(Name of Project) by (Name of First Writer)

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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. JOHN You really believe this is a great idea? Coming from the bathroom is, CAROLINE, Johns girlfriend. Wrapped in a towel, she walks over to John to kiss him. CAROLINE First its a night of free alcohol, and plus, its about time you meet my parents. JOHN Thats the part Im not looking forward to. INT. CAROLINES PARENTS HOME - NIGHT A modest New Jersey home. John stands with Caroline with various older people mingling about. Carolines father, STAN, approaches. John and Stan clearly measure each other up. STAN Hello, sweetheart. Hi, daddy. CAROLINE

They embrace and Carlonie showers him with kisses. STAN So this must be the boy. John obviously taken aback from the boy comment. CAROLINE Daddy, this is John. STAN Hello John. So where are you from? Stan offers an alpha-male handshake, in order to show John who is dominate in this conversation.

2.

JOHN Nice to meet you, sir. Im originally from New Orleans but have been living in New York for about a year. STAN What do you do? JOHN Um... I... Ive been working in statistics. Stan laughs mockingly. STAN And your parents? What do they do? JOHN My mother is deceased and I never knew my father. John has been beaten, Stan reveals in his accomplishment and turns to Caroline who hasnt notice the game. He begins to touch her chin as she looks up lovingly. STAN Well, Im sorry to hear that. (to Caroline) Look, honey. Make sure you say hello to your Uncle Jake and help your mother. Okay, dad. CAROLINE

Stan walks away and enters a group in conversation on the other side of the house. John is trying to regain composure. CAROLINE (CONT'D) Whats wrong, honey? JOHN Its obvious that didnt go smoothly. CAROLINE Awe. Dont worry about him. Come on, lets go say, Hi to my mother. Shes much easier.

3.

The two move off in the opposite direction of Stan. INT. JOHNS APARTMENT - BEDROOM - NIGHT Laying naked under the sheets in Johns bedroom, Caroline lays her head on Johns chest. CAROLINE I promise, my father was just defensive. I grew up daddys little girl. JOHN Im almost thirty and he wants to call me a boy. He came right out as disrespectful. CAROLINE Well, you can rest assure, his opinion doesnt matter. She sits up to look into his eyes. CAROLINE (CONT'D) Cause I will love you anyway. JOHN And 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 only thing decorating his wall. INSERT - BEATEN UP PHOTOGRAPH OF INFANT JOHN AND HIS MOTHER Caroline touches it delicately. CAROLINE You think she would have liked me? JOHN She... (hesitates) ...was very kind. She loved anyone. WOre her heart on her sleeve. CAROLINE She lives through you now. John smiles.

4.

JOHN I guess she does. CAROLINE So, are you going to your... (sarcastically) ...STATISTICS job tomorrow? JOHN Hey what was I going to say? Hello, sir, Im a professional sports gambler. John reaches in his night stand draw and produces a pocketsized 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 down his torso. JOHN (CONT'D) Yes, I am working tomorrow. He throws the notebook back into the drawer and turns the lamp out. Goodnight. CAROLINE

JOHN I love you too. INT. FAIRGROUNDS - DAY Horses race, kicking up red dirt as they fight for their place. In the stands, John sits with a bet ticket and his small notebook in hand. ANNOUNCER Looks like Snowflake is in the lead. VARIOUS BETTERS in the stands are gritting their teeth and sweating their palms. John remains calm and collective.

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ANNOUNCER (CONT'D) Oh, my god., its... its Shes Little 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 of dollars 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 the trunk of a car. END POV Sitting in the car we were looking out of is Stan with a concerned look. EXT. STREETS OF NEW JERSEY - CONTINUOUS John drives while oblivious to Stan trailing him a few cars back. EXT. ABANDONED WAREHOUSE - CONTINUOUS Stans car drives by as John grabs a folder out of the trunk and heads into the warehouse. POV FROM INSIDE CAR Stan looks on as John walks suspiciously back to his car and pulls away. JOHNS POV John notices a few cars parked across the street. END POVS After John has left, Stan exits the car and approaches the warehouse.

