original screenplay: time

7/30/2019 Original Screenplay: Time

1/26

(Name of Project)

by(Name of First Writer)

(Based on, If Any)

Revisions by(Names of Subsequent Writers,in Order of Work Performed)

Current Revisions by(Current Writer, date)

Name (of company, if applicable)AddressPhone Number


2/26

FADE IN:

INT. JOHNS APARTMENT - NIGHT

In a small New York Apartment, JOHN, twenty-nine years old,

fit and slender build, fixes his tie in a mirror.

JOHNYou really believe this is a greatidea?

Coming from the bathroom is, CAROLINE, Johns girlfriend.Wrapped in a towel, she walks over to John to kiss him.

CAROLINEFirst its a night of free alcohol,and plus, its about time you meetmy parents.

JOHNThats the part Im not lookingforward to.

INT. CAROLINES PARENTS HOME - NIGHT

A modest New Jersey home. John stands with Caroline withvarious older people mingling about. Carolines father, STAN,approaches. John and Stan clearly measure each other up.

STAN

Hello, sweetheart.

CAROLINEHi, daddy.

They embrace and Carlonie showers him with kisses.

STANSo this must be the boy.

John obviously taken aback from the boy comment.

CAROLINEDaddy, this is John.

STANHello John. So where are you from?

Stan offers an alpha-male handshake, in order to show Johnwho is dominate in this conversation.


3/26

JOHNNice to meet you, sir. Imoriginally from New Orleans buthave been living in New York forabout a year.

STANWhat do you do?

JOHNUm... I... Ive been working instatistics.

Stan laughs mockingly.

STANAnd your parents? What do they do?

JOHNMy mother is deceased and I neverknew my father.

John has been beaten, Stan reveals in his accomplishment andturns to Caroline who hasnt notice the game. He begins totouch her chin as she looks up lovingly.

STANWell, Im sorry to hear that.

(to Caroline)Look, honey. Make sure you sayhello to your Uncle Jake and help

your mother.

CAROLINEOkay, dad.

Stan walks away and enters a group in conversation on theother side of the house.

John is trying to regain composure.

CAROLINE (CONT'D)Whats wrong, honey?

JOHNIts obvious that didnt gosmoothly.

CAROLINEAwe. Dont worry about him. Comeon, lets go say, Hi to mymother. Shes much easier.

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The two move off in the opposite direction of Stan.

INT. JOHNS APARTMENT - BEDROOM - NIGHT

Laying naked under the sheets in Johns bedroom, Carolinelays her head on Johns chest.

CAROLINEI promise, my father was justdefensive. I grew up daddys littlegirl.

JOHNIm almost thirty and he wants tocall me a boy. He came right out asdisrespectful.

CAROLINEWell, you can rest assure, hisopinion doesnt matter.

She sits up to look into his eyes.

CAROLINE (CONT'D)Cause I will love you anyway.

JOHNAnd I dont have to love him.

They become playful under the sheets and when Caroline

emerges from the sheets shes face-to-face with the onlything decorating his wall.

INSERT - BEATEN UP PHOTOGRAPH OF INFANT JOHN AND HIS MOTHER

Caroline touches it delicately.

CAROLINEYou think she would have liked me?

JOHNShe...

(hesitates)...was very kind. She loved anyone.WOre her heart on her sleeve.

CAROLINEShe lives through you now.

John smiles.

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JOHNI guess she does.

CAROLINESo, are you going to your...

(sarcastically)...STATISTICS job tomorrow?

JOHNHey what was I going to say?Hello, sir, Im a professionalsports gambler.

John reaches in his night stand draw and produces a pocket-sized notebook.

JOHN (CONT'D)Im sure he would have really

accepted me then.

John flips through it, finds what hes looking for.Meanwhile, Caroline traces a strange scar on his back downhis torso.

JOHN (CONT'D)Yes, I am working tomorrow.

He throws the notebook back into the drawer and turns thelamp out.

CAROLINE

Goodnight.

