12 Monkeys
Executive Summary
Poster
Overview
Genres: Thriller, Drama, Sci-Fi, Science Fiction, Psychological Thriller, Mystery, Action, Dystopian, Psychological Drama, War, Romance
Setting: Present and past (1995)., United States (primarily Philadelphia and Baltimore).
Overview: After witnessing a murder as a child, James Cole is recruited by a group of scientists from the future to travel back in time and prevent a deadly virus from wiping out humanity. Along the way, he meets Dr. Kathryn Railly, a psychiatrist who helps him to understand his mission and the importance of his choices. As Cole travels through time, he grapples with his own mental health and the moral implications of altering the past.
Themes: Time Travel and its Consequences, The Nature of Reality and Identity, The Importance of Memory, The Dangers of Technology, The Power of Love
Conflict and Stakes: The conflict between Cole's desire to prevent the virus and the skepticism of the scientists, and the stakes are the survival of humanity.
Comparable Scripts:
- 12 Monkeys (1995)
- La Jetée (1962)
- The Matrix (1999)
- Children of Men (2006)
- Looper (2012)
- Blade Runner (1982)
Writing Style:
The screenplay exhibits a comprehensive and consistent writing style across all scenes, characterized by its complexity, depth, and nuanced exploration of themes and characters. The dialogue is sharp, engaging, and often philosophical, driving the narrative forward while revealing the inner conflicts and motivations of the characters. The scenes are crafted with precision, balancing action, suspense, and introspection to create a compelling and immersive experience for the reader.
Style Similarities:
- Christopher Nolan
- David Fincher
- Charlie Kaufman
- Quentin Tarantino
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for '12 Monkeys' is a well-crafted and thought-provoking exploration of time travel, mental illness, and apocalyptic visions. The central conflict between the protagonist, Cole, and the scientists who have sent him back in time is compellingly portrayed, with strong character development and a visually striking blend of past, present, and future. While some pacing issues and a lack of depth in certain supporting characters could be addressed, the screenplay's overall strengths, including its cerebral themes, effective use of classic films, and suspenseful climax, make it a compelling work that is worthy of consideration for production.
USP: "This gripping screenplay captivates with an unparalleled blend of dystopian mystery, intricate character dynamics, and provocative themes. Experience a thrilling odyssey that delves into the depths of the human psyche, unraveling a web of deception, redemption, and the poignant search for purpose in a world on the brink of collapse. Its innovative storytelling techniques, distinctively flawed characters, and thought-provoking narrative will resonate deeply, leaving a lasting impact long after the final scene."
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-49, fans of science fiction and thrillers.
Marketability: The screenplay has a strong cast, a unique and timely concept, and a lot of action and suspense.
The screenplay may be too complex for some audiences.
The screenplay has a strong cast, but the story may be too slow-paced for some audiences.
Profit Potential: High, due to the strong cast and unique concept.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by vivid sensory descriptions, atmospheric details, and a focus on internal thoughts and emotions. The writing style is immersive and engaging, drawing the reader into the characters' world and emotional experiences.
Best representation: Scene 12 - Dr. Railly's Lecture on Madness and Apocalyptic Visions. Scene 12 is the best representation of the writer's voice because it effectively combines vivid sensory descriptions, atmospheric details, and a focus on internal thoughts and emotions. The scene immerses the reader in the protagonist's psychological state, creating a powerful and emotionally resonant experience.
Memorable Lines:
- Cole: Three billion people died in 1995. Three billion, got that? Almost the whole population. Of the world! Only about one percent survived. (Scene 6)
- Cole: YOU DON'T EXIST, YOU SILLY BOZOS! YOU'RE NOT REAL! HA HA HA! PEOPLE DON'T TRAVEL IN TIME! YOU AREN'T HERE. MADE YOU UP! YOU CAN'T TRICK ME! YOU'RE IN MY MIND! I'M INSANE AND YOU'RE MY INSANITY! (Scene 28)
- Cole: I love this world! (Scene 26)
- Cole: I love you, Kathryn. Remember that. (Scene 40)
- Cole: This is the present. This is not the past. This is not the future. This is right now! (Scene 39)
Characters
Cole:A young man who is sent back in time to prevent a deadly virus from wiping out humanity.
