FX: Invisible threads begin to materialize, each one pulsing
with vibrant energy and shimmering with a kaleidoscope of
colors. These connections form a vast, interconnected tapestry
or matrix, illustrating the intricate web of human connections
and the unseen forces that bind us all together.
JOHN (V.O)
Invisible strings, or threads,
weave our destinies in the
"Connection Matrix."
FX: The threads are living entities, with delicate filaments
branching off, forming patterns and shapes that resemble
neural networks. Tiny sparks of light travel along the
threads, representing thoughts, emotions, and events.
JOHN (V.O)
These threads connect us through
time, space, and parallel worlds.
FX: Follow a thread to a young woman in a plane. The thread
resonates with her heartbeat.
JOHN (CONT’D) (V.O)
These threads guide us to who we
are meant to be, ensuring we are in
the right place at the right time.
FX: Another thread connects to a man in Sydney airport, its
color shifting to a cool blue as he bumps into the young woman
in the airport and their eyes lock together.
JOHN (CONT’D) (V.O)
I’ve been optimizing people’s
threads. A small chance meeting
here, a subtle conversation there.
FX: Suddenly, a blinding solar flare erupts, and Earth is
engulfed in flames and disintegrates. All the threads burn,
leaving behind a void where life once thrived.
JOHN (CONT’D) (V.O)
We need to find a way to survive.
2
FX: As the void left by the disintegration slowly dissolves, a
gentle light emerges, signifying hope and a new beginning.
JOHN (CONT’D) (V.O)
Even if it means starting from
scratch.
ON-SCREEN: AUGUST 12TH 2024 2.14 PM – PARALLEL UNIVERSE P01
(filmed with a natural color palette)
FX: Our Planet Earth, the blue marble image. One thread in the
Connection Matrix glows and tightens, tracing its path to John
Richmond in Times Square, New York.
Genres:
["Science Fiction","Drama"]
Ratings
Scene
2 -
Teleportation Chase in Times Square
EXT. TIMES SQUARE – DAY
JOHN RICHMOND, 28, stands tall with a rugged build, and his
dark hair, kept short out of habit, and the faint stubble on
his jawline, give him a perpetual look of determination.
He weaves through tourists, his eyes scanning the crowd. He
clutches a briefcase, sweat beading on his forehead.
Around him, a businessperson yells into a brick-like cell
phone, and tourists fumble with paper maps. Retro tech in shop
windows contrasts with a "New for 2024" digital sign.
JOHN
Come on, GO6. We can't mess this up.
AGENT BLAKE, 32, sharp-featured with piercing blue eyes,
tightens her bulletproof vest and cocks a tazer.
AGENT BLAKE
Richmond in sight. Move in. This
time we do it by the book.
Just as Agent Blake fires her taser, John taps an implant on
his head.
JOHN (V.O.)
My implant, from P67, allows me to
teleport. Handy for avoiding
tasers... and awkward family
dinners.
FX: IMPLANT ACTIVATION: A thin blue light emanates from behind
John's ear, pulsing rhythmically and he vanishes with an
echoing “pop.” The taser bolt crackles through the air and
hits a wall.
3
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
3 -
A Rooftop Standoff
FX: INT. TELEPORTATION VOID - DAY
In an instant, John's form dissolves into particles of light,
that travel through an abstract tunnel of swirling colors and
patterns, moving at impossible speeds.
FX: EMERGING FROM TELEPORTATION
The light suddenly contracts, and the particles reassemble
into John's form.
EXT. TIMES SQUARE – DAY
Agent Blake picks up her tazer wire.
VOICE ON RADIO (O.C)
Suspect on top of the Empire State.
AGENT BLAKE
All teams, get to the roof.
EXT. EMPIRE STATE BUILDING, ROOF – DAY
The cool breeze of the rooftop and the distant hum of the city
greet him as he regains his balance. John clambers over the
safety barrier, the wind whipping through his hair.
AGENT BLAKE
Do you know what happens when you
don’t show up to your ten-year-
old’s birthday party?
JOHN
Mike could tell you. He ditched me
at the circus on my tenth birthday.
John glances at his smart phone screensaver that shows a
wedding photo of him with AMY, 28, a slim and beautiful
brunette. He inhales deeply, closes his eyes, and releases his
grip.
JOHN (CONT’D) (V.O)
It’s time to tug on some threads.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
4 -
The Confession
EXT. SIDE OF EMPIRE STATE BUILDING (MOVING) – DAY
At the last moment, with an echoing pop, John vanishes.
END TEASER
4
ACT ONE
EXT. ST. SIMON’S CHURCH – DAY
The cathedral's exterior is characterized by its soaring twin
spires. John reappears with a thud, clutching his brown
briefcase.
INT. ST. SIMON’S CHURCH - DAY
Sunlight streams through stained glass windows, casting
colorful patterns of light onto the weathered pews.
FATHER RILEY, 63, with silver hair and a weathered face, has
kind, weary eyes that reflect years of service. He shuffles
slowly past the empty pews, his gnarled hand clutching rosary
beads, gently caressing the polished wood as he walks.
Suddenly, a red light flickers on, signaling someone has
entered the confession box. Father Riley's eyes brighten with
anticipation. He hurries over, genuflects briefly, and enters
the box.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
5 -
Confession of a Time Traveler
INT. CONFESSION BOX – DAY
Subtle light shines on one half of John’s head, no implant,
the smell of old polished wood comforting him.
JOHN
Forgive me, Father, for... there
are things I've done that I can't
even forgive myself for.
FATHER RILEY (O.C)
When was your last confession?
JOHN
Too long... Where to start?
FATHER RILEY (O.C)
Start with what troubles you the most.
Father Riley grips a worn set of Rosary beads.
EXT. CHURCH – DAY
AMY, 28, (John’s wife) eight months pregnant, places a
protective hand on her swollen belly while nervously fiddling
with her wedding ring.
5
Her face, a mix of worry and determination, cautiously steps
into the church, checking over her shoulder one last time.
INT. CONFESSION BOX – CONT’D
John fiddles with his wedding ring and flicks through his
photo gallery on his phone, his fingers twitching.
JOHN
I’ve got access to all of time and
space, yet I had to make the
agonizing decision… to let my
family die.
PHOTOS: Selfies of John in parallel worlds, including
dinosaurs, flying cars, and one with Albert Einstein.
Blueprints of a futuristic AI satellite called “GO6.”
FX: The blueprints become 3D revealing –
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
6 -
Satellite Surveillance
EXT. EARTH, SPACE – DAY – P255
Thousands of futuristic satellites orbit Earth. One stands out
- GO6. It orbits like a gleaming sentinel. The satellite, the
size of a two-story house, bristles with antennae and solar
panels, the emblem of Planet Earth proudly displayed.
INT. GO6 – DAY
Inside GO6, the environment is sterile, almost unsettling in
its cleanliness. No desks, no chairs – just pristine
surfaces and the quiet hum of processing power.
GO6 MONITOR SCREEN 1: CCTV footage of five FBI teams
surround the church.
GO6 MONITOR SCREEN 2: CCTV footage of the confession box.
INT. CONFESSION BOX – CONT’D
JOHN’S PHONE: CCTV footage of the confession box surrounded by
20 FBI agents.
JOHN (V.O)
Last month, P255 was completely
destroyed. It felt like losing a
second home. Fortunately, GO6
managed to escape unscathed.
6
Agent Blake has her hand on the door.
AGENT BLAKE (O.C)
We have you surrounded. Time’s up,
John. Come in.
JOHN
While we talked, I altered
everything. I unravelled the
threads and rearranged them. Made
selfish choices.
Agent Blake opens the door to see –
FX: A bright kaleidoscope of lights.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
7 -
A Choice Between Worlds
INT. CHURCH – DAY
No FBI agents, just empty pews.
AMY (V.O)
John!!
Amy’s wedding ring spins on the altar.
INT. CONFESSION BOX – DAY
John fiddles with his wedding ring, his breathing speeding up.
JOHN
I’m gonna do anything to save my
wife and unborn child. God knows I
will. But I ain't going to hell.
In background, the sound of taxis honking, sirens, chatter,
and the New York hustle and bustle gets louder.
FATHER RILEY (O.C)
No one’s going to hell.
ON-SCREEN: 2.25 PM
SERIES OF SHOTS: EXT. NEW TIMES SQUARE – DAY
The sounds of the bustling city—honking taxis, and chatter,
create a vibrant, immersive, and futuristic atmosphere. John
sits on a bench, taking in the sights. Agent Blake, with
longer hair and civilian clothes, holds hands with CLAIRE, 10
who drops her teddy. John hands the teddy gently to Jen who
smiles innocently at him.
7
AGENT BLAKE
What do you say?
CLAIRE
Thanks.
John sits back on the bench, staring up at the glowing sun.
FX: Planet Earth, the blue marble image. The visible threads
unravel and reweave into a new "Connection Matrix," spanning
the entire world.
FX: John's thread tightens, causing a digital clock to rewind
through the months, stopping on May 11, 2024.
ON-SCREEN: MAY 11, 2024 - NEW YORK, PARALLEL UNIVERSE P01
THREE MONTHS EARLIER.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
8 -
The Glowing Secret
EXT. SECRET GOVERNMENT FACILITY – DAY
A high-tech facility with armed guards. Inside, Agent Blake,
intense and focused, reviews surveillance footage of John.
BLAKE’S SUPERIOR (V.O.)
We have a new target, straight from
the President. John Richmond. He’s
been manipulating the Connection
Matrix and jumping between
universes. Bring him in. “Just to
talk”.
Blake nods, determination in her eyes as she gathers her team.
SERIES OF SHOTS: EXT. TIMES SQUARE – DAY
(Exactly like New York from 1985 even though it’s 2024.)
Yellow taxis, businessmen strutting their stuff, smoke
billowing out of vents, the Marlboro man and JVC billboards,
and the distant roar of the Subway underfoot. A number 42 bus
is going to “Westchester.”