JOHNI love you too.

INT. FAIRGROUNDS - DAY

Horses race, kicking up red dirt as they fight for theirplace.

In the stands, John sits with a bet ticket and his small

notebook in hand.

ANNOUNCERLooks like Snowflake is in thelead.

VARIOUS BETTERS in the stands are gritting their teeth andsweating their palms. John remains calm and collective.

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ANNOUNCER (CONT'D)Oh, my god., its... its ShesLittle taking the lead. OH, my god.

The various betters are throwing their tickets at the ground,

frustrated. John walks away, still calm and collective.

At the betting stand, a CASHIER slides a large stack ofdollars under the teller gate towards, John.

INT. FAIRGROUNDS PARKING LOT - DAY

POV FROM INSIDE CAR

John walks with a medium duffle bag and puts it into thetrunk of a car.

END POV

Sitting in the car we were looking out of is Stan with aconcerned look.

EXT. STREETS OF NEW JERSEY - CONTINUOUS

John drives while oblivious to Stan trailing him a few carsback.

EXT. ABANDONED WAREHOUSE - CONTINUOUS

Stans car drives by as John grabs a folder out of the trunkand heads into the warehouse.

POV FROM INSIDE CAR

Stan looks on as John walks suspiciously back to his car andpulls away.

JOHNS POV

John notices a few cars parked across the street.

END POVS

After John has left, Stan exits the car and approaches thewarehouse.

5.


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INT. ABANDONED WAREHOUSE - CONTINUOUS

Stan walks around the warehouse, kicking various forms oftrash, but finds no clue to what John was doing there.

He picks up his phone.

STANHello, Sergeant Tomsky. This isAgent Westford. Can you run somebackground checks for me?

INT. JERSEY HOUSE PARTY - NIGHT

The party is filled with COSTUMED YOUNG SOCIALITES. Casualatmosphere, heightened by loud rock music and people cheering

on beer funneling drinkers.

John and Caroline enter, dressed up as The Dude and Maudewith the Viking outfit from The Big Lebowski. The arehanded two beers from the keg. Caroline greets people andintroduces them to John.

Later on in the night, the party has dwindled down, a groupconsisting of various movie character costumes, passes arounda joint. It comes to Caroline, who inhales and then passes itoff to John. After he passes it off, she nods to follow heroutside.

EXT. JERSEY HOUSE PARTY - BACKYARD - NIGHT

John follows her outside, after closing the door she runs upto him and he holds her in his arms. Its cold out and sheneeds his warmth.

JOHNIf youre cold, why did you want tocome out here?

CAROLINE

Lets elope.

John is stunned.

JOHNWhat?

CAROLINESeriously, lets get in the car andjust drive. Fuck my dad.

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JOHNAs much as your dad and Is firstmeeting went bad, its a bitdrastic to do this. I mean I wantto but...

CAROLINEHes an asshole. He ran backgroundchecks on my last two boyfriends.

JOHNBackground checks? What?

CAROLINEYea. He works for HomelandSecurity. Its harmless, unless...

John, enraged, pushes her away.

JOHNJesus christ! You know you couldhave told me this eariler.

CAROLINEIts okay. He promised to not do itagain after I caught him. Why areyou acting like this?

John hands Caroline the keys and heads inside.

JOHN

Thanks. Im leaving.


John storms through the living room where the music is stillplaying and people are now playing Spin-The-Bottle on thecoffee table.

Caroline is right behind throwing her Viking helmet off,giving chase.

EXT. JERSEY HOUSE PARTY - FRONTYARD - NIGHT

John is heading down the street, tearing his wig and fakebeard off and tossing it aside. Caroline runs and pushes him.

CAROLINEStop!!!!!

John turns around. Caroline is hurt and sobbing.

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9/26

CAROLINE (CONT'D)Will you at least tell me whatsgoing on?

John is torn. He doesnt want to lie, or tell her the truth.

She deserves something though.

JOHNIts complicated.