Dr. Kathryn Railly:A psychiatrist who helps Cole and believes his claims about the future.
Dr. Fletcher:A scientist who is skeptical of Cole's claims and believes he is mentally ill.
Jeffrey:A mental patient who claims to be from outer space and helps Cole escape from the hospital.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Cole's Journey | Suspenseful, Mysterious, Eerie, Dramatic | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | |
2 - Cole's Interrogation and Decision | Grim, Mysterious, Intense | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - Interruption and Examination | Mysterious, Intense, Suspenseful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 8.5 | 8 | 8.5 | |
4 - Confronting the Past | Mysterious, Intense, Confused, Intriguing | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
5 - Arrival at the Mental Institution | Suspenseful, Dark, Satirical, Cynical | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
6 - Confrontation in the Psych Ward | Suspenseful, Dramatic, Mysterious | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
7 - Confusion and Agitation in the Hospital | Suspenseful, Mysterious, Intense, Dark | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
8 - The Escape Plan | Dark, Suspenseful, Confused, Agitated | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
9 - Cole's Violent Outburst and Confrontation in the Hospital | null | 0 | 0 | 0 | 8 | 0 | 0 | 8 | 7 | 0 | 8 | 0 | 0 | 8 | 0 | 0 | 9 | 9 | 8 | 8 | |
10 - Disappearance and Confrontation | Suspenseful, Mysterious, Intriguing, Intense | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
11 - Cole's Interrogation | Suspenseful, Mysterious, Intriguing, Dark | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
12 - Cole's World War I Vision | Tense, Confused, Suspenseful, Chaotic, Mysterious | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
13 - Dr. Railly's Lecture on Madness and Apocalyptic Visions | Foreboding, Mysterious, Intellectual, Tense | 8 | 9 | 8 | 9 | 7 | 6 | 9 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | |
14 - Kidnapping of Dr. Railly | Tense, Suspenseful, Fearful, Intense | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
15 - En Route to Philadelphia | Suspenseful, Mysterious, Intense, Confused, Hopeful | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
16 - The Boy in the Well | Suspenseful, Mysterious, Intense, Emotional | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
17 - Skid Row Stencils | Suspenseful, Mysterious, Intense, Paranoid | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
18 - Ambush in the Alley | Intense, Suspenseful, Dark, Violent | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
19 - Confrontation at Animal Rights Office | Tense, Suspenseful, Mysterious, Intense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
20 - Interrogation in the Basement | Suspenseful, Intense, Mysterious, Tense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
21 - The Rescuers | Tense, Suspenseful, Mysterious, Intense, Emotional | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
22 - Confrontation at the Gas Station | Tense, Suspenseful, Intense, Dramatic | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
23 - Cole and Jeffrey Reunite | Suspenseful, Mysterious, Intense, Dark | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
24 - Hallway Confrontation | Suspenseful, Intense, Confrontational, Paranoid | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
25 - Cole's Daring Escape | Intense, Suspenseful, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 6 | 9 | 9 | 9 | 9 | |
26 - Reunion in the Woods | Tense, Emotional, Suspenseful, Reflective | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
27 - Interrogation and Revelations | Suspenseful, Intense, Emotional, Mysterious | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 8 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
28 - Cole's Confused Awakening | Confusion, Hysteria, Suspense, Dramatic | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
29 - Interrogation and Inner Conflict | Intense, Suspenseful, Emotional | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