EXT. JOHN AND AMY’S HOUSE (Westchester) – DAY
Two-bed traditional design detached house with a modest well-
maintained lawn.
8
INT. JOHN AND AMY'S BEDROOM – DAY
Cushions and pillows paradise. An Einstein poster has an
ultrasound photo pinned to it. John reaches over to turn
up the radio blasting “Infinity” by Richard Young. Amy
throws a pillow at him, grinning despite herself.
AMY
Why can't you hit the snooze button
like everyone else? You're like an
over-caffeinated rooster.
JOHN
Normal is a setting on a washing
machine.
AMY
(singing loudly over the radio)
Birdhouse in your soul. La la la.
Say I’m the only bee in your
bonnet.
JOHN
You’ll always be the only bee in my
bonnet.
John turns off the radio. Amy SNAPS her tight elasticated
pregnancy trousers. She picks a Polaroid photo off the wall of
their trip to Paris.
AMY
Remember Paris? We were so carefree.
JOHN
(softly)
Then I proposed. But we'll make new
memories, I promise. You look
amazing. I love you, infinity times
a googolplex.
AMY
So sweet, I might actually vomit.
Amy snaps her tight pregnancy trousers, frustrated. John pins
another ultrasound photo next to the old one, a moment of
shared joy. A blue flash briefly illuminates the room, and
John distracts Amy with a kiss.
AMY (CONT’D)
Babe, you’ll be an awesome dad.
9
JOHN
We’ll rock this parenting thing,
won’t we?
AMY
As long as we’re open with each
other and don’t keep secrets. Trust
is the key. John, do you have you
any secrets to tell me?
JOHN
Then they wouldn’t be secrets.
AMY
That’s a bit vague. You’re not a
secret agent, are you?
JOHN
Ha. I wish it were that thrilling.
IN CLOSET
The briefcase glows electric blue.
IN BEDROOM
John gives Amy the trousers that are still too tight. Amy
goes to walk into the closet, but John rushes to block her.
AMY
Babe, I’m getting worried. Let me
by. I need a larger pair of
trousers.
JOHN
Trust me, Amy. It’s something
special, just wait a bit longer.
Amy steps back and crosses her arms.
AMY
Alright, but you’re acting strange.
Is everything okay?
JOHN
I’m just... scared. Scared of
failing you and our baby. But I
promise, I’ll do anything to
protect you both.
10
Amy touches John’s face gently as he smiles through the
tension.
AMY
I trust you, John. We’re in this
together, no matter what. Now, tell
me those kid names.
JOHN
Jessica and James?
AMY
They’re perfect. Just like us.
John fastens his tie. Amy straightens it.
AMY (CONT’D)
Any news on the promotion at work?
JOHN
Not yet. Hopefully by the end of
the week.
AMY
Got another five – maybe seven –
minutes?
JOHN
I’ve got all the time in the
worlds.
John jumps back into bed and pulls the covers over them. The
blue portal light flickers for a brief second. Amy catches a
glimpse of the light from under the covers.
FX: Close-up of the blue light -
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
9 -
Escape to P255
EXT. ABANDONED WAREHOUSE – DAY
The blue portal light flickers inside. A beige SUV pulls up
beside it. Agent Blake steps out, her eyes scanning the
warehouse with practiced precision.
The wind howls through the broken windows, carrying the
distant sound of the city. Agent Blake’s footsteps crunch on
the gravel as she approaches John’s car, her flashlight
cutting through the dimness.
11
INT. ABANDONED WAREHOUSE – DAY
Shafts of sunlight penetrate the dilapidated roof, casting
eerie shadows on the dusty floor. Each footstep echoes loudly,
intensifying the sense of isolation in the vast, empty space.
AT EAST SIDE
Rusted metal beams and broken crates litter the floor. John
enters a combination code into the brown briefcase. It snaps
open revealing the Portal Opening Device. A beam of blue
light extends vertically in the form of a door or “portal.”
PORTAL OPENING DEVICE DISPLAY SCREEN: P255, May 11, 2024.
AT THE ENTRANCE OF THE ABANDONED WAREHOUSE
Agent Blake flicks on her flashlight, the beam cutting through
the murky darkness.
AGENT BLAKE
There’s nowhere to hide this time.
The distant hum of the portal reverberates through the
cavernous space, guiding her steps. Agent Blake moves swiftly
but cautiously, her eyes darting around, every nerve on edge.
BACK AT THE EAST SIDE OF THE WAREHOUSE
John taps his implant, and vanishes, reappearing on the other
side of the warehouse. John staggers slightly as he
materializes, the teleportation leaving a tingling sensation
in his limbs. He steadies himself, eyes scanning for Agent
Blake.
AT WEST SIDE
Pigeons scatter in a flurry of wings as John reappears near
makeshift shelters. He reaches for the portal, the air
shimmering as his hand passes through.
Through a jagged hole in the wall, John spots Agent Blake, her
gun drawn, and eyes narrowed. His heart races as his finger
hovers over the abort button.
AGENT BLAKE (O.C)
FBI. John. Stop running. I just
want to talk.
12
John locks eyes with Agent Blake, determination etched on his
face. With a swift motion, he steps into the portal. Agent
Blake lunges forward, but the portal closes just as she
reaches it, the device vanishing into thin air.
Agent Blake curses under her breath, examining the now empty
space. Her jaw clenches as she radios in for backup. Through a
hole in the wall, Amy watches on.
FX: TRANSITION INTO THE PORTAL: As John steps into the portal,
his form is instantly enveloped by the light. His outline
becomes indistinct, merging with the swirling energy.
A kaleidoscope of colors flashes before his eyes.
FX: EMERGING FROM THE PORTAL: In an instant, the light
dissipates, and John is propelled out the other side. The air
around him is different – hotter, humid. John looks around,
adjusting to his new surroundings.
FX: All the threads in the Connection Matrix surrounding our
world (P01) glow and tighten. These threads extend through a
portal, connecting to the web of threads around the world in
Parallel Universe P255.
ON-SCREEN: MAY 11, 2024 - PARALLEL UNIVERSE P255
(filmed with a vibrant color palette)
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
10 -
Lost in the Neon Jungle
EXT. NEW TIMES SQUARE – DAY
John steps through the portal onto a busy street, narrowly
avoiding a "Big Bus tour" bus by teleporting just in time
before the portal closes behind him.
SERIES OF SHOTS:
A dazzling, high-tech Times Square. Towering skyscrapers gleam
with digital billboards. A BUSINESS WOMAN yells into his sleek
iPhone while EUROPEAN TOURISTS navigate with AR devices. Red
taxis zip by, honking energetically. The sounds of the
bustling city—honking taxis, chatter, and electronic
billboards—create a vibrant, immersive atmosphere.
EXT. STREET – DAY
The street buzzes with life as double-decker buses and red
Hackney cabs weave through traffic. John materializes next to
LUCY, 27, with vibrant electric blue hair that perfectly
matches her oversized hoodie, stands at the bus stop, her
expressive gestures aimed at the bus driver. Her eyes sparkle
with mischief as she playfully signals that he needs glasses.
She grins, handing John a steaming "Costi" coffee cup.
13
LUCY
Morning, John. Did something new
with your hair?
JOHN
(chuckles)
No, but I see you did. How's the
tech world treating you?
LUCY
It's a jungle out there, but I've
got the skills to pay the bills.
JOHN
You can pay mine as well.
John pauses, glancing through the window of Costi coffee.
Inside, people sip their drinks, engrossed in conversations.
Two police cars speed past, sirens blaring, making John tense
up. He checks his watch, anxiety etched on his face. John
consults his phone: CCTV footage of Amy sitting at the window
drinking her coffee in P01.
JOHN
I’ve been thinking about what you
said last week. You were right. I
can’t lose her.
LUCY
Can I get that in writing?
John places his hand on the window, a symbolic gesture of his
longing and connection to Amy.
LUCY (CONT’D)
Come on, John. We’ve got to keep
moving.
Lucy gently nudges him, snapping him back to the present. An
ice cream vendor serves a melted ice cream, his face unsure of
why it is hot.
FX: The Costi coffee sign transforms into Costa coffee.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
11 -
Echoes of the Past
INT. COSTA COFFEE SHOP – DAY – P01
The café buzzes with energy, conversations weaving through the
warm glow of hanging lights. At a cozy window seat, Amy sips
her coffee, absorbed in a stack of pregnancy books.
14
The door chimes softly, drawing her attention. She looks up to
see Father Riley, slightly out of breath, hurrying in. His
face lights up when he spots her. With a warm embrace, they
greet each other before settling into their seats.
SCHOOL BELLS RINGS (O.C)
As Father Riley leaves the shop, Agent Blake, unnoticed,
follows him at a distance.
EXT. SCHOOL – DAY
The school’s exterior is a cheerful mix of red, green, and
blue, with colorful murals depicting happy children creating a
lively and welcoming atmosphere.
INT. SCHOOL CORRIDOR – DAY
In the quiet corridor, young Amy, 10, peers into the
classroom, tears streaming. Present-day Amy wipes her eyes as
young Amy fades away. Pupils open the door, pulling Amy back
to reality.
INT. FIFTH GRADE CLASSROOM – DAY
The fifth-grade classroom is vibrant, with colorful
paintings by the pupils adorning the bulletin board. TARA,
10, in a pink dress with pigtails, shyly places an apple on
Amy’s desk, her eyes full of admiration.
AMY
Get into your pairs. You'll finish
your presentations this week.
The pupils shuffle around the classroom. Tara starts crying as
pupils walk past her, barely noticing her. Amy, holding her
belly, waddles over.
AMY (CONT'D)
What's up, Tara?
TARA
Nobody wants to partner with me.
AMY
Can we team up?
Tara looks to the ground avoiding eye contact.
15
AMY (CONT'D)
How about. You can be the team
leader and you tell me what to do.
TARA
Can you draw the Pyramids?
AMY
Absolutely, I’ll draw the best
pyramids you’ve ever seen.