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INT. ABANDONED WAREHOUSE - CONTINUOUS Stan walks around the warehouse, kicking various forms of trash, but finds no clue to what John was doing there. He picks up his phone. STAN Hello, Sergeant Tomsky. This is Agent Westford. Can you run some background checks for me? INT. JERSEY HOUSE PARTY - NIGHT The party is filled with COSTUMED YOUNG SOCIALITES. Casual atmosphere, heightened by loud rock music and people cheering on beer funneling drinkers. John and Caroline enter, dressed up as The Dude and Maude with the Viking outfit from The Big Lebowski. The are handed two beers from the keg. Caroline greets people and introduces them to John. Later on in the night, the party has dwindled down, a group consisting of various movie character costumes, passes around a joint. It comes to Caroline, who inhales and then passes it off to John. After he passes it off, she nods to follow her outside. EXT. JERSEY HOUSE PARTY - BACKYARD - NIGHT John follows her outside, after closing the door she runs up to him and he holds her in his arms. Its cold out and she needs his warmth. JOHN If youre cold, why did you want to come out here? CAROLINE Lets elope. John is stunned. What? JOHN

CAROLINE Seriously, lets get in the car and just drive. Fuck my dad.

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JOHN As much as your dad and Is first meeting went bad, its a bit drastic to do this. I mean I want to but... CAROLINE Hes an asshole. He ran background checks on my last two boyfriends. JOHN Background checks? What? CAROLINE Yea. He works for Homeland Security. Its harmless, unless... John, enraged, pushes her away. JOHN Jesus christ! You know you could have told me this eariler. CAROLINE Its okay. He promised to not do it again after I caught him. Why are you acting like this? John hands Caroline the keys and heads inside. JOHN Thanks. Im leaving. INT. JERSEY HOUSE PARTY - NIGHT John storms through the living room where the music is still playing and people are now playing Spin-The-Bottle on the coffee 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 fake beard off and tossing it aside. Caroline runs and pushes him. Stop!!!!! CAROLINE

John turns around. Caroline is hurt and sobbing.

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CAROLINE (CONT'D) Will you at least tell me whats going on? John is torn. He doesnt want to lie, or tell her the truth. She deserves something though. JOHN Its complicated. CAROLINE (screaming) If you meant, even an iota of the shit weve said to each other in the last few months, then I deserve some explanation. If you were lying, then just tell me youre an asshole who was stringing me along for fun. John realizes shes right. JOHN Get in the car. But Im not promising that this will be what youre looking for. They walk to the car, John takes the keys from Caroline and they drive off. After theyve reaches the vanishing point, Stans car pulls up to the party. INT. JERSEY HOUSE PARTY - NIGHT Stan walks into the house, much of a shock to the party-goers and the HOUSE OWNER HOUSE OWNER Um, dude. Youve got the wrong fucking house. Stan bluntly ignores him, walks down the hall checking each door in search for John and Caroline. The house owner, attempt to confront Stan but is thrown out of his way right before he exits the house. EXT. JERSEY HOUSE PARTY - FRONTYARD - NIGHT Pulling out his phone, Stan screams into it.

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STAN I thought you said they were here... (listening) ...no I dont need directions, I know exactly where that is. Get locals on the phone. Were going to grab him there. And listen... My fucking daughter is with this guy so I remind you to be careful. INT. ABANDONED WAREHOUSE - NIGHT Caroline stands in front of a figgity John, who paces and then faces her. JOHN Look. This isnt going to work but Ill start by telling you that everything Ive ever said about my feelings for you were true. Probably the most honest Ive been with anyone in the last year. She believes him, but shes still doubtful of where this is going. CAROLINE Im not commenting until youre finish. JOHN Thats fine. But this next part youre not going to believe, but Im gonna follow that with the evidence. She nods. JOHN (CONT'D) My name isnt John. My mother is very much alive. Caroline is shocked to the point she may be sick. Her knees give in and John sweeps in to grab her. CAROLINE Get the hell away from me. She pushes him away. He grabs her arm.

