Synopsis: Guy with amnesia wakes up on a train. The train may or may not be a target in a terrorist attack. Sci-fi.
About: Source Code is very much like the Denzel Washington vehicle “Deja-Vu”. But, you know, actually good.
Writer: Ben Ripley

Wow. Wow wow wow wow wow. I absolutely freaking LOVED this script. Loved it x a million. I’m a sucker for sci-fi. But sci-fi that makes you *feel*? I’m so down.

Source Code is about a guy who wakes up on a train, having no memory or idea how he got there. He stumbles around, observes the other passengers, trying to find something, anything, to remind him why he’s here. And then…the train BLOWS UP. Our main character is dead. Boom. Welcome to Source Code.

Moments later we wake up in a strange lab only to realize that, a la Deja Vu (a way inferior movie), our main character is actually being sent back in time digitally 3 hours prior to find out who blew up the train. Before he can process this, he’s sent back again, to the exact same moment where the movie started. He has 17 minutes to find out who’s responsible before the train blows up again. Confused and disoriented he starts to study the passengers one more time. Which ones look suspicious, which ones look innocent, all the while trying to figure out what the hell he’s doing on this train. 17 minutes later – BOOM! The train blows up. Time to start over again.

Obviously, we’ve seen this structure before in movies like Vantage Point and Run Lola Run. You know, where you keep going back to the beginning of the same experience. I’ve come to dislike this structure and here’s why: The story’s never moving forward. You’re stuck in neutral. I tolerated it with Run Lola Run because it was a visual experience. And even though Vantage Point introduces you to a new character every time we back up, it still feels like we’re going nowhere. I remember the groans from the audience the third, fourth, and fifth time we went backwards in that movie.

But Source Code never gets old. There are a couple of key devices the writer uses to keep us interested. First, he creates an extremely likable female character. She sits across from the seat our hero is always warped into. And so amidst all this terrorism chaos, you’re intrigued by their relationship. Each time, he learns a little bit more about her. And the more we learn about her, the more we like her. It gets to the point where he actually reveals to her what’s going on. She, of course, thinks he’s crazy (wouldn’t you?). But because of the incremental information he gains each time through, he’s eventually able to convince her. And yet each time, she dies, so when he goes back in again, he has to start all over again. A “serious” take on the Groundhog Day premise. And because you know that this moment doesn’t exist anymore, that she’s already dead no matter what he does, it becomes this tragic love story. How can he save someone who’s already dead? His orders are to look for evidence so they can stop the terrorists. But all he wants to do is save this girl. To save everyone on this doomed train. He simply refuses to accept that he can’t do anything.

The second thing the writer does that Deja Vu did NOT do (a great screenwriting tip to keep in mind), is create a story outside the virtual train ride whereby the terrorists who struck the train (that morning) promised to strike 3 more times throughout New York that day. Which puts an amazing amount of pressure on our protag to find out who did this so they can prevent the subsequent terrorist attacks from happening. This works great. I thought about the movie had this device not been used and realized it wouldn’t have been nearly as exciting (if at all).

I can’t stress how perfectly executed this script was. No scene was wasted. Everything was go go go. I have no doubt that the similarities to Deja Vu have thrown the chances of this thing ever getting into production into jeopardy. But let me make a plea to whoever owns this property: MAKE THIS MOVIE. Cast an up and coming actor. There are only a few locations. Very cheap to make. Then spend a ton on marketing. It will open with 10 mil but word of mouth will carry it. This can be a sci-fi classic.

[ ] trash
[ ] barely kept my interest
[ ] worth the read
[ ] impressive
[x] genius

What I learned from Source Code: Increase the tension and stakes of your action script by adding an impending “time bomb” (in this case three potentially devastating terrorist attacks). The critical difference between what made Deja Vu stupid, and Source Code awesome.

  • http://openid.aol.com/ThrashTilDeath3 ThrashTilDeath3

    Loved this read. I feel that it’s just one rewrite away from being great. Several things must be addressed first. I had a problem with the arbitrary 17 minute thing. A single line explaining it a little would ground the ability in reality a bit more and make it believable. I also didn’t understand how one second of real-time equals 17 minutes of “source code” time. I just had no idea what the rules of this world were and it called attention to itself because there was no exposition about it.

    -Ryan

  • Anonymous

    This came very highly recommended to me a year or two ago. The guy who suggested it said it was one of the best scripts he’d ever covered.