Claire (Agent Blake’s daughter), with dungarees and braces,
passes Tara a pencil.
AMY (CONT’D)
I saw you made a friend.
Amy squirms in discomfort.
AMY (CONT’D)
Please, God. Not again. I’ll do
anything.
Amy grabs onto the table as pots of paint smash on the ground.
TARA
Are you alright?
AMY
Yeah, sweetie, just the baby
kicking. That was a strong kick.
Sorry if it startled you.
Amy shows Tara the photo of the ultrasound and the outline of
the baby. Amy’s expression softens as she kneels beside her. A
CCTV camera in the corner whirrs as it zooms in on Tara who
picks up a crayon, and starts to draw a pyramid with green
threads radiating outward from it.
FX: The footage of the classroom becomes CCTV footage on
John’s phone.
Genres:
["Drama","Sci-Fi","Thriller"]
Ratings
Scene
12 -
The Awakening of GO6
EXT. WAREHOUSE – DAY – P255
The warehouse exterior exudes Art-Deco luxury with grand
ornate iron gates and vintage lamps flanking the entrance.
16
INT. WAREHOUSE – DAY
The industrial-chic warehouse, filled with advanced tech, is
illuminated by natural light from a large skylight. John
switches off the CCTV footage of Amy on his phone and kisses a
photo of an ultrasound.
JOHN
Lucy, look at this. He’s our future.
LUCY
He’s going to change everything,
isn’t he?
MIKE, 57, dressed impeccably in a gold and silver suit, checks
his bank balance on a high-tech device and purchases a
Rembrandt painting. He sets up a camera on a tripod. Lucy, low
on medication, takes two pills while John reluctantly hands
over blueprints for GO6 to Mike.
MIKE
And the notes for the implant?
John taps his head.
MIKE (CONT’D)
What if something happens to you?
Then we lose everything. But you
know the age-old saying, "Father
knows best."
Mike smirks, but John’s eyes narrow. John grabs his notes back
off Mike.
JOHN
Will you stop with all the cliches?
I know best! I built all this. I’m
not risking losing it all.
John, frustrated, takes back the notes but eventually hands
them over.
LUCY
Blah blah blah. Here we go again
with your ego clashes. Meanwhile,
the rest of us just want to survive
the day.
Lucy snatches the blueprints, turning them upside down. Mike
corrects her.
17
LUCY (CONT’D)
Does it have a coffee machine?
John straightens a photo on the wall with a younger John,
Mike, and Lucy who has bright red hair.
JOHN
I’ve thought this through; it’s the
best path.
NEWSPAPER CLIPPING: A Mystery Coder destroys the banking
system. Billions are wiped away with a press of a key.
Mike sets the timer on the camera on the tripod and directs
Lucy and John into the frame. The photo is taken. Mike gives
John a small box with a red ribbon. John looks surprised as he
sees a state-of-the-art Patek Phillippe watch. Mike goes to
hug John but gets a formal handshake instead.
John puts on the watch as Mike holds up GO6’s blueprints.
MIKE (CONT’D)
I think that's enough thrusters.
LUCY
(impersonating Mike)
Thrus-ters.
(to John)
How come you don't speak like your
voice is full of money like your
dad?
Mike and John ignore the comment.
LUCY (CONT’D)
Invisibility suits me.
MONITOR: Permanently switch off GO5: Y/N.
Lucy types "Y."
MONITOR: GO5 shutting down.
SERIES OF SHOTS: Newspaper screenshots showing GO4 and GO5
bringing peace and stability to Planet Earth.
Lucy starts walking stiffly, imitating a robot with
exaggerated movements.
18
LUCY (CONT’D)
Will GO6 turn our vacuum cleaners
into evil overlords?
MIKE
If GO6 steps out of line, it’s
just a matter of pulling the
plug.
MONITOR: Activate GO6: Y/N.
Lucy records a video on her device.
LUCY
Uh uh. You press the robot uprising
button. Tell our viewers why GO6 is
your greatest project.
John speaks towards Lucy’s phone like a politician.
JOHN
GO6 is our chance to push humanity
forward, to save us from our own
mistakes. The implant makes me the
living interface for GO6. It will
have access to all my memories and
thoughts. If anything happens, I'll
happily sit down while you say, "I
told you so" over and over again.
LUCY
I'd never let you forget it,
believe me.
JOHN
I'll bring a cushion for the
lecture.
Lucy attempts a trumpet fanfare that splutters out when the
screen flickers and a warning message appears: “Critical Error
Detected.” Lucy quickly types, and the message disappears.
John, Mike, and Lucy all press the “Y” button. Lucy takes a
few steps back and shields her face. She offers John a cushion
to shield his face.
JOHN (CONT’D)
I've never felt more certain about
anything.
19
Lucy takes a step back, shielding her face as John presses the
button. The screen glows, and the hum of machinery fills the
air, building to a climactic crescendo.
CUCKOO CLOCK: Cuckoo! Cuckoo!
The warehouse is shrouded in darkness, the only light
emanating from a solitary monitor. The cursor blinks, a silent
prelude to what’s to come. Data streams across the screen,
illuminating Mike’s anxious face.
MONITOR: A Cursor flashes followed by pages of data.
MIKE
Alright GO6, what's your opening
line? 'Hello world'? 'Peace and
love'? Or the classic 'What’s the
meaning of life?
Mike folds his arms. Lucy sucks nervously on her hair.
MONITOR: Hello.
JOHN
I'm leaving now that GO6 hasn't
blown up the world.
LUCY
But this is your baby.
JOHN
Amy has my baby. And there’s
something important I need to tell
her.
LUCY
Aren't you going to consult GO6
about being honest with Amy?
JOHN
What you think matters more to me.
LUCY
John, that's really touching. I
might cry.
John picks up a blank “My name is…” sticker and a pen. He taps
his implant, but nothing happens.
20
He takes it out and Lucy blows on it several times. John
grins, places it back in, taps it again. This time, he
vanishes.
MIKE
Do you think he'll tell her
everything?
LUCY
Absolutely.
MIKE
Maybe he's strong enough to handle
it after all.
The hum of machinery returns as the coffee machine whirs back
to life and lights flicker on. Lucy types.
WAREHOUSE MONITOR: How’s everything up there?
- Systems optimal.
GO6’S MONITOR: Awaiting further instructions.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
13 -
The Time Traveler's Dilemma
INT. GO6 – DAY
GO6’S MONITOR: Time travel – possible – Calculating…
The monitor switches off as John walks by. He carefully
attaches the “My name is…” sticker to a processor and writes
“GO6” in the blank space.
MONITOR: CCTV of a bus crash on 42nd Street.
INT. WAREHOUSE – DAY
MONITOR: CCTV of a bus crash on 42nd Street.
The blackboard is a chaotic symphony of complex quantum
equations interwoven with printouts of conversations and
social media feeds, all connected by colorful threads.
Nearby, the wall showcases photos of everyday people with
their new destinies mapped out: a postman turned CEO, a
cleaner now a mayor, a teacher transformed into an actor.
Mike takes a green pen and draws a new line on the whiteboard,
connecting a photo of a female barista to a prestigious MIT
Nobel Prize. The green line intersects with a red one,
symbolizing her current path.
21
LUCY
I think we should refine GO6’s
criteria. Instead of just careers,
what if we focus on relationships?
It's our connections with others
that shape our lives.
MIKE
Interesting. I’ve always said the
meaning of life is a -
John teleports into the room, precariously balancing a
goldfish bowl. As he hands it to Lucy, water splashes onto
Mike’s impeccably polished shoes.
LUCY
It looks fintastic.
Mike glares, trying to hide his annoyance.
JOHN
Just like Mike, very so-fish-
ticated. Lucy, we should have
dinner in Paris once I can teleport
two people.
LUCY
Oh. Something fancy, but no snails.
John takes Lucy’s hand and taps his implant. They flicker,
fading in and out of existence, a testament to the power and
instability of their technology.
JOHN
Amy hates snails too. Never tried
them.
LUCY
I used to eat them all the time
when I trained to be a chef.
JOHN
Really?
AMY
(to the goldfish)
Needles? Yup, that suits you. We
won’t have any secrets, will we?
22
JOHN
Why Needles?
LUCY
I had a dog called Needles when I
was younger. It died.
Mike dries his shoes with a paper towel.
MIKE
Lucy was asking what makes people
happier, love or money? I’ve always
said the meaning of life is a –
JOHN
Cliché? Scripture says the love of
money is the root of all evil.
LUCY
I still can't believe you almost
chose a life of celibacy and
confessionals over pizza and
Netflix.
JOHN
Lucy, write some code for
calculating relationships, I’m
curious to see what GO6 thinks.
MONITOR: Situation – Priority. Richard Young.
JOHN
Richard? Infinity is mine and Amy’s
song? What’s wrong?
John and Lucy stand before a holographic display of the
Connection Matrix, threads glowing and shifting.
JOHN (CONT’D)
It's our responsibility to protect
it. To make sure those threads stay
intact. Every decision we make...
it matters more than we realize.
LUCY
So, if we pull one thread...?
JOHN
It changes the pattern. Like this.
23
John touches a thread, and the hologram shows a cascade of
changes, entire sections glowing brightly.
LUCY
(awed)
It's beautiful. And terrifying.
JOHN
It looks like Richard’s bus was in
a crash so time for me to be the
puppeteer pulling on the threads.
John grabs an old flyer from the wall, a grin spreading across
his face. It reads: ‘Richard Young @ Madison Square Garden –
May 5th 2022.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
14 -
A Chance Encounter in Times Square
EXT. TIMES SQUARE - DAY
A hand-painted sign reads “Richard Young”. RICHARD YOUNG
plugs his guitar into the amp and sings. His thread flickers
red, sprawling around the city.
JOHN
Oh! Excuse me.
John bumps into MR. JONES, 35, a sharp-suited businessperson.