CAROLINE(screaming)

If you meant, even an iota of theshit weve said to each other inthe last few months, then I deservesome explanation. If you werelying, then just tell me youre anasshole who was stringing me along

for fun.

John realizes shes right.

JOHNGet in the car. But Im notpromising that this will be whatyoure looking for.

They walk to the car, John takes the keys from Caroline andthey drive off.

After theyve reaches the vanishing point, Stans car pulls

up to the party.


Stan walks into the house, much of a shock to the party-goersand the HOUSE OWNER

HOUSE OWNERUm, dude. Youve got the wrongfucking house.

Stan bluntly ignores him, walks down the hall checking eachdoor in search for John and Caroline. The house owner,attempt to confront Stan but is thrown out of his way rightbefore he exits the house.

EXT. JERSEY HOUSE PARTY - FRONTYARD - NIGHT

Pulling out his phone, Stan screams into it.

8.


10/26

STANI thought you said they werehere...

(listening)...no I dont need directions, I

know exactly where that is. Getlocals on the phone. Were going tograb him there. And listen... Myfucking daughter is with this guyso I remind you to be careful.

INT. ABANDONED WAREHOUSE - NIGHT

Caroline stands in front of a figgity John, who paces andthen faces her.

JOHN

Look. This isnt going to work butIll start by telling you thateverything Ive ever said about myfeelings for you were true.Probably the most honest Ive beenwith anyone in the last year.

She believes him, but shes still doubtful of where this isgoing.

CAROLINEIm not commenting until yourefinish.

JOHNThats fine. But this next partyoure not going to believe, butIm gonna follow that with theevidence.

She nods.

JOHN (CONT'D)My name isnt John. My mother isvery much alive.

Caroline is shocked to the point she may be sick. Her kneesgive in and John sweeps in to grab her.

CAROLINEGet the hell away from me.

She pushes him away. He grabs her arm.

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EXT. ABANDONED WAREHOUSE - NIGHT

He runs forward for half a second until...

Face first into the dirt, he coughs not knowing what hit him.

He gets kicked over the reveal, Stan, towering over him.

Running out the door yelling is Caroline, who gets held backby FBI agents and brought back inside.

INT. INTERROGATION ROOM - NIGHT

A dirty John sits handcuffed to the chair at a table in theroom. On one side a two-way mirror stares at him.

INT. OBSERVATION ROOM - NIGHT

Stan and some FBI agents stand with him looking through thetwo-way mirror. A HOMELAND SECURITY OFFICER, enters with somefiles.

HOMELAND SECURITY OFFICERWeve found about two-hundredthousand dollars in cash in hisapartment, stuffed in a compartmentunder his bed. Also in there werevarious documents, outlaying major

pharmaceutical buildings in theUnited States, plans for governmentbuildings and a list of scientistsat Harvard and MIT.

FBI AGENTAnything connected all of this?

HOMELAND SECURITY OFFICERThere was also this small notebookbut nothing makes sense in it. Justnumbers and random names. We have

our coders cracking it.

STANSomething is up. Im gonna get itout of him.

FBI AGENTI think that wont work.

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13/26

STANWhy not?

FBI AGENTWell, hes never going to trust you

considering the situation.

STANI dont need him to trust me. Justfear me.

Stan walks out and later appears through the mirror in theinterrogation room.

INT. INTERROGATION ROOM - NIGHT

John looks up to see Stan in front of him.

JOHNSuprised they let you in here.Isnt this a conflict of interest?

STANLook you son-of-a-bitch. My baby issafe from you now. So my priorityis to find out what youre up to.

JOHNIts fruitless.

STANWeve gathered evidence from yourapartment. What is the money for?Who do you work for?

John snickers.

JOHNI work for the United StatesGovernment.

STAN

Bullshit. The social youre usingis from an expired work visa ofone, John Lippling of Oxford. Itried to find a school or anythingyou went to in New Orleans. What isyour real name?

JOHNJohn.