30 - Unveiling the Past: Antique Bullet and a Soldier's Secret | Suspenseful, Intriguing, Mysterious, Intense | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
31 - The Monkey Army | Suspenseful, Intense, Mysterious, Dramatic | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
32 - Chaos at the FAA Store | Suspenseful, Intense, Dramatic, Mysterious | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
33 - Amidst Chaos: Jeffrey's Sanity Unravels | Intense, Suspenseful, Dramatic, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
34 - Escape from the Hotel | Suspenseful, Intense, Emotional, Action-packed | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
35 - Confrontation and Disguise | Intense, Suspenseful, Confrontational | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
36 - Contemplation at the Movies | Melancholy, Confusion, Tension, Hope | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
37 - Encounter at the Zoo | Suspenseful, Mysterious, Intense, Emotional | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
38 - Passionate Interlude Amidst Urban Chaos | Tense, Romantic, Mysterious, Hopeful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
39 - Echoes of the Past at the Airport Terminal | Suspenseful, Mysterious, Intense, Desperate | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
40 - Airport Confrontation | Suspenseful, Paranoid, Intense, Emotional | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 8.5 | 8.5 | 8 | |
41 - Confrontation and Suspicions at Airport Security | Intense, Suspenseful, Emotional | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
42 - Airport Departures | Suspenseful, Mysterious, Intense, Emotional | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 |
Scene 1 - Cole's Journey
CLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide
with wonder. watching something intently. We HEAR the sounds of
the P.A. SYSTEM droning Flight Information mingled with the
sounds of urgent SHOUTS, running FEET, EXCLAMATIONS.
YOUNG COLE'S POV: twenty yards away, a BLONDE MAN is sprawled on
the floor, blood oozing from his gaudy Hawaiian shirt.
A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S
view, rushes to the injured man, kneels beside him, ministering
to his wound.
ANGLE ON YOUNG COLE, flanked by his PARENTS, their faces out of
view, as they steer him away.
FATHER'S VOICE (o.s.)
Come on, Son --this is no place for us.
YOUNG COLE resists momentarily, mesmerized by the drama.
YOUNG COLE'S POV: intermittently visible through a confusion of
FIGURES rushing through the foreground, the BLONDE MAN reaching
up and touching the cheek of the kneeling BRUNETTE in a gesture
of enormous tenderness, a gesture of farewell, while the P.A.
SYSTEM continues its monotonous monotone...
P.A. SYSTEM
Flight 784 for San Francisco is now
ready for boarding at inmate number
66578, Greely.
INT. PRISON DORMITORY/FUTURE - ETERNAL NIGHT
PRISON P.A. SYSTEM
--number 5429, Garcia -- number 87645, Cole...
COLE, late thirties, dark hair, comes awake in a bunk cage, one
of many stacked four high along both sides of a long dim
corridor. He blinks in the near dark, shaken, disoriented.
Then, as he "recovers" from his very vivid dream, WE GET OUR
FIRST LOOK AT HIS ENVIRONMENT...A WINDOWLESS UNDERGROUND WORLD OF
ETERNAL NIGHT SOMETIME IN THE FUTURE...AN ALMOST COLORLESS
"REALITY" OF BLURRED EDGES AND ECHOEY SOUNDS, MUCH MORE
"DREAMLIKE" THAN HIS DREAM.
Flashlights glare. In the half-light, COLE sees spooky figures,
GUARDS, moving among the locked bunk/cages.
COLE turns and whispers to the occupant of the next cage, JOSE...
COLE
Ssssst! Jose, what's going on?
JOSE's face is almost lost in shadow. What there is of it is
youthful. He's just a scared Puerto Rican kid!
JOSE
"Volunteers" again.
JOSE immediately rolls over and feigns sleep as SCARFACE, a
menacing guard with a jagged scar running down his cheek, looms
close to COLE's cage and unlocks it.
SCARFACE
"Volunteer duty".
The PRISONERS in the other cages watch silently with narrowed eyes.
COLE
I didn't volunteer.
SCARFACE
You causing trouble again?
COLE
(controls his temper)
No trouble.
INT. EQUIPMENT ROOM - ETERNAL NIGHT
COLE's alone, struggling to get into what looks like a space suit
in a room where suits hang like ghosts with blank eyes.