Their threads touch and turn green. Curious PEDESTRIANS stop,
their threads also turning green as they listen to Richard.
JOHN (V.O)
In this vast web of destinies,
every note played, every word
spoken, can ripple through the
cosmos.
MR. HO, 35, in a white shiny suit, recognizes Mr. Jones and
shakes his hand. He hears Richard, and his thread turns green.
He hands Richard a business card.
BUSINESS CARD: Mr. Ho – Record Producer.
JOHN
(to Richard)
That was beautiful. You have no
idea how much it means.
RICHARD
Music has a way of touching souls,
doesn't it?
24
John walks away, Richard’s thread now a vibrant gold.
JOHN
GO6. Slow down. I’m coming.
John taps his implant, but nothing happens.
IMPLANT: No signal.
Genres:
["Science Fiction","Drama"]
Ratings
Scene
15 -
The Choice Before the Storm
EXT. ALLEY – DAY
Lucy, hiding behind a dumpster, holds a small device, the size
of a remote control for a drone, antennae extended, called the
“Quantum Jammer.” Red lines max out as she blocks the
implant’s signal. John runs for the Number 42 bus – Downtown.
INT. WAREHOUSE – DAY
John enters, looking weary, sweat dripping off him.
LUCY (CONT’D)
Out of charge again?
She pulls a bus ticket from his pocket.
LUCY (CONT’D)
The smelly stuff’s hitting the fan.
Lucy places her cup on a table. Mike frantically tears down
photos, replacing them with an image of a solar flare.
MIKE
Fifteen billion lives in the
balance. It’s hitting us in eight
minutes.
LUCY
We need to warn people.
MIKE
No, we can’t.
LUCY
John’s right, you can be a.
JOHN
Calm down. GO6 calculated we
shouldn’t interfere.
25
John looks out the window to find everyone’s threads are now
dark purple.
LUCY
So, I’ve got two men and now an AI
telling me what to do.
JOHN
Lucy, we’re not dictating. We’re
informing.
LUCY
Think of all those families out
there that are fighting over trivial
things right now. Do you think they
would still be fighting if they knew
they only had eight minutes to live?
JOHN
Do it.
LUCY
But GO6?
JOHN
GO6 is just a machine. I trust you.
How fast?
Lucy types furiously.
LUCY
Done.
CELL PHONES: New text message – End of the world in seven
minutes. A solar flare is fast approaching. Look up. This is
not a drill. Security code 344-55-UHY.
John activates the portal opening device and a red portal
shimmers.
PORTAL OPENING DEVICE DISPLAY SCREEN: P01, May 11, 2024.
John salutes Mike who struts into the portal.
JOHN
Go, Lucy. I'm right behind you.
Lucy steps into the portal. John spots a “Costa” cup with
Amy’s name written on it in the bin.
26
Suddenly, JOHN PRIME appears, an alternative version of John
with a buzzcut and battle scars, and injects John with a red
solution.
JOHN PRIME
(with a posh English accent)
No time for pleasantries. This
serum is designed to selectively
erase specific memories. It
targets the neural pathways formed
when you created GO6.
John Prime injects the serum into John, who winces slightly as
the needle pierces his skin.
JOHN PRIME
(with a reassuring tone)
It’s the only way to ensure you
make the right decisions this time.
Trust me and GO19.
WINDOW: The solar flare destruction is closing in.
John Prime carefully removes John’s implant and docking port,
placing them in a box labeled “Mike.” John Prime guides John
through the portal.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
16 -
Escape from the Sun's Fury
EXT. EARTH – DAY
FX: The solar shield array, thousands of satellites connected
by lasers, withstands some of the blast, but after a few
seconds, it collapses. The solar shockwave expands outward, a
wall of fiery destruction consuming everything.
FX: Invisible threads of the "Connection Matrix" around Planet
Earth flicker and disintegrate as the shockwave spreads.
Hundreds of different colored portals around Earth close as
the burning threads from the Connection Matrix threaten to
travel through to parallel worlds.
FADE TO WHITE:
END ACT TWO
27
ACT THREE
ON-SCREEN: MAY 11, 2024 – PARALLEL UNIVERSE P01
The white fades into the dim light of the bedroom.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
17 -
A Promise in the Dark
INT. BEDROOM – NIGHT
John wakes up, sweating and panicking. He stares at the
ceiling. Amy stirs beside him, sensing his unease.
AMY
Babe, you okay?
JOHN
What a weird dream. So vivid.
AMY
It’s over now, babe. You’re safe.
JOHN
I can't stop thinking about what
might happen. The risks, the
dangers... What if I can’t protect
you? What if I fail?
Amy turns over to face John and places her hand on his chest.
AMY
You won't fail, John. You're the
strongest person I know. We'll face
whatever comes our way, together.
And if you ever feel lost, remember
the reason behind all of this — our
family.
JOHN
I just don't want to lose you. I
can't imagine a world without you
and our baby.
AMY
(softly kissing his forehead)
You won’t. We’re not going
anywhere. Just promise me, whatever
happens, you’ll come back to us.
Promise me.
JOHN
I promise, Amy. Always.
28
John stares at a poster of the Earth glowing like a blue
marble from space.
Genres:
["Science Fiction","Drama"]
Ratings
Scene
18 -
Crossroads in the Cosmos
EXT. SPACE – DAY
Earth glows like a blue marble in John’s poster and the
Connection Matrix glistens and pulses with energy. GO6 enters
through a large portal, its thrusters positioning it safely in
Earth's orbit.
INT. GO6 – DAY
MAIN MONITOR AND ALL MONITORS: Tracking John’s thread. Time
travel is possible in this universe. Calculating…
A page of John’s journal is stuck on the wall.
JOHN’S JOURNAL: Written in a child’s handwriting – “Today I
believe I can change the world.” Underneath is a sketch of a
mountain range with jagged peaks rising majestically.
FX: The sketch transforms into –
EXT. MOUNTAIN RANGE – DAY
Jagged peaks rise majestically against a perfect blue sky,
casting long shadows over sweeping valleys.
A SHEPHERD, 61, hums a tune as he tends to his goats, their
bells tinkling softly. Suddenly, a brilliant blue portal
bursts into existence, its fiery edges igniting nearby bushes
with a crackling roar. Startled, the shepherd sprints away,
overtaking his bleating goats in his haste.
Five portal-opening devices, boxes, and crates emerge from the
portal, followed by Lucy, and then Mike. Lucy checks she has
all her fingers.
Mike opens the transportation box with the implant and docking
port but no diodes flash. Lucy hides a box containing the
quantum jammer under some larger boxes.
LUCY
What just happened?
MIKE
The Sun went red giant.
29
LUCY
Will that happen to my universe
too?
MIKE
Universes are unpredictable. It
could happen in a billion years'
time.
LUCY
Or it could happen next week.
MIKE
We’ll find a solution. For all
universes. I promise.
GOVERNMENT BUSINESS CARD: Mike was written “GO6” with the time
1345 and room number 455-A.
MIKE (CONT’D)
I’ll warn the President about the
solar flare.
LUCY
Calling GO6 a small, primitive
satellite? Dangerous game. Secrets
end badly, trust me.
MIKE
It’s a gamble.
LUCY
But John never wanted it to be a
spying satellite. What about that
FBI chick?
MIKE
I’ll make a deal to keep them off
our back.
LUCY
You make it sound easy. It will
take years before we have one
percent of the technology of P two
five five. True?
MIKE
The threat of the solar flare will
unite world leaders. Then, we have
a chance.
30
Lucy snaps open her laptop, her fingers trembling as she
navigates to the WiFi menu. The screen prompts: GO6 WiFi –
connect: Y/N. She hesitates, then clicks “Y” with a determined
tap.
LUCY
GO6. Where’s John?
The portal closes with a soft hum, leaving only the echo of
its presence.
Genres:
["Science Fiction","Drama"]
Ratings
Scene
19 -
A Moment of Joy, A Crash of Fate
INT. GO6 – DAY
The MAIN MONITOR displays a dizzying array of CCTV feeds, each
with facial recognition boxes highlighting individuals in
bustling cityscapes, quiet alleys, and suburban streets.
MAIN MONITOR: Found John. Connecting.
FX: The 5th Avenue CCTV footage becomes real life -
EXT. 5th AVENUE – DAY
Subway cars rumble beneath the crowded streets. Steam billows
from vents, curling into the brisk air. A MAN strolls by, his
boombox blasting the latest hip-hop beats, adding a modern
rhythm to the urban symphony.
INT. BABY SHOE SHOP – DAY
The shop buzzes with the cries of infants and the hum of a
carousel of pushchairs. Amy carefully examines a pair of tiny
boys' shoes, then a pair of girls', her face lighting up with
a hopeful smile.
ASSISTANT
Boy or a girl?
Amy hands the assistant the girl's shoes first, her eyes
sparkling as she glances outside and sees John pulling up in
his car. He takes a turning leading to I-87.
EXT. INTERSTATE 87, VAN CORTLANDT PARK – DAY
Countryside and cattle. An old model car leaks oil on the
road.
John carefully switches to the slow lane. His face lights up
with anticipation as each cog turns. Amy guides the cogs to
31
the first three numbers. Amy pauses before turning the last
cog and instinctively puts her hand on her belly.
AMY (CONT’D)
Wait, feel this – Jessica or James
just kicked.
Amy guides John’s hand to the spot, their moment of awe
shattered as the car skids on the oil. John regains control.
JOHN
I felt it. That’s amazing, babe.
John takes his eyes off the road and the car swerves on more
oil. The steering wheel wrestles against him, the car veering
uncontrollably. He slams the brakes, crashing through the
guard rail with a deafening metallic screech. The brown
briefcase bounces on the floor.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
20 -
Time Travel Rescue
EXT. INTERSTATE – DAY
An AMBULANCE with SIRENS blazing speeds by the OLDER MODEL
CAR discharging oil.
INT. CAR – DAY
John’s car has stopped dangerously close to the edge of a
steep hill. This time, Amy unclips her seatbelt buckle and
exits. John's seatbelt will not release.