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14/26

STANDont fuck with me. Your Katrinavictim story isnt going to workanymore.

JOHNIts enough to give me time.

STANTime for what?

JOHNTo save you. To save Caroline.

Stans blood boils at the sound of his daughters name andrushes across the table to choke John.

STAN

You little prick, you cant doanything for her.

Rushing through the door is the FBI Agent and two officers.

FBI AGENTThats enough, Stan.

The officers pull Stan off of John.

FBI AGENT (CONT'D)We have enough to book him withConspiracy to Commit Terrorist

Acts.

Stan composes himself, smiles devilishly.

STANWell finish this at GITMO.

INT. CAROLINES PARENTS HOME - LIVING ROOM - MORNING

Stan walks in the door to notice Caroline in her MOTHERsarms sobbing away. When the door shuts, Caroline looks up and

proceeds to run upstairs.

The mother approaches Stan.

MOTHERLook, I know why you did this. Andthe reason Im not upset is itturned out to be more than a boywho had a DUI.

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(MORE)


15/26

But thats still our little baby upthere. I want you to remember that.

Stern looking Stan only acknowledges her with a kiss on theforehead and then heads upstairs.

INT. CAROLINES PARENTS HOME - CAROLINES BEDROOM - MORNING

Caroline lays on her childhood bed sobbing and Stan walks in.Caroline sits up in the bed to face him.

STANWhat were you thinking?

CAROLINEWhat?

STAN

Why were you protecting this guy?What is he up to?

Caroline is in disbelief, slightly appalled.

CAROLINEIm not protecting him. I have noidea whats going on.

STANPlease dont lie to me.

Caroline doesnt say anything. She shoots Stan a cold stone

face. Anger in her eyes.

INT. JAIL CELL - EVENING

John is startled awake in his cell. A GUARD is opening hiscell.

GUARDHurry up. We dont have much time.

He looks at the guard, utterly confused.

JOHNIm not hurrying for no one.

GUARDYou will for me, Professor.

John looks up in disbelief as the guard lifts up his shirt.On his back is a scar matching the one on Johns back. Hethrows a guard uniform on the floor.

14.

MOTHER (CONT'D)


16/26

GUARD (CONT'D)Hurry up and change, we dont havemuch time.

John changes quickly, and the guard hands him a backpack.

GUARD (CONT'D)Its as much as I could fit inthere. Twenty thousand, yournotebook and the evidence found atyour apartment.

John smiles.

JOHNThat was just decoy files.

GUARD

Thought so.

JOHNWhen did they send you?

GUARDDoesnt matter. Im just aninsurance plan. You need to leavethe state, right away. Do not go toyour apartment, just run. Youvecollected enough information here.

EXT. PRISON - EVENING

John, dressed as a guard, holding his backpack walks past thegates which buzz open. He nods his hat to the guardcontrolling the gate and leaves.

INT. CAROLINES PARENTS HOME - CAROLINES BEDROOM - NIGHT

Still interrogating Caroline, Stan is interrupted by hiscellphone ringing. He pulls it out his pocket to answer.

STANHello?(pause)

What? What do you mean,disappeared?

He hangs up.

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17/26

STAN (CONT'D)Youre staying right here, younglady. Do not leave this house.

EXT. CAROLINES PARENTS HOME - NIGHT

Stan walks out of the house and up to a patrol car with anOFFICER in it, sitting outside the house.

STANYour eye better not look away fromthat house. Make sure she doesntleave and no one visits.

INT. JAIL CELL - NIGHT

Stan paces the empty cell in shock. He looks up to the Guardwho let John out.

STANHow the fuck does a man, justdisappear from a fucking jail cell?Did he just clap his hands andvanish?

INT. CAROLINES PARENTS HOME - CAROLINES BEDROOM - NIGHT

Caroline sits on her bed. Her cellphone rings.

INSERT - CELLPHONE WITH JOHN ON CALLER ID

Caroline springs out of bed and answers.

