12:01 Page #5

Synopsis: Barry Thomas is the average office worker. He becomes attracted to Lisa Fredericks who works in the same company. After work, Barry witnesses the murder of Lisa and goes to a bar to get drunk. Later that night, there is a storm and Barry gets a shock from a lamp's faulty power wire at exactly 12:01 am. The next morning, he realizes that everything is happening exactly as it did the previous day. The next morning the day is repeated again. It is now Barry's job--being the only person alive who is aware of this time loop--to stop the murder of Lisa, and stop the time loop or be caught in time forever.
Director(s): Jack Sholder
Production: New Line Home Entertainment
  2 wins & 1 nomination.
 
IMDB:
6.9
Rotten Tomatoes:
40%
PG-13
Year:
1993
92 min
179 Views


THERE'S A FILE I

DON'T USE ANYMORE--

MATHEMATICAL THEORY THAT'S

STILL LINKED TO THE ACCELERATOR.

OH, MY GOD.

I'VE BEEN TRYING TO TELL

YOU NOW FOR TWO DAYS.

ATTENTION, WE HAVE

A SECURITY ALER:

FOR ALL SCIENCE DIVISIONS.

PLEASE DETAIN A WORKER WITH

PAPERWORK FOR DR. SPECTER.

GUESS WHO.

I GOT TO GO.

I CAN EXPLAIN I TO THEM.

WHAT ARE YOU GOING TO

SAY-- THE DAY'S REPEATING?

IT WON'T WORK.

I'VE TRIED IT.

MEET ME AT THE FRONT ENTRANCE AT 6:00.

DON'T TALK

TO ANYBODY. 6:
00.

WE'VE GOT HIM.

CODE 4. SECTION "B."

HEADING INTO:

THE MAINWAY!

HEY, YOU'RE

UNDER ARREST.

HEY, STOP!

HOLD IT, MISTER!

HOLD IT!

HOLD I RIGHT THERE!

HOLD IT! HOLD IT!

BUDDY! HE'S IN

A BROWN FOUR-DOOR.

CALL THE MAIN GATE.

[RING]

YES?

IT'S ME.

WE MAY HAVE:

A PROBLEM.

FREDERICKS IS:

WORKING WITH SOMEONE.

I DON'T KNOW!

I MAY NEED SOME HELP

IN THIS.

GOOD.

WHEN YOU FIND HIM,

YOU KNOW WHAT TO DO.

ALL RIGHT.

O.K. UM...

I'LL SEE YOU TOMORROW.

STAY THERE.

STAY THERE, LISA.

NO.

THANK YOU.

OH...

[TIRES SQUEAL]

NO!

OH, MY GOD!

[CROWD SHOUTING]

I TOLD YOU:

I'M NOT CRAZY.

LET'S GO!

CALL THE POLICE!

DON'T MOVE!

YOU ALL RIGHT?

I DON'T KNOW.

OH, GOD.

WHAT DID YOU DO:

AFTER I LEFT?

WHAT?

WHAT DID YOU DO?

I COPIED THE EVIDENCE

AGAINST DENK.

ONTO A DISK?

YEAH.

HAVE YOU GOT IT?

NO. I LEF MY BRIEFCASE.

OH, GOD.

OH, GOD.

WATCH OUT!

[AIR HORN HONKS]

AAH!

[GUNSHOT]

HOLD ON!

MOVE IT!

BACK IT UP!

GET IT OUT OF THERE!

WE'D BETTER CALL

WASHINGTON OR THE POLICE

WE'D BETTER CALL

WASHINGTON OR THE POLICE

OR SOMEBODY.

THERE'S NO PHONE

IN THERE.

I'M SORRY?

MY MOM'S IDEA. THE OLD MAN

BRINGS HIS MOBILE ANYWAY.

WHAT?

THERE'S NO PHONE,

THERE'S NO DISK.

WHAT ARE WE SUPPOSED TO

DO, MAIL IN A COMPLAINT?

WE HAVE TIME.

WE'LL THINK OF SOMETHING.

AW, IT'S...

IT'S BEAUTIFUL.

YOU KNOW, THE LAST TIME

I WAS IN THE WOODS,

I WAS 9 YEARS OLD.

I WAS BURYING:

MY PET CANARY,

AND I MADE A GRAVESTONE

OUT OF A PAPER PLATE.

AND I WROTE ON IT--

"FLY TO HEAVEN."

HMM.

I HAVEN'T TOLD

ANYONE THAT IN...

WHY DO YOU REMEMBER?

WHAT MAKES YOU DIFFEREN FROM THE REST OF US?