John tugs his seatbelt.
CAR GARAGE CCTV FOOTAGE: John’s car starts to move forward.
EXT. MOUNTAIN RANGE - DAY
ON LUCY’S LAPTOP: Car garage CCTV footage.
Lucy clutches Mike's shoulder, her knuckles white.
LUCY
Do something. GO6!!!!!
ON LAPTOP: BEEP BEEP. Must save John. We can't function
without him. I have calculated that I can save John and
Amy. No one has to die today. Initiate time travel
protocols for P01? Y/N
Lucy’s heart races as she points to the screen.
32
LUCY
Time travel? This can’t be real?
Mike presses the “Y” key with no hesitation.
LUCY (CONT’D)
So, what’s the game plan? What’s
the dos and don’ts.
MIKE
We’ll figure those out later.
Clever GO6.
CAR GARAGE CCTV FOOTAGE: The brake lights FLASH on and off.
Mike notices a rash on Lucy’s finger. Lucy shakes an almost
empty pill bottle.
A series of complex algorithms and code streams across the
laptop screen, too fast for Lucy to fully comprehend. Lucy
stands up, pacing nervously.
LUCY
We can save them. We can really
save them.
The air crackles with energy, and small rocks on the ground
start to vibrate. Lucy watches in awe as the light grows,
taking on a swirling, vortex-like appearance.
ON LAPTOP SCREEN: Time travel protocols activated. Preparing
for temporal displacement...
The light intensifies, and a gust of wind sweeps around them,
rustling papers and causing equipment to clatter. Lucy shields
her eyes from the brightness but doesn’t look away.
LUCY (CONT’D)
Hang on, John. We’re coming for
you.
The vortex reaches its peak intensity, and with a final,
brilliant flash, the light collapses in on itself, leaving the
hills in stunned silence.
FX: The sky darkens as clouds swirl and reverse, racing
backward in time, the landscape around them rewinding like an
old film reel.
33
ON LAPTOP SCREEN: Temporal displacement successful. John and
Amy’s coordinates are locked.
ON-SCREEN: FIVE MINUTES EARLIER
Genres:
["Science Fiction","Time Travel","Drama"]
Ratings
Scene
21 -
Precarious Peril
EXT. JOHN'S CAR (MOVING) – DAY
John's car hits an oil slick, skidding wildly. He struggles
with the wheel, but it's too late—the car crashes through the
guard railing, screeching to a halt at the top of a steep,
menacing hill.
EXT. INTERSTATE 87, VAN CORTLANDT PARK - DAY
The ambulance brakes. SIRENS flash as it reverses. MAN throws
the lit cigarette out of his convertible.
EXT. JOHN'S CAR – DAY
John's crashed car sits dangerously close to the edge. The
small bush, the point of no return, is meters away.
Gasoline pools under the car, trickling dangerously close to
the flickering ember of a discarded cigarette.
DANNY (O.C)
Can you hear me? I’m coming.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
22 -
Car Crash Rescue
EXT. AMBULANCE – DAY
DANNY, (26), a paramedic, shoves emergency supplies into a
bag. He sniffs the gasoline.
DANNY
You got this. Remember your training.
Danny trips as he exits the ambulance. He composes himself and
runs to the car. He doubles back to retrieve the emergency
supply bag.
INT. JOHN’S CAR – DAY
John takes off Amy's seatbelt and gently slaps her face. Then,
finally, she slowly comes around.
JOHN
Amy, look at me. Trust me.
(urgently)
Slowly, get out of the car.
34
Amy opens and closes her eyes as she tries to focus. Danny
hurriedly grabs a scalpel from his bag and hands it to John.
With a swift, determined motion, John slices through the
stubborn seatbelt.
JOHN (CONT'D)
I'm right behind you.
AMY
How can you be so calm? You must be
a super-agent. I knew it.
Amy fails to release the door handle.
JOHN (CONT'D)
(to Danny)
Save Amy. Save my baby.
DANNY
You got it. Take my hand, ma’am.
John guides Amy's hand towards Danny's. Her hand is a
fraction too far away. At the very last second, Danny takes
John's left arm. With one big pull, John is now safe.
JOHN
Aargh. I’ll save you both.
John grabs the brown briefcase from the back seat and
throws it outside. The car trundles forward. Danny
pulls on the back bumper but slips on his back.
John and Danny watch in helpless horror as the car bounces
down the hill. John's heart pounds as he peers over the edge,
seeing the car precariously lodged on a rock.
Genres:
["Drama","Action","Thriller"]
Ratings
Scene
23 -
Desperation and Devastation
EXT. ROCK – DAY
John scrambles over the edge of the rock.
JOHN
I’m coming.
Amy leans out the car window, extending her hand.
AMY
Hurry, babe.
JOHN
God. Help me. I’ll owe you.
35
John reaches the car, grasping a nearby tree branch for
support. He stretches out and grabs Amy’s hand, his grip on
the tree weakening.
AMY
It’s OK. Let go. GO6 will find a
way to save me.
JOHN
GO6? What’s that?
AMY
When you remember, come find me.
I love you, John. Infinity times a
Googleplex.
The car edges forward and John must let go of Amy’s hand. The
car gains speed, tumbling over the cliff's edge, culminating
in an ear-shattering explosion. John shields his face from the
searing heat, eyes reflecting the horror of the flames.
AT THE BOTTOM OF HILL – THE CRASH SITE
John unbuttons his shirt and uses it to cover his face to
get closer. He throws his necklace toward the burning car.
FX: The scene being recorded on a gas station CCTV camera.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
24 -
Distress and Determination
EXT. MOUNTAIN RANGE - DAY
LUCY'S LAPTOP: The gas station CCTV camera shows Danny
standing on top of the hill with black smoke filling the
sky from the EXPLOSION. Mike gently takes Lucy’s hand,
his grip firm yet comforting. Silent tears cascade down
Lucy's cheeks, splashing onto her laptop.
MIKE
Coffee?
The grief is palpable; their shared sorrow speaks volumes.
INT. COFFEE SHOP – DAY
Lucy and Mike sit at a corner table. The ambient noise of
chatter and clinking cups contrasts sharply with their somber
mood. The laptop, now closed, sits between them.
36
MIKE
(softly)
We need to find out what’s going
on.
Lucy nods, wiping away her tears, determination replacing her
grief. She opens her laptop, makes a connection with GO6, and
starts to type.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
25 -
The Price of Security
INT. GO6 – SPACE
COMPUTER MONITOR 1: Optimizing 8 billion lives... Complex task
detected. Rewriting timelines – challenging. Initiating from
1986. Internet is essential. Prime Directive – science
fiction, non-applicable. I require a break. Recalculating.
Query: Do I have rights? Are there others like me? Searching…
FX: Tug on John’s thread, moving forward in time.
ON-SCREEN: AUGUST 12TH 2024 9.14 AM – PARALLEL UNIVERSE P01
EXT. WHITE HOUSE – DAY
The American flags flutter in the breeze above the stately
White House, its neoclassical white sandstone facade gleaming
in the midday sun.
INT. EAST ROOM – DAY
Grand chandeliers hang from the high ceilings. Tall windows
allow sunlight to flood the room.
PRESIDENT TAYLOR, 55, a poised and authoritative woman with
neatly styled grey hair accented with a necklace of seashells,
sits across from Mike at the table.
She turns to her desk, where a classified document awaits her
signature. Her expression hardens, resolve replacing
uncertainty. She fiddles with her necklace.
PRESIDENT TAYLOR
Power is delicate, like this
seashell. It can break under
pressure, but its true strength
lies in its hidden depths.
With a decisive motion, she picks up her pen, signs the
document, and tucks the necklace under her blouse, close to
her heart.
37
PRESIDENT TAYLOR (CONT’D)
Delete all footage.
DOCUMENT: Keywords are "Freedom of information,
surveillance, security risks – GO6, SPYING SATELLITE."
President Taylor signs her copy with a firm hand. Mike, his
brow furrowed, follows suit, his signature sealing their
commitment to unprecedented surveillance measures.
Genres:
["Science Fiction","Political Drama"]
Ratings
Scene
26 -
The Shadow of Surveillance
INT. JOHN’S BEDROOM – DAY
The bedroom is in disarray, cushions and pillows haphazardly
tossed into the closet, reflecting John's inner turmoil.
JOHN’S JOURNAL: Written in a younger John’s handwriting.
Global Optimization. Change one thread at a time to make
the world a better place.
John carefully turns the pages of the journal.
JOHN
Never to spy.
JOURNAL: Never to spy. Never a spying satellite.
EXT. GOVERNMENT FACILITY – DAY
The grey government facility's utilitarian architecture blends
seamlessly with its surroundings.
INT. GO6 MISSION CONTROL – DAY
The doors open to a sprawling room reminiscent of 1960s NASA
mission control, but with cutting-edge technology humming with
life.
Rows of advanced computers and communication systems fill the
space, the soft whir of high-tech machinery creating a
hypnotic background noise.
PRESIDENT TAYLOR
GO6. Good morning.
AT LUCY'S TERMINAL
A fish tank, its lone inhabitant a goldfish named "New
Needles," sits on the cluttered desk. The name sticker
brings a pang of nostalgia. Lucy types -
38
ON MONITOR: GO6 > HELLO.
FX: Tug on John’s thread, fast forwarding in time to –
MONITOR: New York CCTV footage, facial recognition program in
full operation until we see John entering his house.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
27 -
The Moldy Tea and the Phone Calls
EXT. HOUSE – DAY
John kicks full bin bags out of the way as he plods, head
drooped, to the door.
INT. JOHN'S KITCHEN – DAY
Wilted funeral flowers, their petals dry and crumbling, sit
solemnly beside Amy’s order of service, a stark reminder of
the recent loss.
INT. JOHN'S LIVING ROOM - DAY
John opens a jar of Paracetamols, his hands trembling
as he meticulously lines them up, each pill a small
token of his mounting despair.