CAROLINEJohn?

EXT. CAROLINES PARENTS HOME - CONTINUOUS

John stand hiding along a house across the street.

JOHNYou phone may be tapped. But if youbelieve in me, Meet me where wefirst met in the morning.

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19/26

POLICE OFFICER (O.S.)Stop right there.

John quickly whips out his own, 9mm and points it at theofficer.

JOHNPut your gun away.

POLICE OFFICERLast I checked, man. Im the law.Put your gun down.

(to Caroline)You walk towards me.

Caroline steps in front of John, volunteering as a humanshield.

CAROLINEIm leaving with him, of my ownwill.

Police sirens fill the background.

POLICE OFFICERIve already called for backup.Just put the gun down and let thegirl go.

CAROLINEHes not holding me hostage.

A group of police cars pull around and fill up the area. Stangets out of one of them, as well as some FBI Agents.

The new editions to the scene all pull out their weapons in astand off. Stan walks up closer to them.

STANJohn, I want you to let my daughtergo.

CAROLINE

Dad, Im not his hostage. Imwillfully leaving with him.

Stan grows angry, then alarmingly calm.

STANWe found what you were hiding atthe warehouse, John.

John is trying to figure out if hes bluffing.

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20/26

JOHNYoure lying. Theres nothing atthe warehouse.

STAN

You said you wanted to save her, ifyou surrender now, Ill put all ofit back. As long as you giveyourself up.

He signals to a FBI agent behind him, who slowly walks upwith the same folder John went into the abandoned warehousein with. Stan holds it up.

STAN (CONT'D)Its over. Im sorry.

CAROLINE

Dad, let us go.

STANI cant let that happen, honey.Just give up and come here.

CAROLINEPromise you wont hurt him.

STANPromise.

Caroline turns to John. Tears flowing.

CAROLINEIm sorry. Im so, so sorry.

Johns life, mission, is slipping through his fingers in slowmotion. His eyes filled with pain, totally vulnerable.Caroline puts her hands on top of the gun, lowering it andthen taking it.

CAROLINE (CONT'D)Itll be okay. I love you.

Caroline steps backwards towards her father. John standsalone for a second. Stan kisses his daughter on the foreheadand sends her behind him, Johns gun still in her hand.

Suddenly, Caroline spins around and puts the gun to Stanshead.

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21/26

CAROLINE (CONT'D)John, Run!

(To everyone with gunsdrawn)

Let him go, or Ill shoot.

JOHNCaroline, no!

STANDont do this, honey. Well catchhim. Its not worth it.

CAROLINEJust run. Dont look back, run.

John begins to run for his life. Running faster and faster.

Stan turns around to face his daughter, hands up in the air.

STANPlease put the gun down,sweetheart.

Caroline is serious. She steps back and pulls the gun towardsher to cock it.

A gun shot.

John stops, turns around.

Caroline falls to the ground. Stan leans down to grab her.

John begins to run back.

John holds Caroline. Shes been shot in the arm. The 9mm, ison the ground, Stan grabs it and turns around to face John.He begins to run in his direction.

John sees this, stops to turn around and run.

BANG. BANG. BANG.

From afar we see John fall forward. Stan stands over him.Fires another round to his head.

CAROLINENooooooo!!!!!! Jooooooohn!!!!!!!

Stan flips Johns lifeless body over. Stan wipes his tearsaway and turns around to go abck to Caroline who is on theground holding her arm, screaming at the top of her lungs.The rest of the crew disarms and walks towards Johns body.

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INT. HOSPITAL - DAY

Caroline sits in the intensive care unit, her mother sitswith her and a DOCTOR walks in.

DOCTORMrs. Westford?

Mrs. Westford nods.

DOCTOR (CONT'D)Lookslike we were able to reattachall vital ligaments. She shouldhave full use of her hand in amonths time.

MOTHER

Thank god.

DOCTORAre you aware that your daughter ispregnant?

Mrs. Westford is shocked.