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JOHN Its not what you think. John pulls off his shirt, revealing the scar on his back. JOHN (CONT'D) This scar is from a time machine. CAROLINE A time machine? You seriously arent going to think I believe this. Why are you acting insane? JOHN Im not, I promise. Please. CAROLINE Then show me this time machine. JOHN I cant. It doesnt travel with me. Just me. Look that is besides the point. He holds her shoulders, and Caroline looks up into his eyes. JOHN (CONT'D) I dont exist here. Your father is a threat to why Im here. CAROLINE Why are you here? JOHN I cant say. But look, I have evidence right over here. He grabs her hand and begins to walk towards another end of the warehouse. Suddenly... Police sirens, lights, barking dogs. The two turn around to have their faces blinded by flashlights. FBI OFFICER (O.S.) Freeze. Stay right where you are and back away from the girl. John lets go of Caroline and bolts to his left. He sprints through a door that leads outside.

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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 back by FBI agents and brought back inside. INT. INTERROGATION ROOM - NIGHT A dirty John sits handcuffed to the chair at a table in the room. On one side a two-way mirror stares at him. INT. OBSERVATION ROOM - NIGHT Stan and some FBI agents stand with him looking through the two-way mirror. A HOMELAND SECURITY OFFICER, enters with some files. HOMELAND SECURITY OFFICER Weve found about two-hundred thousand dollars in cash in his apartment, stuffed in a compartment under his bed. Also in there were various documents, outlaying major pharmaceutical buildings in the United States, plans for government buildings and a list of scientists at Harvard and MIT. FBI AGENT Anything connected all of this? HOMELAND SECURITY OFFICER There was also this small notebook but nothing makes sense in it. Just numbers and random names. We have our coders cracking it. STAN Something is up. Im gonna get it out of him. FBI AGENT I think that wont work.

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Why not?

STAN

FBI AGENT Well, hes never going to trust you considering the situation. STAN I dont need him to trust me. Just fear me. Stan walks out and later appears through the mirror in the interrogation room. INT. INTERROGATION ROOM - NIGHT John looks up to see Stan in front of him. JOHN Suprised they let you in here. Isnt this a conflict of interest? STAN Look you son-of-a-bitch. My baby is safe from you now. So my priority is to find out what youre up to. JOHN Its fruitless. STAN Weve gathered evidence from your apartment. What is the money for? Who do you work for? John snickers. JOHN I work for the United States Government. STAN Bullshit. The social youre using is from an expired work visa of one, John Lippling of Oxford. I tried to find a school or anything you went to in New Orleans. What is your real name? John. JOHN

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STAN Dont fuck with me. Your Katrina victim story isnt going to work anymore. JOHN Its enough to give me time. STAN Time for what? JOHN To save you. To save Caroline. Stans blood boils at the sound of his daughters name and rushes across the table to choke John. STAN You little prick, you cant do anything for her. Rushing through the door is the FBI Agent and two officers. FBI AGENT Thats enough, Stan. The officers pull Stan off of John. FBI AGENT (CONT'D) We have enough to book him with Conspiracy to Commit Terrorist Acts. Stan composes himself, smiles devilishly. STAN Well finish this at GITMO. INT. CAROLINES PARENTS HOME - LIVING ROOM - MORNING Stan walks in the door to notice Caroline in her MOTHERs arms sobbing away. When the door shuts, Caroline looks up and proceeds to run upstairs. The mother approaches Stan. MOTHER Look, I know why you did this. And the reason Im not upset is it turned out to be more than a boy who had a DUI. (MORE)

14. MOTHER (CONT'D) But thats still our little baby up there. I want you to remember that. Stern looking Stan only acknowledges her with a kiss on the forehead 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. STAN What were you thinking? What? CAROLINE

STAN Why were you protecting this guy? What is he up to? Caroline is in disbelief, slightly appalled. CAROLINE Im not protecting him. I have no idea whats going on. STAN Please 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 his cell. GUARD Hurry up. We dont have much time. He looks at the guard, utterly confused. JOHN Im not hurrying for no one. GUARD You 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. He throws a guard uniform on the floor.