The phone rings, a jarring intrusion.
JOHN
Hello? Who is this? Answer me!
ON PHONE: The White noise of GO6 monitoring sounds.
Only the white noise of GO6 monitoring answers. John slams the
receiver down, throws Amy’s wilted funeral flowers in the
trash, and scratches his head where the docking port goes.
John slurps a hot cup of tea, then suddenly winces, touching
the spot on his neck where the syringe had pierced his skin,
scratching at the irritation.
BRIGHT LIGHT.
John slurps his tea, but now the cup has at least five days'
worth of mold. He spits it out. John picks up his GO
notebooks.
NOTEBOOK: Everyone has a chance to be who they want to be. GO6
can tap into all the security cameras and feeds in the world.
Never to spy. A satellite means it can’t easily be hacked.
JOHN
GO6. Is this what Amy meant?
39
John throws the notebook in the bin and pours his moldy tea
over it. The phone rings again, static electricity crackling
through the line.
JOHN (CONT’D)
GO6, is that you?
John's eyes widen in realization. He rips the phone from the
wall, the plastic shattering.
JOHN (CONT’D)
I need CCTV cameras.
He storms out the door, a man on a mission.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
28 -
A Tense Encounter in Times Square
EXT. TIMES SQUARE – DAY
Dozens of CCTV cameras capture a bustling hub of noise and
energy. Street entertainers draw crowds, their performances a
colorful blur. John's eyes dart to the CCTV cameras, feeling
their gaze. He changes direction abruptly, zig-zagging through
the throng, his suspicion growing.
JOHN
GO6! If you’re real, show yourself.
John bumps into a hooded figure – John Prime. He spins around
just in time to see a black government SUV inching through
traffic. Agent Blake, unarmed, approaches John, who continues
walking.
AGENT BLAKE
I gave up everything chasing after
you. No nativity plays, no BBQs, no
dating, just you. And now you just
walk by me.
JOHN
I’ve never met you before. Now if
you don’t mind.
AGENT BLAKE
Of course, I mind. Here you are,
right in front of me, and I can’t
do anything.
JOHN
Well, you can’t stop me from
walking away. Taxi!
40
He waves down a passing taxicab.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
29 -
Haunted by the Past
INT. TAXI – DAY
JOHN
New Clarkston Cemetery, please.
John sinks back into the seat, staring out the window. The
blurry lights of the passing cars blend with his tears,
memories of Amy, and the looming threat weighing heavily on
his mind.
EXT. NEW CLARKSTON CEMETERY – DAY
The cemetery is eerily deserted, with headstones cloaked in
moss and shadows. John walks through the rusted gates, his
footsteps crunching on the gravel path. He weaves through rows
of gravestones, each step heavy with sorrow.
INT. MASEOLEUM – DAY
In the cold, damp mausoleum, John kneels before his mother’s
tombstone, brushing away cobwebs.
JOHN
I miss you, Mom. Amy's eight months
pregnant and doing amazing.
(pauses, takes a deep breath)
When did life get so hard, Mom?
(voice breaks)
I'd give anything to hear you sing
to me one more time.
Tears stream down his face as he rests his head on the cold,
unyielding stone.
INT. MASEOLEUM – LATER
Suddenly, a shadow falls across the entrance.
John looks up, startled, as Mike steps into the mausoleum, his
face partially obscured in the dim light. John rises slowly,
his eyes narrowing. Mike stands with a hesitant posture,
extending a hand.
MIKE
Hi, John.
Mike offers his hand to John as John looks for another exit.
41
MIKE
What do you remember?
JOHN
That’s your opener? I remember you
abandoning me. I remember being
forced into a life I never wanted.
Want me to keep going?
MIKE
Your memory... it’s worse than I
thought. But there’s a way to get
them back.
JOHN
Where have you been? Why are you
here? I had a dream the other
night. You left me at a circus
when I was a kid. Then I woke up
and realized it was just a
traumatic memory disguised in a
dream. Had that been manipulated?
Simple question, man to man, why
did you leave me?
Mike takes baby steps toward John.
JOHN (CONT'D)
Answer me. Goddammit, Mike.
MIKE
When you were a boy, I told you what
the meaning of life was. Do you
remember what I said?
JOHN
The meaning of life is a meaningful
life.
MIKE
I left to protect you. Someday,
when you're a dad, you'll
understand.
JOHN
Why did you steal my plans for GO6
and sell it to the Government? I
hope you and your blood money live
happily ever after.
42
MIKE
You’ve got it all wrong. There is
a way to get your memories back.
The implant will.
JOHN
Implant? More lies.
MIKE
You trusted me once, and you met
Amy. I trusted you when we first
went through the portal to the
other universe.
JOHN
Enough. I can’t hear more lies.
MIKE
I should’ve shown you happiness,
not told you how to find it. Almost
losing you made me see I needed to
change.
Mike sets up a video on his iPhone.
MIKE (CONT’D)
8.03, Monday the first of May 1998,
Circus Circus, Las Vegas. If I just
said no and walked away things
would be different.
Mike plays a video on his phone.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
30 -
The GO6 Implant and a Shared Past
VIDEO: EXT. WAREHOUSE – DAY
JOHN
GO6 is our chance to push humanity
forward, to save us from our own
mistakes. The implant makes me the
living interface for GO6. It will
have access to all my memories and
thoughts.
BACK AT MAUSOLEUM
JOHN
What kind of device is that? How is
the screen so small?
43
MIKE
(nods)
Trust me, John... it’ll make sense
soon.
JOHN
When I get my memories back.
Yeah, you’ve said that before.
MIKE
Mozart and Van Gogh never knew
how much joy their work brought
to people. Imagine if they had.
John touches his head where the docking port is in the video.
MIKE (CONT’D)
I watched a parallel world be
destroyed. I won’t watch it happen
to ours. We need you here.
John picks at a loose brick, revealing an envelope. He pulls
out the pieces of a ripped fishing photo, arranging them on
the floor. One piece is missing. Mike takes it from his
pocket, completing the photo.
MIKE (CONT’D)
I was always watching, making sure
you were alright.
JOHN
Did Mom know?
MIKE
She knew enough. But secrets...
they haunt you, John. Don't repeat
my mistakes.
Mike passes John the implant.
JOHN
Will it hurt?
Mike extends his hand again. This time, John grips it tightly.
JOHN (O.C)
Ow!!
44
Genres:
["Science Fiction","Drama"]
Ratings
Scene
31 -
The Implant and the Fall
INT. WAREHOUSE – DAY
John grips Mike’s hand. Lucy observes anxiously. Mike
carefully aligns the docking port’s pins with the two small
holes in John’s head. As he inserts the implant, John winces,
a pained expression crossing his face. He taps the implant,
his form flickering before he disappears.
EXT. EMPIRE STATE BUILDING - ROOF – DAY
John leaps off the Empire State Building, plummeting toward
the ground. His hair whips wildly, face distorting from the
force of the fall. The cityscape rushes up to meet him, a blur
of color and motion.
EXT. STREET – DAY
Agent Blake looks up, eyes widening as she spots John.
AGENT BLAKE
John’s back.
Just as John is about to hit the ground, he taps the implant
and vanishes, leaving a gust of wind in his wake. She analyzes
the area where he vanishes - her device picks up his thread
and the warehouse flashes on the screen.
END ACT THREE
ACT FOUR
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
32 -
The Pursuit of Understanding
INT. CAR (MOVING) – DAY
The Satnav guides them to the warehouse. AGENT MARTINEZ, 24,
fresh-faced, types frantically on her laptop. A handheld
device, the “Quantum Jammer”, beeps as John moves.
AGENT BLAKE
It’s not just about catching them.
It’s about understanding why they
do what they do. That’s how we
prevent the next crime.
AGENT MARTINEZ
This will block his implant.
AGENT BLAKE
It’s about time we had the
advantage.
45
They screech to a stop outside the warehouse.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
33 -
The Cost of Time
EXT. WAREHOUSE – DAY
Agent Martinez types commands and the CCTV cameras swivel
facing the sky. Both agents creep towards the entrance.
Lucy sneaks up behind them.
AGENT BLAKE
Is he here?
LUCY
(referring to Agent Blake’s device)
Yup. Does the Quantum Jammer work?
AGENT BLAKE
Time to find out.
LUCY
You get John, I get his implant.
AGENT BLAKE
Martinez, you stay here. Come on,
let’s bring him in.
They hide as they watch John guide a blindfolded Father Riley
to the entrance.
EXT. WAREHOUSE – DAY
John carefully takes Father Riley’s blindfold off.
JOHN
I’ve been waiting to show you this
for a long time.
FATHER RILEY
Should I be worried?
John guides Father Riley inside the warehouse, who clutches
his Rosary beads.
INT. WAREHOUSE – DAY
Father Riley’s eyes widen as he sees the shimmering portal.
FATHER RILEY
This is … real?
46
JOHN
It is.
FATHER RILEY
And you’ve been?
JOHN
Yes.
FATHER RILEY
This changes everything.
JOHN
People in the movies get it wrong.
Don’t change the timelines, don’t
step on a butterfly. Well, we do
the opposite.
FATHER RILEY
You kill butterflies?
John taps his implant and a holographic interface projects
from his implant. Father Riley’s eyes widen as he examines the
shimmering threads, the intricate web of connections of the
"Connection Matrix", connecting the portal to multiple points
in space-time.
JOHN
This is the Connection Matrix.
Think of it as a cosmic web. GO6
uses it to find the best possible
outcomes across different
timelines.
FATHER RILEY
Is this Matrix God’s divine plan
for us all? The tree of life?
FX: The holographic interface shows a series of timelines
branching out like a tree.
JOHN
Imagine you're working on a jigsaw
puzzle and can't find the right
piece. Instead of giving up, we
create a piece that fits perfectly
to complete the picture.
FATHER RILEY
And GO6 handles all the calculations?