I DON'T KNOW.

MY MEMORY'S NO THAT GREAT ANYWAY.

I DON'T KNOW.

SOMETHING HAPPENED TO YOU,

OR YOU DID SOMETHING.

WHAT...

WHAT DID YOU DO:

THAT FIRST NIGHT?

WELL, AFTER YOU GOT SHOT... I GOT DRUNK.

CAME HOME.

I KNOCKED A BUNCH

OF STUFF OVER.

I COLLAPSED IN BED.

I WOKE UP.

IT WAS THE SAME DAY.

YOU'RE MISSING SOMETHING.

YOU DROVE THROUGH

SOMETHING UNUSUAL.

YOU WERE NEAR METAL OR A

CHEMICAL OR HIT BY LIGHTNING.

I COLLAPSED IN BED,

MY CLOCK SAID 12:01,

AND I GOT A SHOCK.

MY LAMP WAS BROKEN.

THERE WERE LOOSE WIRES.

I TRIED TO FIX IT, BUT I

LIT UP LIKE A CHRISTMAS TREE.

AND THEN?

THEN...

IT WAS MORNING.

THERE'S A THEORY--

SCOTT'S THEORY

HAS A COROLLARY:

THAT SAYS CONSCIOUSNESS EXISTS

SEPARATE FROM THE TIME BOUNCE.

YOU COULD'VE GOTTEN

THAT BAD SHOCK:

WHEN THE FIRS BOUNCE HAPPENED.

IT PUSHED YOU OUT OF

THE LOOP JUST ENOUGH

SO YOU CAN REMEMBER.

I BET THAT'S IT!

LUCKY ME.

BARRY,

I'M--I'M SORRY.

NO, NO. IT'S...

I MEAN,

YOU SAVED MY LIFE.

SELF-INTEREST.

I...

I'VE BEEN WATCHING YOU

OUT OF MY OFFICE

FOR SUCH A LONG TIME.

THE OTHER DAY,

I GATHERED UP THE NERVE

TO ACTUALLY SPEAK

TO YOU.

I MADE A FOOL:

OUT OF MYSELF.

BUT I THOUGHT, HEY,

I'LL HAVE ANOTHER CHANCE

TO SPEAK TO YOU SOMEDAY.

BUT THEN YOU...WELL...

WE SPOKE?

YEAH.

YEAH, WE DID.

HOW WAS I?

GREAT.

YOU WERE VERY NICE.

YOU THREW ME OU OF YOUR OFFICE.

I'M SORRY.

I GUESS I WAS HAVING A BAD DAY.

THAT NEXT MORNING

WHEN I SAW YOU...

ALIVE...

I REALIZED:

I HAD A SECOND CHANCE--

A CHANCE TO SAVE YOU.

I'M SORRY.

HEY, HEY.

I'M NOT GOING TO

LET YOU DIE AGAIN.

HI.

HI.

YOU KNOW, I'M USUALLY

NOT THIS TYPE OF GUY.

I'M SUPPOSED TO

SAY THAT.

WHAT TIME IS IT?

OH, MY GOD.

IT'S 12:
00.

WE'VE GOT TO

DO SOMETHING.

THERE'S NO TIME.

QUICK. TELL ME WHA YOUR FAVORITE COLOR IS.

WHAT?

WHAT'S YOUR

FAVORITE COLOR?

GREEN.

FAVORITE FOOD.

SMOKED OYSTERS.

FAVORITE NUMBER.

FAVORITE MUSIC.

THAT'S HARD.

TELL ME.

WHAT IS IT?

THE CARPENTERS.

THE CARPENTERS.

YOU GOT TO BE KIDDING.

[THUNDER]

LISA...I LOVE YOU.

[BEEP BEEP]

THE TIME IS 7:
35.

PLEASE WAKE UP.

[CLICK]

WITH DENK.

LIGHTS CIGARETTE.

[TELEPHONE RINGS]

THROUGH LISA'S OFFICE.

MOM, I'LL CALL YOU BACK.

THE DAY'S REPEATING.

BEEPER GOES OFF.

YOU'RE PATHETIC. THAT'S

NOT HOW YOU THROW THE BALL.

WHAT'S WRONG WITH YOU?

[TIRES SCREECH]

WELL, LOOK WHO

DECIDED TO SHOW UP.

DON'T GET YOUR

PANTIES IN A BUNCH.

IF YOU LEFT US ALONE,

THE WORK COULD GET DONE,

BUT YOU'RE SO INVASIVE

THAT NO ONE CAN CONCENTRATE.