MOTHERHow far along?

DOCTORLooks like two months. The baby is

fine. Carolines shock didnteffect the child. But shell haveto be more careful as she brings itto full term.

MOTHERThank you. Thank you so much.

The doctor leaves the room, and a very worn down Stan comesinto her room. Mrs. Westford turns angry at him. Slapping himsquare across the face.

STANIs she okay?

Mrs. Westford hesitates.

MOTHERThe doctors say shell be able tofully recover in a month or so.

Stan is relieved.

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STANThank god.

Stan goes to walk towards her, but Mrs. Westford steps in theway.

MOTHERI forbid you to see her.

STANShes our daughter.

MOTHERYouve lost your right to say shesyours.

STANWhat are you talking about?

MOTHERYou are no longer able to callyourself her father. And you may aswell get use to the not being myhusband.

Stans eyes well up but hold the flood gates in his eyesback, with the anger that is stirring up. He turns his backand walks out. Mrs. Westford walks back to Carolines side,running her fingers through her hair.

EXT. CAROLINES PARENTS HOME - DAY

Caroline stands outside while movers are moving things out ofher parents house. Her arm in a stint and bandaged up shestares into space.

Walking up to her is the guard from the prison holding acylinder.

GUARDCaroline?

CAROLINEWho are you?

GUARDIm a friend of Johns. I felt youshould have this.

He hands over the cylinder.

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24/26

CAROLINEWhat?

GUARDIts Johns ashes. I must go before

Im seen here.

He turns away and begins walking.

CAROLINEWait.

The guard stops.

GUARDYes?

CAROLINE

Is everything going to be okay?

GUARDYour father was bluffing.Everything is going to be okay.John is a hero, he wont make thehistory books but you can restassure he single handedly provideda better future for you.

Carolines face fills with mixed emotions: Pride, Sadness,Anger.

CAROLINE(sobbing)

Thank you. Thank you, so much.

The guard nods in acknowledgement and goes about hisbusiness.

EXT. STATEN ISLAND FERRY - DAY

Its nasty outside. Most of the passengers are hiding inside,while Caroline stands bundled up at the edge of the boat. She

hold the cylinder on the railing, looking at the picture ofhis mother and infant John, taped to the top.

CAROLINEIm carrying your child. Andthought it should fulfill me thatthere is a part of you still herein the world, Im filled withregret.

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(MORE)


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Regret that I brought your demiseby trying to bring you into myfamily.

Shes escalated to sobbing tears.

CAROLINE (CONT'D)Ive... Ive decided to give it upfor adoption. Because I cant riskmy father trying to ruin its lifetoo. I hope whereever you are youdont hate me for this. But I havea feeling its for the best. Imsure hell grow to be the strongman you became.

Her tears and pouring onto the cylinder.

CAROLINE (CONT'D)

Im so sorry. I wish you could saysomething. I... I love you.

She tosses the cylinder into the water and we watch untilits gone beyond visibility. We leave as Caroline is bendingover from the pain of regret.

SERIES OF SHOTS

A) Caroline standing in the mirror, looking at her smallbump.

B) Caroline at an adoption agency, signing papers.

C) Caroline at the Uni-Sphere with a large belly.

D) Caroline giving birth.

END SERIES OF SHOTS

INT. HOSPITAL - NEONATAL CARE - DAY

A small baby is in the crib, smiling.

A couple approaches the window.

The small baby is picked up by a nurse and brought outside.She hands the baby to the MOTHER. The nurse heads back in,and the FATHER reaches into a bag and pulls out a camera.

FATHERLets get a picture of the baby boyand mommy!

24.

CAROLINE (CONT'D)


26/26

Flash! Snap!

INSERT - SCREEN ON DIGITAL CAMERA REVEALING THE SAMEPHOTOGRAPH JOHN HAD BEEN CARRYING AROUND OF HIS INFANT SELFAND HIS MOTHER.

FADE TO BLACK.

THE END.

25.

original screenplay: time

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