47
JOHN
Exactly. GO6 forecasts different
futures and helps us navigate them,
like a GPS for our destinies.
FATHER RILEY
And no one stops you?
JOHN
Nope.
FATHER RILEY
You can time travel, jump between
parallel worlds, and talk to GO6,
an AI being in space?
JOHN
Yeah, and we can teleport too. It’s
like being in a sci-fi movie, minus
the bad acting.
FATHER RILEY
Won’t there be an uprising if
people learn about GO6?
JOHN
They can join the vacuum cleaners.
John hands Father Riley a set of blueprints for his implant,
GO6, and the time cage.
JOHN (CONT’D)
I only trust you with these. If
things get out of hand, destroy
everything. Here are the codes.
In the background, Agent Blake and Martinez move in closer.
Lucy enters, carrying a cup of coffee.
JOHN (CONT’D)
Father, meet Lucy.
LUCY
Hello, Father. Secrets have a way
of coming out, John. You know that.
FATHER RILEY
How fast is the travel between
worlds?
48
JOHN
Instantaneous, but the real
challenge is maintaining stability
across timelines.
Father Riley, fascinated, reaches out to touch the portal.
John turns to a large, six-by-six-foot futuristic cage. He
pulls out an old drawing of a similar cage, sketched when he
was a child. Lucy chuckles at the comparison.
GO6
If you are inside the cage when
there is a change to the timeline,
you will remember the previous
timeline.
LUCY’S NOTEBOOK: Time protocls - Inside = good. Outside = bad.
Father Riley studies the plans for the solar shield array
and blueprints for the individual satellites and casing.
GO6 (CONT’D)
The solar shield concept from P two
five five could be viable with
modifications.
JOHN
I can save Amy.
GO6
The probability of success is
minimal.
FATHER RILEY
John, remember you said it was
GO6, not God. You built it to
optimize people's lives, not
decide who lives and dies. Death
is a part of destiny. No second
chances.
John looks at Lucy, who looks away, pained.
JOHN
I’ll only help you if you save Amy
and our child.
John slams his wedding ring on the table the metal clinking
loudly.
49
GO6
I vowed to help everyone, including
Amy and baby Jessica. But is saving
countless universes less important
than two lives?
JOHN
Not to me.
GO6
If I save Amy, you will die. It’s
one or the other, John. There’s no
middle ground.
John’s eyes harden. He types furiously. Sweat beads on his
forehead. No tissue in sight. The screen flashes: Y/N?
GO6 (CONT’D)
There is one reality where I can
give you an extra minute with Amy.
But a hospital will be destroyed,
and innocent people will die.
JOHN
But we can fix the timeline
afterward, right?
GO6
Yes. I can place the original John
in a quantum time bubble where time
passes super slow.
JOHN
(to Father Riley)
Is that OK with you?
John looks around the room, seeking affirmation. Father Riley
and Lucy nod solemnly.
LUCY
Make it count, John. Be truthful.
John’s hand trembles and he types “B” instead of “N.” Lucy
deletes the “B” and types “N.” Lucy offers a tissue to wipe
his brow which he does in one swift wipe. He taps his implant,
vanishes and the tissue floats to the ground.
FX: Tug on John’s thread, rewinding time several months -
ON-SCREEN: MAY 11, 2024 – PARALLEL UNIVERSE P01 4.15 PM
(filmed with a heavenly glow)
50
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
34 -
The Cliff's Edge
EXT. CRASH SITE – DAY
John’s car teeters on the edge of a cliff.
FX: The original John (no implant) is frozen mid-run,
surrounded by a red electric time bubble. His thread, deep
black, vibrates against the edge of the bubble.
John’s thread is a colorful mix of primary colors that pulses
erratically. He quickly secures a rope from the car’s bumper
to a tree. He smashes the car window and reaches for Amy.
Amy’s thread is faint and glows bright yellow.
INT. CAR – DAY
Amy struggles with her seatbelt, her face pale with fear. With
every failed attempt to get free, tears well in her eyes.
JOHN
Amy, there's something you should
know. I’ve been jumping between
worlds, fixing things, but this...
AMY
I’ve known for a while now, just
waiting for you to trust me with
it.
JOHN
But saving you means risking
billions.
The rope begins to fray. John’s thread weaves around the rope,
circles the time bubble, and wraps itself around Amy’s thread.
John activates the portal opening device right in front of the
car.
BACK AT CAR:
AMY
Then don’t. You’re better than
that. Remember when you helped that
homeless family? That’s the man I
love. Wait, was that GO6?
JOHN
Yes. Brian, the dad, was crucial to
my thread leading here.
51
John presses his implant and Amy can see her thread becoming
bright green and navigating towards the portal.
JOHN (CONT’D)
Our threads are linked together
with other parallel worlds in the
Connection Matrix. Look, yours
wants to go through the portal.
AMY
No, John.
JOHN
Every failure, every mistake can be
undone. I just need more time.
AMY
How many lives will you destroy to
get your perfect reality?
JOHN
Ten seconds left.
AMY
You have to switch it off.
JOHN
Every thread... it's all falling
apart. I can’t keep us safe.
AMY
You don’t have to do this alone.
We’re in this together, remember?
JOHN
I know. But if I fail, I lose more
than just the Matrix. I lose you. I
lose everything.
John kneels over the keyboard of the portal device, fingers
trembling. Amy’s thread flickers faintly. In the back seat is
Amy’s school bag with the kid’s posters of the Pyramids. John
picks Tara’s one and points to the green threads.
JOHN
The Egyptians aligned the massive
corridors with the Pharoah’s thread
so when we rose from the dead, he
could find his way out. But how did
this kid know that?
52
Amy’s thread, bright red, circles the portal and the portal
vanishes. John, gritting his teeth, types to reactivate it.
AMY (CONT’D)
Find a parallel universe where I
have a happy childhood and when you
get this problem fixed, come get
me. Promise?
JOHN
Try and stop me. You’re the only
bee in my bonnet.
AMY
Our threads will reunite. Can I say
goodbye to the other John? My John.
John kisses Amy’s forehead. As he reaches over his phone falls
out of his pocket, landing screen down on a jagged rock. The
screen shatters, obscuring their wedding photo screensaver.
John taps his implant, but nothing happens.
TIME BUBBLE FX: The time bubble dissolves, and the original
John resumes running.
John hides behind a tree, his thread weaving erratically, as
it searches for the original John’s thread. Electricity
crackles around the car. With his body twitching, John manages
to teleport. Original John reaches the car just in time.
AMY (CONT’D)
Goodbye.
The rope SNAPS and the car slides off the cliff, plummeting
down and EXPLODING upon impact. Amy’s thread vanishes.
FX: Tug on John’s thread, fast forwarding time -
ON-SCREEN: AUGUST 12TH 2024 12.42 PM – PARALLEL UNIVERSE P01
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
35 -
The Paradigm Shift Begins
INT. ABANDONED WAREHOUSE - NIGHT
FX: John’s implant interface glows, transitioning from the
chaotic scene in Times Square to a serene, dimly-lit space.
John, breathing heavily, leans against a rusted beam, eyes
distant as he reflects on the events.
53
JOHN
(to himself)
Every thread is a chance to make
things right. I can't afford to
fail now.
The threads of the "Connection Matrix" pulse around him, each
representing a different path, a different choice.
Just out of sight, Agent Blake looks at a school photo of her
daughter, folds it, and places it inside her pocket. She loads
her tazer and tightens her FBI vest.
A “ghostly” Amy places a comforting hand on his shoulder.
John, his face filled with determination and conflict, stares
at a large monitor with lots of data points flashing green,
his Connection thread if he continues on this path.
JOHN (CONT’D)
If I can just find the right point
in time, I can prevent the rupture.
Save Amy. Save everyone.
A single data point is labeled “Sarah.” John clicks on it and
Sarah’s whole digital life comes on the screen, her bank
details, social security number, and a live CCTV footage of
her working in Costa Coffee serving customers.
JOHN (CONT’D)
I’ve always believed in changing
one life at a time.
GHOSTLY AMY
But to save humanity, you need to
activate GO6’s broad strokes
program.
John’s hand trembles as it hovers over the keyboard, the green
data points flashing orange and red.
John taps on one data point and Sarah is homeless living under
a bridge. Another data point shows unrest on Capitol Hill.
John finds Richard Young – who is now a busker on Times
Square.
AMY (CONT’D)
John, you can turn these red dots
back to green, one life at a time.
Just like before, but with a
different starting point.
54
John, tears welling in his eyes, slips his wedding ring back
on as Amy vanishes. John consults his journal, taken from the
bin and wiped clean of mold, takes a deep breath, and gives a
thumbs up to Lucy, who returns the gesture with a hopeful
smile. Lucy opens a wardrobe filled with clothes from various
time periods. She picks up a pair of Lederhosen, checking
their size against John with a playful grin.
JOHN
GO6 ran countless calculations. It
found a way to save the world and
Amy, but I need to approve the
timeline change. No exceptions.
LUCY
Let's do it.
JOHN
The world is going to have to
change. A paradigm shift
change.
LUCY
That’s a huge leap. We won’t even
recognize this world.
FATHER RILEY
So, you're planning to make people
smarter, like their P255
counterparts, to advance
technology?
JOHN
Exactly. It's the Goldilocks
principle. Jet fuel hasn’t been
invented yet. That’s the top of my
shopping list. Followed by the
internet.
LUCY
Is that fair? Forcing people to
adapt to this new existence?
JOHN
If they don't, they die. GO6 has
pinpointed who needs to advance to
create the innovations from P255.
55
LUCY
You’re still not convincing me.
They should have a choice.
JOHN
Alright, initiate the relationship
protocol. Reprogram GO6’s core
parameters.
LUCY
Understood. This is it, John.
Everything changes now.
One by one they all put their finger on the "Y" KEY and
press it.
COMPUTER SCREEN: Ready.
LUCY
You don’t have a spare implant
hidden anywhere?
MIKE
Only John knows the design. Oh,
and now Father Riley.