STOP ASSUMING:

WE'RE ALL IDIOTS

AND DON'T JUDGE PEOPLE

BY HOW CUTE THEY ARE.

WELL...

THIS IS WHAT I GET FOR COVERING

FOR YOU ALL THESE YEARS.

THANK YOU.

IT MIGHT BE TIME TO LOOK

INTO YOUR PERFORMANCE RECORD.

YOU DO THAT.

WELL, NICE KNOWING YOU,

BARRY.

EXCUSE ME. BARRY.

LISA.

I'M A LITTLE CONFUSED.

HOW DO YOU KNOW ME?

I KNOW YOU LIKE I COMPACT WITHOUT THE CRAP,

SO HERE WE GO.

IT'LL SOUND IMPOSSIBLE, BU I'LL SUPPORT IT WITH FACTS.

THE TIME BOUNCE:

HAS HAPPENED.

WE'VE MET BEFORE--

THREE TIMES.

YOUR FAVORITE FOOD

IS OYSTERS.

YOUR FAVORITE NUMBER

IS 37.1.

YOUR FAVORITE MUSIC

IS THE CARPENTERS,

EVEN THOUGH YOU:

COULD DO BETTER.

DENK HAS BEEN ILLEGALLY

FIRING THE ACCELERATOR.

YOU'LL TRANSFER THA PROOF ONTO A COMPUTER DISK.

HERE'S WHERE IT GETS

A LITTLE STICKY.

I'VE SEEN YOU SHOT,

TWICE NOW.

BUT YESTERDAY:

I WAS ABLE TO SAVE YOU.

BUT THE TIME BOUNCE HAPPENS, AND

I WIND UP HERE, MEMORY INTACT.

I'M THE ONLY ONE WHO

REMEMBERS ANYTHING AROUND HERE.

I MADE YOU A TIME MAP.

SIT BACK AND WATCH

THE DAY UNFOLD.

IT'S 9:
15 NOW.

LISA?

THADIUS.

BARRY THOMAS?

YES. I'VE GOTTEN

YOUR MEMOS.

YOU, TOO, LISA. ARE WE

ALL LOSING ASSISTANTS?

ACTUALLY, I--

YOU'RE TWO ASSISTANTS

ARE BACK ON THE COMPUTER.

THEY'LL HAVE THEIR PASSES

BACK BY LUNCHTIME.

DR. FREDERICKS EXPLAINED

THE WHOLE THING TO ME.

I APPRECIATE THAT,

LISA.

DR. MOXLEY, YOU

LOOK GREAT ON TV.

ANN, DR. MOXLEY'S

A VERY BUSY MAN.

HE DOESN'T HAVE THE TIME

TO LISTEN TO YOU SUCK UP.

IT'S SAD.

IF YOU EVER HAVE A PROBLEM,

COME TO ME PERSONALLY,

NOT TO MY:

LOW-LEVEL STAFF.

EVERYTHING SEEMS TO BE

UNDER CONTROL.

THANK YOU, LISA.

I'LL SEE YOU AT THE 9:30.

GOOD DAY.

GOOD DAY.

HOWARD!

LOOK. OVER THERE.

SEE THAT? HE'S ABOU TO LIGHT HIS CIGARETTE.

HE'S MET YOU IN THE HALLWAY

THESE PAST MORNINGS.

TODAY HE CAN'T BECAUSE

YOU'RE HERE WITH ME.

KEEP DENK FROM FINDING OU ABOUT THE COMPUTER DISK.

TODAY I'LL TAKE

ALL THE INFORMATION.

I...CAN'T JUS ACCEPT THIS.

THE EPITAPH:

ON YOUR CANARY'S GRAVE

YOU MADE WHEN YOU

WERE 9 YEARS OLD

WAS ON A PAPER PLATE,

AND IT SAID,

"FLY TO HEAVEN."

[BEEP BEEP]

[BEEP BEEP]

[BEEP BEEP]

OH, MY GOD.

[TELEPHONE RINGS]

PERSONNEL.

OH, YES, SIR.

WHY, YES, THEY ARE.

EXCUSE ME?

O.K.

I DON'T THINK SO.

YOU TRUST ME.

YOU MAY NO REALIZE IT YET,

BUT YOU TRUST ME.

NOW, LET'S MEET OUT BY THE

Rate this script:0.0 / 0 votes

Richard Lupoff

All Richard Lupoff scripts | Richard Lupoff Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "12:01" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/12:01_1537>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    12:01

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "POV" stand for in screenwriting?
    A Power of Vision
    B Point of View
    C Plan of Victory
    D Plot Over View