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TITLES BEGIN SUPERED OVER THE SCENE
COLE has the torso of the suit on now and is trying to close it.
OFFSCREEN VOICE (o.s.)
All openings must be closed.
COLE looks for the source of the voice, a tiny grate in the wall.
OFFSCREEN VOICE (o.s.)
If the integrity of the suit is compromised
in any way, if the fabric is torn or a zipper
not closed, readmittance will be denied.
INT. SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT)
COLE, wearing the "space suit" and a helmet with a plastic visor,
steps into a tiny chamber, a kind of air lock. The heavy door
clangs shut behind him. He's alone. COLE'S breath comes quicker
now as he sucks oxygen from the air tanks on his back.
On the opposite wall is another door with a huge wheel lock.
COLE turns the heavy wheel, opens the door, steps through It
INT. ELEVATOR - SECONDS LATER (ETERNAL NIGHT)
COLE'S in an ascending elevator that groans and creaks. He looks
down at a crudely drawn map he holds in his gloved hand.
The map shows a series of tunnels and ladders.
INT. SEWER PIPE - MINUTES LATER (NIGHT)
COLE pans a flashlight, probing the filthy sewer he's wading through
RATS flee the blade of light, scurry across islands of rusting junk.
The flashlight beam settles on a ladder mounted in the wall.
Reaching the rusted ladder, COLE starts to climb awkwardly.
EXT. CITY STREET/FUTURE - MOMENTS LATER (NIGHT)
A SCRAPING NOISE as a heavy man-hole cover is pushed up and moved
aside. COLE'S helmeted head emerges from below.
COLE'S POV THROUGH HIS PLASTIC-VISORED HELMET: a city in
moonlight! A surreal image of abandoned buildings. No people
anywhere. The only sounds are the WIND and COLE'S BREATHING.
EXT. ANOTHER CITY STREET - MINUTES LATER (NIGHT)
COLE'S light reveals abandoned vine-covered automobiles.
Moving to the nearest car, COLE searches in the vines for
something. Finds it. An insect.
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COLE takes the bug in his gloved hand. As he clumsily inserts it
into a collection tube, something makes him turn.
There's something across the street in the dark. Something alive.
COLE points his flashlight and reveals...a BEAR! Startled by the
light, the animal blinks, then stands on its rear legs and ROARS.
ANGLE ON COLE, staring wide-eyed.
Then, the BEAR sinks down onto all fours and, trying to avoid the
flashlight, it pads quickly down the street.
INT. SUBTERRANEAN PARKING GARAGE - NIGHT
Using the flashlight to see, COLE reaches down to the cracked
floor and gets another specimen. DOGSHIT!
The only sound is COLE'S labored BREATHING.
Then, a different SOUND. GRRRR! A dog. More GRRRRS. More
dogs. Then, a YIP. Then, VICIOUS GROWLS. It's a DOGFIGHT!
EXT. STREET - NIGHT (FIRST LIGHT)
A giant OWL, perched on an overhead traffic light, raises its wings
and lifts off...rising higher and higher into the brightening sky.
Below, on the street, COLE trudges along, passing deserted
buildings, windows broken, rusted signs dangling.
INT. DEPARTMENT STORE - NIGHT (FIRST LIGHT)
COLE'S light reveals a spider web just inside the store. A large
SPIDER tries to hide from the light.
COLE reaches carefully into the web and plucks the spider and
puts it into one of his specimen tubes.
Then, he shines his light all around the once elegant store. There's
nothing but aisle after aisle of moldering consumer goods.
EXT. DEPARTMENT STORE - DAWN
As COLE comes out of the store, the first rays of the sun hit the
building. COLE stops, squints into the light through his visor.
COLE'S POV: spray-painted on the wall a long time ago is a stenciled
logo of twelve monkeys holding hands in a circle. Over it is
written, "WE DID IT!"
COLE looks up.