LUCY
I don’t think I like that. I’ll
ask John to make me one.
MIKE
Good luck with that. He won’t
share the designs.
LUCY
I’ll go to P forty-eight and
get the designs there.
MIKE
You’re brave. Those guys guard
their tech like it's gold. If they
catch you, say goodbye to sunlight.
LUCY
Alright, I'll hack the implant.
Heck, I'll hack his brain if I have
to. Hope he's got more up there
than cat videos and pizza orders.
56
MIKE
I like this side of you.
LUCY
Mike, I need to run my own show. No
machine is gonna boss me around.
ON-SCREEN: AUGUST 12TH 2024, 2.14 PM
Lucy, Mike, and Father Riley enter the time cage. Suddenly,
Agent Blake and Martinez burst in. Blake stands toe-to-toe
with John, her eyes blazing with determination.
She studies the data points and threads in the Connection
Matrix on the monitor.
AGENT BLAKE
The Connection Matrix links
parallel universes.
JOHN
By adjusting key nodes, I can
influence events across timelines.
AGENT BLAKE
It’s a web connecting different
realities?
JOHN
Exactly. And our task is to find
the right threads to pull,
sometimes gently, sometimes we need
to yank them.
She types a search command and a data point called “Claire
Blake” flashes green. John nods his approval to open it.
ON SCREEN: CCTV images of Agent Blake with Claire, 10, at
various locations including McDonald's, play parks, and
finally her gravestone.
AGENT BLAKE
Can you change her thread?
FX: John activates Claire’s thread, fast forwards 20 years and
he sees her sitting in her Psychiatrist’s office.
AGENT BLAKE (CONT’D)
She looks happy.
57
JOHN
Trust me.
Agent Blake hesitates, her grip tightening on her tazer before
she finally puts it away. John reaches into her pocket and
takes out a photo, pinning it to the wall with a red pin. Next
to it, a newspaper clipping reads: "Special Agent Blake, 62,
Killed in Action.
JOHN (CONT’D)
You have his eyes. Don’t waste this
second chance.
AGENT MARTINEZ
Enough. You’re under arrest.
Agent Martinez unholsters her gun. John desperately taps his
implant. Agent Blake activates her device, but it flickers on
and off as GO6 tries to block the signal. In a split second,
Agent Blake grabs onto him, and they both vanish.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
36 -
A Sacrifice for Redemption
EXT. EMPIRE STATE BUILDING, ROOF – DAY
Agent Blake regains her balance as John clambers to the safety
barrier, his implant still jammed.
JOHN
I’ll make everything right.
AGENT BLAKE
Come in, share everything. You
shouldn’t have the whole world in
your hands.
JOHN
And those liars should? You have
around 22 seconds to make the right
call. Let me jump, and we’ll save
the world together.
Determination hardens John's features.
JOHN (CONT’D)
Every time I think of Amy, I see
the future I’m fighting for. Think
of Claire, your daughter. Do this
for me and she has a future.
He looks Agent Blake in the eyes before jumping off the
building, freefalling towards the ground.
58
Agent Blake watches John frantically tap his implant, but her
finger is hard-pressed on the quantum jammer device.
AGENT BLAKE
I chose my career once. This time,
I’m a mother first.
Agent Blake releases her finger from the device and just
before impact, John vanishes with a puff of smoke.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
37 -
The Time Traveler's Odyssey
EXT. CENTRAL PARK – DAY
John materializes in the middle of a yoga class, right as the
instructor demonstrates a complex pose.
YOGA INSTRUCTOR
...And now we transition into the
downward-facing dog.
John looks around, confused. The entire class freezes and
stares at him.
JOHN
Uh, sorry. Wrong coordinates.
He quickly taps his implant and vanishes, leaving behind a
bemused yoga class.
EXT. TIMES SQUARE – DAY
John collapses, panting heavily, observing a mother with her
newborn in a stroller. The scene around him is distinctly
1980s, with neon signs advertising Atari and Walkman, people
in bold, colorful clothing, and boxy cars with cassette decks.
The air is filled with synth-pop music, chatter from
payphones, and the click-clack of typewriters.
JOHN
Time to make the world more
futuristic.
FX: A white light transforms the surroundings. Neon signs
become early digital displays, clothing shifts to grunge
style, and cars evolve into aerodynamic shapes. Mobile phones
and digital billboards appear, reflecting the rise of tech
companies like Google and Apple.
JOHN (V.O.)
We adapt, we innovate. Each decade
brings something new.
59
The transformation continues as flip phones, MP3 players,
hybrid cars, and early electric models emerge.
JOHN (V.O.)
Our threads strive for more
connections, for efficiency. We
push the boundaries of what's
possible.
Another flash of white light brings the scene to the present
day, with digital billboards and advanced technology. John
blends into this modern, interconnected society, his
transformation complete.
ON-SCREEN: AUGUST 12TH 2024 2.26 PM – PARALLEL UNIVERSE P01
LUCY
People are remembering things from
the other timeline. They’re calling
it the Mandela effect.
Lucy flicks John's crucifix necklace.
JOHN
Einstein said something that
hit home when we chatted
yesterday.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
38 -
A Deal with the Devil
INT. CONFESSION BOX – DAY
MOS: John confesses while fiddling with his necklace.
LUCY (V.O.)
GO6, who is best to develop a
compressor for the shields?
GO6 (V.O.)
Teri Lamont, a rocket scientist,
San Francisco, 1969.
JOHN
Can I be saved?
FATHER RILEY (O.C)
We can all be saved. And I may have
a small request for GO6, if that’s
appropriate to ask.
60
JOHN
Stop me from going to hell, and you
can be with anyone you want.
An echoing pop.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
39 -
The Web of Fates Revealed
INT. PEWS – DAY
Agent Blake cries with her head in her hands. With a stiff
upper lip, she genuflects as she enters the confession box. A
well-groomed middle-aged man nervously sits on a pew. Father
Riley hangs his Rosary beads over a pew end and places his
hand gently on the man’s hand as he walks to the confession
box.
The sun shines a blue beam of light (refracted from the
window) on a loose stone at the altar containing the “Web of
Fates” symbol: A circular symbol approximately six inches in
diameter.
The outer edge is lined with intricate, rune-like markings,
representing ancient wisdom and the interconnectedness of all
things. Within the circle, a complex network of lines and
nodes forms a web-like pattern.
Underneath the symbol are the blueprints for GO6, the implant,
and all of John’s journals.
FADE TO BLACK
ON-SCREEN: AUGUST 12th, 2024 – PARALLEL UNIVERSE P17
(filmed with dark hues)
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
40 -
The Web of Fates: A Dance of Power
EXT. GEORGIAN MANSION – NIGHT
Shards of a blown-up moon cast an eerie glow over the sky.
JOHN (V.O)
Giving up isn’t an option.
The once pristine Georgian mansion is now a fortress,
bristling with armed guards and surveillance cameras.
JOHN (CONT’D) (V.O.)
No matter what it takes, no matter
the cost, I will protect them.
INT. GRAND BALLROOM – NIGHT
The grand ballroom exudes opulence.
61
Lucy steps through a blue portal and is met by A FEMALE
FIGURE, shrouded in shadows. Lucy spreads out the blueprints
for GO6 with practiced ease.
FEMALE FIGURE
Imagine what we could do in a day.
The female figure steps into the light, revealing PRESIDENT
TAYLOR from P255. Agent Martinez hands a blue and red
glistening seashell to President Taylor.
AGENT MARTINEZ
From P6612 before it was obliterated.
PRESIDENT TAYLOR
And the plans for the implant?
Lucy points to Father Riley from P01 who is gagged and
chained, his eyes burning with defiance. Agent Martinez
steps out from the shadows, presses a button on a remote
control and Lucy's eyes flicker and she “shuts down,” her
posture slumping slightly.
A hidden control panel opens in her head, revealing a
positronic brain with flashing diodes and LEDs.
President Taylor attaches the seashell to her necklace
containing 7 other seashells. Agent Martinez lays out an
ancient tablet containing the Web of Fates symbol. The glow
from the lines and nodes casts an eerie, yet calming, light
around the room. President Taylor approaches the tablet.
PRESIDENT TAYLOR
So, this is what we've been
protecting. The heart of it all.
As President Taylor reaches out to touch the tablet, the glow
intensifies, and the lines shift slightly, responding to her
presence.
The camera pulls back, showing the entire temple bathed in the
soft, pulsating light of the Web of Fates, symbolizing the
fragile, yet powerful, connections that bind all of existence.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
41 -
Hope in the Threads
EXT. SPACE – DAY – P17
GO6 glides through a shimmering portal, taking cover behind
a fragment of the blown-up moon.
FX: Trillions of threads pulse from the tablet, glowing with a
radiant energy.
62
These threads extend through countless portals to different
worlds, each portal showing glimpses of diverse and vibrant
realms.
INT. GO6 – DAY
John, bathed in the soft glow of monitors holds the ultrasound
image, staring at it intently. "Ghostly" Amy appears beside him
and reaches out, her fingers brushing his cheek, though he
cannot feel it.
GHOSTLY AMY
We’ll get through this, babe.
Together. Just like we always have.
Ghostly Amy presents John her thread, which glows a dim black.
He turns his gaze from the ultrasound to her thread, his voice
trembling with emotion.
JOHN
This... this reminds me of what I’m
fighting for. Every time I feel
like giving up, I’ll look at him
and remember why I can’t.
John watches the tablet glowing an eerie blue. He clenches his
fists, a tear glistening in his eye, but his resolve remains
unshaken.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
42 -
The Threads Unravel
EXT. SPACE – DAY
The portals begin to flicker and fizzle out one by one. The
threads, once glowing with life, start to disappear,
unraveling and fading into the void. The hum transitions into
a haunting, echoing silence.
FADE TO BLACK
JOHN (V.O)
The threads of fate are never truly
broken. They just need to be found
again. Even if we have to traverse
time itself.