ENTRANCE - CONTINUOUS

Kimberly shifts into gear and speeds off. Thomas squeezes through the
doors and runs after her. An EMT, the driver of the stolen ambulance,
rushes outside.

                      EMT
             What the fuck?!

EXT. LAKE - DAY

Thomas chases the ambulance, watching helplessly as it barrels over
curbs, pylons and a fence, ultimately plunging straight into the
lake!

Thomas sprints to the lake as fast as he can - the EMT trailing far
behind.

INSIDE THE AMBULANCE

Kimberly panics as the ambulance fills with water and she takes a
final gasp of air --

ON THE LAKE'S EDGE

Thomas stares in horror at the percolating air bubbles as the vehicle
descends below the surface -- and he dives in!

UNDERWATER

Thomas swims into the dark, murky water. Deeper and deeper, he g ets
to the ambulance and tries to open the door. Stuck. He withdraws his
baton and BANGS on the glass - nothing!

He tries coming up for air, but his pants snag on the jagged metal of
the twisted bumper. He squirms frantically...

And as his exhausted body loses consciousness, everything --

FADE TO BLACK.

INT. HOSPITAL ROOM - DAY

BLACKNESS.

                      DR. KALARJIAN (O.S.)
             Ready and...CLEAR!

The SHOCK of defribulator paddles brings Kimberly back to life.

KIMBERLY'S POV

Looking up at Dr. Kalarjian, all she can see is part of a woman's
face and a partial nametage reading "Kalarjian".

It would appear as if she's choking Kimberly, but --

An EEG MONITOR turns from a flatline to a steady heartbeat, the same
POV as the premonition.

                      NURSE
             She's back!

                          DR. KALARJIAN
                 Five CC's of narcodon. I want her
                 stabilized and prepped for ICU.

Kimberly turns her head to see

THOMAS

Unconscious, CPR being performed on him by the EMT (who's now soaking
wet). Thomas doesn't respond.

An INTERN opens an eyelid, points a flashlight at his eyes. Shakes
his head, nothing. The sopping wet EMT goes back to performing CPR.

Finally, Thomas coughs up water, chokes, gasps for air, then BOLTS
UPRIGHT.

                      THOMAS
             Kimberly?!

He turns to see Kimberly reaching out for him. Immeasurably relieved,
he takes her hand and allows himself to be eased back down to the
platform. Kimberly's eyes fill with tears.

                      KIMBERLY
                    (whispering)
             Welcome back. We did it.           For
             real.

                           THOMAS
                 I know.   I can feel it too.

Outside, a parting of dark clouds causes a shaft of sunlight to flood
into the hospital. Its light covers Kimberly and Thomas with an
ethereal glow. There are no more doubts; they've won.

They exchange meek, yet triumphant smiles in the smoky, chaotic
hospital.

SLOW DISSOLVE TO:

EXT. PARK - DAY

We are at a summer barbecue. Frisbee, lawn darts, croquet, et.
Everyone's happy.

TITLE CARD: FIVE MONTHS LATER

ANGLE ON

Shish -Kabob entering a mouth.

REVEAL

Kimberly taking a bite, relishing the taste and calmly pulling the
metal skewer from her mouth.

                       KIMBERLY
              My God, this is delicious. I can't
              believe I used to be a vegan.

Thomas, out of uniform, takes a bite of his own. As the metal skewer
is deep in his mouth --

A running FRISBEE PLAYER accidentally bumps into Thomas! But no harm.
Thomas gives the guy a friendly pat and goes back to rewrapping his
mouth around the shish-kabob.

                       MR. BURROUGHS (O.S.)
              So what's the deal, Thomas? Three
              months and you still haven't asked
              my daughter out on a date.

Kimberly turns red as Mr. Burroughs appears and takes a seat.

                       THOMAS
              What's wrong with a platonic
              relationship?

                       MR. GIBBONS
              Platonic my ass. That's for ugly
              women.

                       KIMBERLY
              For God's sake, leave him alone,
              Dad.

                       THOMAS
                     (smiling)
              Yeah, don't make me cite you for
              harassment.

                       MR. GIBBONS
              Oh please. I'm not hurting anyone.
                     (looking around, lowering
                          voice)
              Besides, if you can beat Death,

             what's he got to worry about me
             for?

Mr. Gibbons sits down at the table with two plates of food. His wife,
MRS. GIBBONS, joins.

                      MR. GIBBONS
             You know, you still never explained
             to us how you did it.

It seems by now everyone's familiar with the concept.

                      THOMAS
             Well, technically when we died, we
             gave Death what it wanted. And by
             the time we were revived, it had
             already moved on to graver
             pastures.

Mrs. Gibbons makes a face, finding the discourse distasteful. She
changes the conversation.

                      MRS. GIBBONS
             You know, I'm having the greatest
             day?

                      KIMBERLY
             Food's great too, Mrs. Gibbons.
             Big props to you and Brian.

                       MRS. GIBBONS
             Our...pleasure. So, ready for the
             back-to -school season? NYU, right?

                      KIMBERLY
             Three short glorious weeks away.

                      MRS. GIBBONS
             Sounds wonderful. I wish I were
             going myself.

                      MR. GIBBONS
                    (to Mr. Burroughs)
             You may want to think twice about
             letting her live in the village,
             Bob. Our eldest daughter moved
             there and came back with piercings
             all over her face.
                    (looks grave)
             Among other places.

A chorus of friendly laughter.

                      BRIAN (O.S.)
             Dad used to call her the
             pincushion. From Hellraiser.

BRIAN enters frame, soaking up fresh laughter. He holds a plate full
of raw chicken fillets and some long, wooden matches.

                        BRIAN
               Dad, you had the spatula last,
               right?

                        MR. GIBBONS
               Sure, here.

Mr. Gibbons hands it over and Brian saunters away from camera,
SLIGHTLY OUT OF FOCUS, toward the barbecue, his body framed between
Kimberly and Thomas' heads.

                        KIMBERLY
               Brian looks like he's having fun.

                        MR. GIBBONS
               Sure does. Owes it to that friend
               of yours, in a way.

Mr. Gibbons immediately regrets having said that.

                        KIMBERLY
               How's that?

                        MR. GIBBONS
               Well, Brian was nearly hit by an
               ambulance the day...but your friend
               Rory pulled him back at the last
               second.

Kimberly and Thomas ominously turn their heads around. In the BG,
Brian fidgets in front of the barbecue.

                        MRS. GIBBONS
               You never told me that, Peter.
               Boy, that was lucky.

BOOM!!! The PROPANE TANK blows Brian to smithereens. A deafening
silence follows, punctuated when Brian's ARM lands on Mrs. Gibbons'
plate. PLOP.

FADE TO BLACK.

END CREDITS.