COLE'S POV: high up on a building across the street, a LION
patrols a ledge, pauses, looks out majestically over his world.
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TTTLES END
Ratings
Scene 2 - Cole's Interrogation and Decision
ROARING WATER, powerful torrents gushing from nozzles in the
wall, pummel the still-suited COLE.
INT. SECOND UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT
Stark naked and shivering, COLE is being scrubbed with brushes on
long poles (like the ones used to wash cars) wielded by two HULKING
FIGURES in bulky decontamination suits, their personas lost in their
windowed masks. It's a grim scene in a grim cement room with damp,
dripping walls. From an unseen source comes an AMPLIFIED VOICE,
AMPLIFIED VOICE (o.s.)
Raise your arms above your head.
COLE lifts his arms and the FIGURES start scrubbing his armpits.
INT. TINY CHAMBER - SHORTLY (ETERNAL NIGHT)
Still naked, COLE is seated on a stool while a MASKED TECHNICIAN
in a less elaborate, less bulky decontamination outfit draws
blood from COLE'S arm with an old-fashioned hypodermic needle.
COLE glances toward a single, nearly opaque "window" of thick
plastic in the rusty iron wall. VAGUE FIGURES seem to lurk
behind the translucent aperture, studying him.
The TECHNICIAN slips the blood sample through a slot in the wall.
INT. ENGINEERING OFFICE/FUTURE WORLD - ETERNAL NIGHT
Ushered in by two guards, TINY and SCARFACE, COLE looks around.
COLE'S POV: wails hidden by old headlines, articles, maps, charts...
a blackboard covered with elaborate, sophisticated formulae...surfaces
heaped with cracked monitors, gerry-rigged computers held together
with
string, lasers lost in tangles of cable, ancient tube amplifiers, a
dilapidated cardboard reconstruction of a city, stacks of moldering
books and tattered computer printouts...and, seated at a long
conference
table, staring at COLE, six SCIENTISTS: an ASTROPHYSICIST, ENGINEER,
BOTANIST, MICROBIOLOGIST, ZOOLOGIST, and a GEOLOGIST. They represent
a "modern" science where brilliant new ideas interface with crude,
outdated, patched-together technologies.
TINY
James Cole. Cleared from quarantine.
MICROBIOLOGIST
Thank you. You two wait outside.
SCARFACE
He's got a history, Doctor. Violence.
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COLE'S eyes return to the walls.
Headlines: "CLOCK TICKING! NO CURE YET!"
SCARFACE
Anti-social six -- doing 25 to life.
ENGINEER
I don't think he's going to hurt us. You're
not going to hurt us, are you Mr. Cole?
COLE'S head turns quickly to the ENGINEER.
COLE
No, sir.
The GUARDS exchange a look, shrug, exit, closing the door.
MICROBIOLOGIST
Why don't you sit down, Mr. Cole.
COLE goes to the empty chair at the conference table, sits down.
ASTROPHYSICIST
We want you to tell us about last
night.
COLE
I went to the surface and I collected
specimens like I was told.
The SCIENTISTS don't say anything. They just study him carefully.
COLE
(worried)
I mashed the spider, didn't I?
MICROBIOLOGIST
We'll get to the spider later, Mr.
Cole. Right now, we want to know
everything that you saw.
INT. ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT)
COLE, starting to look very tired now, stands at the blackboard
sketching a detailed map of exactly where he was last night.
ASTPOPHYSICIST
Where you collected sample #4, what
street was that?
COLE
Uh...
BOTANIST
It's important to observe everything.
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COLE
I think it was...I'm sure it was 2nd Street.
As the SCIENTISTS start to whisper animatedly among themselves,
COLE'S eyes drift across the newspaper clippings taped to the
wall. One headline screams, "VIRUS MUTATING!" Another features
a photo of an OLD MAN (DR. MASON, who we'll see again later on)
and the words, SCIENTIST SAYS, "IT'S TOO LATE FOR CURE".
ASTROPHYSICIST'S VOICE (o.s.)