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GUARD (CONT'D) Hurry up and change, we dont have much time. John changes quickly, and the guard hands him a backpack. GUARD (CONT'D) Its as much as I could fit in there. Twenty thousand, your notebook and the evidence found at your apartment. John smiles. JOHN That was just decoy files. GUARD Thought so. JOHN When did they send you? GUARD Doesnt matter. Im just an insurance plan. You need to leave the state, right away. Do not go to your apartment, just run. Youve collected enough information here. EXT. PRISON - EVENING John, dressed as a guard, holding his backpack walks past the gates which buzz open. He nods his hat to the guard controlling the gate and leaves. INT. CAROLINES PARENTS HOME - CAROLINES BEDROOM - NIGHT Still interrogating Caroline, Stan is interrupted by his cellphone ringing. He pulls it out his pocket to answer. STAN Hello? (pause) What? What do you mean, disappeared? He hangs up.

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STAN (CONT'D) Youre staying right here, young lady. Do not leave this house. EXT. CAROLINES PARENTS HOME - NIGHT Stan walks out of the house and up to a patrol car with an OFFICER in it, sitting outside the house. STAN Your eye better not look away from that house. Make sure she doesnt leave and no one visits. INT. JAIL CELL - NIGHT Stan paces the empty cell in shock. He looks up to the Guard who let John out. STAN How the fuck does a man, just disappear from a fucking jail cell? Did he just clap his hands and vanish? 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. John? CAROLINE

EXT. CAROLINES PARENTS HOME - CONTINUOUS John stand hiding along a house across the street. JOHN You phone may be tapped. But if you believe in me, Meet me where we first met in the morning.

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INT. CAROLINES PARENTS HOME - CAROLINES BEDROOM CONTINUOUS Caroline attempts to answer, but the click of John hanging up stops her. She puts the phone down pondering the proposal. EXT. FLUSHING MEADOWS - CORONA PARK - DAYBREAK Beat and tired, John stands under the Uni-Sphere, checking his watch. Caroline is nowhere in sight. Thinking shes not coming, John grabs his backpack and begins to leave. With a turn of his body, there is Caroline. He looks around, and begins to approach her when he realizes shes alone. They hesitate to say anything. Look... JOHN

Caroline rushes him with a kiss. After kissing back for a second, he pushes her back gently. He looks her over and notices her backpack. JOHN (CONT'D) Im sorry, but I wanted to say goodbye to you. This is not what Caroline was expecting. CAROLINE Im leaving with you. JOHN Your father will hunt us down until Im dead. CAROLINE Then well run somewhere he cant touch us. JOHN I dont want to live like that. CAROLINE If it means having us, then Im fine with that. Out from their POV is the officer that was keeping an eye on Caroline. He pulls his pistol out.

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POLICE OFFICER (O.S.) Stop right there. John quickly whips out his own, 9mm and points it at the officer. JOHN Put your gun away. POLICE OFFICER Last 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 human shield. CAROLINE Im leaving with him, of my own will. Police sirens fill the background. POLICE OFFICER Ive already called for backup. Just put the gun down and let the girl go. CAROLINE Hes not holding me hostage. A group of police cars pull around and fill up the area. Stan gets out of one of them, as well as some FBI Agents. The new editions to the scene all pull out their weapons in a stand off. Stan walks up closer to them. STAN John, I want you to let my daughter go. CAROLINE Dad, Im not his hostage. Im willfully leaving with him. Stan grows angry, then alarmingly calm. STAN We found what you were hiding at the warehouse, John. John is trying to figure out if hes bluffing.

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JOHN Youre lying. Theres nothing at the warehouse. STAN You said you wanted to save her, if you surrender now, Ill put all of it back. As long as you give yourself up. He signals to a FBI agent behind him, who slowly walks up with the same folder John went into the abandoned warehouse in with. Stan holds it up. STAN (CONT'D) Its over. Im sorry. CAROLINE Dad, let us go. STAN I cant let that happen, honey. Just give up and come here. CAROLINE Promise you wont hurt him. Promise. STAN

Caroline turns to John. Tears flowing. CAROLINE Im sorry. Im so, so sorry. Johns life, mission, is slipping through his fingers in slow motion. His eyes filled with pain, totally vulnerable. Caroline puts her hands on top of the gun, lowering it and then taking it. CAROLINE (CONT'D) Itll be okay. I love you. Caroline steps backwards towards her father. John stands alone for a second. Stan kisses his daughter on the forehead and sends her behind him, Johns gun still in her hand. Suddenly, Caroline spins around and puts the gun to Stans head.