Close your eyes, Cole.
Startled, COLE closes his eyes obediently.
BLACKNESS. Like COLE, WE SEE NOTHING. But we HEAR their VOICES.
ENGINEER'S VOICE (o.s.)
Tell us in detail what you've seen in
this room.
COLE'S VOICE (o.s.)
Uh, in this room? Uh...
MICROBIOLOGIST'S VOICE (o.s.)
How many of us are there?
COLE'S VOICE (o.s.)
Six...seven, if you count me.
ASTROPHYSICIST'S VOICE (o.s.)
Tell us about the pictures on the wall...
COLE'S VOICE (o.s.)
Uh, you mean the newspapers?
A MONTAGE OF OVERLAPPING VOICES (o.s.)
Tell us about the newspapers. Can you
hear my voice? What do I look like?
What does he look like, the man who
just spoke? How old were you when you
left the surface?
The VOICES blur into a cacophony and FADE INTO the droning P.A.
SYSTEM at the airport.
INT. CONCOURSE/AIRPORT - DAY
THE DREAM AGAIN! But at an earlier moment. YOUNG COLE, flanked
by his PARENTS, whose faces are out of view, is watching a PLANE
land through one of the big glass windows that lines the concourse
leading to the departure gates.
P.A. SYSTEM (o.s.)
Flight 784 now boarding at gate...
Suddenly, a SHOUT, followed by raised VOICES, interrupts the
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monotonous airport routine. As YOUNG COLE and his PARENTS turn
to see what's going on, a man we'll call MR. PONYTAIL, his face
averted, hurries past them, bumping YOUNG COLE with a Chicago
Hulls Sports Duffle Bag.
MR. PONYTAIL
WATCH IT!
YOUNG COLE sees little more than the gaudy pants, the duffle, and
the man's ponytail flopping as he rushes towards the gates.
Just then, a WOMAN'S VOICE cries out, "NOOOOOOOOO!"
YOUNG COLE turns back toward the Security Check Point just as
TRAVELERS scatter madly, some diving to the floor, others
running. A TERRIFIED TRAVELER, hitting the floor close by, looks
up at YOUNG COLE with panicky eyes, and asks....
TERRIFIED TRAVELER
Just exactly why did you volunteer?
INT. ENGINEERING OFFICE/FUTURE WORLD - (ETERNAL NIGHT)
COLE comes abruptly awake. Seated now, he's facing the SCIENTISTS.
ASTROPHYSICIST
Wake up, Cole.
COLE
Uh, I didn't hear the...
MICROBIOLOGIST
(tapping a pencil on the table)
I asked you, why did you volunteer?
COLE
Well, the guard woke me up. He told me
I volunteered.
The SCIENTISTS react, whispering urgently among themselves.
COLE starts to nod off again, then comes awake with a start as
the ENGINEER speaks to him.
ENGINEER
We appreciate you volunteering. You're
a very good observer, Cole.
COLE
Uh, thank you.
ENGINEER
You'll get a reduction in sentence.
COLE keeps his face impassive.
ASTROPHYSICIST
8FLiX.com SCREENPLAY DATABASE 20220831
To be determined by the proper authorities.
ENGINEER
You don't want to jeopardize that reduction,
do you, Cole? Have it taken away?
COLE
No, sir!
ASTROPHYSICIST
We have a very advanced program, something
very different, requires very skilled people.
MICROBIOLOGIST
An opportunity to reduce your sentence
considerably...
ZOOLOGIST
And possibly play an important role in
returning the human race to the surface
of the earth.
ENGINEER
We want tough minded people. Strong
mentally. We've had some...misfortunes
with "unstable" types.
ASTROPHYSICIST
For a man in your position...an opportunity.
BOTANIST
Not to volunteer could be a real mistake.
MICROBIOLOGIST
(tapping his pencil again)
Definitely a mistake!
COLE gives away nothing. He's in a box here. He has no choices.
He stares at the tapping pencil.