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CAROLINE (CONT'D) John, Run! (To everyone with guns drawn) Let him go, or Ill shoot. JOHN Caroline, no! STAN Dont do this, honey. Well catch him. Its not worth it. CAROLINE Just 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. STAN Please put the gun down, sweetheart. Caroline is serious. She steps back and pulls the gun towards her 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, is on 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. CAROLINE Nooooooo!!!!!! Jooooooohn!!!!!!! Stan flips Johns lifeless body over. Stan wipes his tears away and turns around to go abck to Caroline who is on the ground 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 sits with her and a DOCTOR walks in. DOCTOR Mrs. Westford? Mrs. Westford nods. DOCTOR (CONT'D) Lookslike we were able to reattach all vital ligaments. She should have full use of her hand in a months time. Thank god. MOTHER

DOCTOR Are you aware that your daughter is pregnant? Mrs. Westford is shocked. MOTHER How far along? DOCTOR Looks like two months. The baby is fine. Carolines shock didnt effect the child. But shell have to be more careful as she brings it to full term. MOTHER Thank you. Thank you so much. The doctor leaves the room, and a very worn down Stan comes into her room. Mrs. Westford turns angry at him. Slapping him square across the face. STAN Is she okay? Mrs. Westford hesitates. MOTHER The doctors say shell be able to fully recover in a month or so. Stan is relieved.

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Thank god.

STAN

Stan goes to walk towards her, but Mrs. Westford steps in the way. MOTHER I forbid you to see her. STAN Shes our daughter. MOTHER Youve lost your right to say shes yours. STAN What are you talking about? MOTHER You are no longer able to call yourself her father. And you may as well get use to the not being my husband. Stans eyes well up but hold the flood gates in his eyes back, with the anger that is stirring up. He turns his back and 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 of her parents house. Her arm in a stint and bandaged up she stares into space. Walking up to her is the guard from the prison holding a cylinder. Caroline? GUARD

CAROLINE Who are you? GUARD Im a friend of Johns. I felt you should have this. He hands over the cylinder.

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What?

CAROLINE

GUARD Its Johns ashes. I must go before Im seen here. He turns away and begins walking. Wait. The guard stops. Yes? GUARD CAROLINE

CAROLINE Is everything going to be okay? GUARD Your father was bluffing. Everything is going to be okay. John is a hero, he wont make the history books but you can rest assure he single handedly provided a 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 his business. 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 of his mother and infant John, taped to the top. CAROLINE Im carrying your child. And thought it should fulfill me that there is a part of you still here in the world, Im filled with regret. (MORE)

24. CAROLINE (CONT'D) Regret that I brought your demise by trying to bring you into my family. Shes escalated to sobbing tears. CAROLINE (CONT'D) Ive... Ive decided to give it up for adoption. Because I cant risk my father trying to ruin its life too. I hope whereever you are you dont hate me for this. But I have a feeling its for the best. Im sure hell grow to be the strong man you became. Her tears and pouring onto the cylinder. CAROLINE (CONT'D) Im so sorry. I wish you could say something. I... I love you. She tosses the cylinder into the water and we watch until its gone beyond visibility. We leave as Caroline is bending over from the pain of regret. SERIES OF SHOTS A) Caroline standing in the mirror, looking at her small bump. 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. FATHER Lets get a picture of the baby boy and mommy!

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Flash! Snap! INSERT - SCREEN ON DIGITAL CAMERA REVEALING THE SAME PHOTOGRAPH JOHN HAD BEEN CARRYING AROUND OF HIS INFANT SELF AND HIS MOTHER. FADE TO BLACK. THE END.