    I like it well enough and I think it’s very impressive from a craft standpoint, but I didn’t get the ZOMG! experience from it. If it ever gets made, I suspect it will be kind of a cult classic like Memento, but not a major hit. Its strengths are also its weaknesses: it’s complex and unfamiliar (not to mention utterly ridiculous from a hard science standpoint).

    Good script. If I were a studio head I’m not sure that I’d greenlight it though.

  • http://www.blogger.com/profile/16513109522731313470 Actionman

    sounds interesting

    but I really liked Deja Vu

  • http://www.blogger.com/profile/08439555051697115476 Carson Reeves

    Yes, Anon, I think you make it for 20-30 million then spend the money on the marketing. 90% of the movie is two locations.

  • http://www.blogger.com/profile/13593976245341180685 Cash Bailey

    The link isn’t working.

    Has this been taken down?

  • Anonymous

    What a GREAT script! Really one of the most impressive I’ve read so far.
    I’m glad I discovered it.
    And this is MUCH better than dejavu if you ask me.

    It grabs you from page one….and NEVER gets uninteresting.
    I can’t belive this hasn’t been made into a movie yet.

    As you said, you only need a few locations and some CGI-effects.

    By the way….am I wrong or did Colter/the writer confused the names at page 81?

  • Anonymous

    This script is amazingly tight and paced like a fast drum. My feeling, it may actually be Terminator-range (the first one)—a story that elevates the genre. I found myself reading and re-reading the thing, amazed that the adrenaline charge was still there after the fifth time. And the theme of a man with nothing to gain who does the right thing is well-executed… affecting in a way that’s almost elemental.

  • Anonymous

    I quite liked it.

    *** POSSIBLE SPOILERS AHEAD ***

    Doubts arise about the Source Code – Real World connections.
    Doubts arise about the “little things” that could slip from the Source Code and change the Real World.
    Another doubt rises about the permanence of the images in Colter’s dead brain — or in his perception of the afterlife.
    It also reminds me too much of “Groudhog Day.”

    And obviously, Carson’s a romantic sap.
    [No offence meant of course.]

    M.

  • Grant

    I really liked this script.

    One thing I did not get a feel for was an imminent deadline. It felt like he could just keep going back, with just a vague threat out there somewhere.

    Maybe on one trip back, he could be told that if he doesn’t find the answer this time a bomb will go off. Have him fail, and an attack occurs to up the ante.

    Other than that nitpick, I liked it quite a bit.

  • http://www.tanglewoodfilms.com Dave

    Liked it…didn’t love it. Smacked of 12 Monkeys and Memento–felt too familiar in that regard.

    Also, I had a big problem buying Rutledge’s switch to “asshole” at the end. Seemed unmotivated, from out of nowhere and that character shift was a major catalyst for the finale.

  • Anonymous

    Wowowowowowowow

    I’ve been putting off reading this for a while, but holy crap this was friggin good. I *like* scifi but I don’t *love* scifi, but this was just fantastic. It doesn’t have any of that extremely bizarre scifi crap (like brain juice). They’d probably have to get a big name to play Colter for the masses to be interested though.

    -Newton

  • Anonymous

    For the first 30 pages, I thought this was just okay, nice opening, but nothing special: a mish-mash of numerous films – DEJA VU, RUN LOLA RUN, MEMENTO, ETC, ETC…; Although it got better as it went on and did keep me reading, it did start to get a little tiresome. Some of the ‘twists’ were a little obvious, a little JACOBS’S LADDER.

    It should make a fun blockbuster, but it’s filled with exposition, characters telling everything, having to explain everything (that really makes no sense), that it gets a little muddled at times; and lets be honest, it is very silly in concept (and very similar to Deja Vu) which will prevent it from ever being a great film.

    It’s the kind of high-concept film that will be fun to watch, and better than much of the usual trash released during the holiday period, but still forgotten in a few days post viewing.

  • Matt Becker

    Any news? I checked it out on imdb, it’s still slated for 09 but apparently they’re miles away. It’s not even in pre-production as of now.

    What the hell are they waiting for? Given the budget this flick wouldn’t be a gamble at all, plus now’s the time sci-fi is making a big comeback, be it the intelligent/interesting (District 9, Knowing, Moon) or the popcorn kind (Star Trek, Transformer 2). There are lots of flicks in production right now, why the eff do they keep Source Code from happening?

  • Anonymous

    I haven’t read too many spec scripts, maybe 80 or so. But this is the best one I’ve ever read. Wow.

  • Anonymous

    Great beginning. Great ending. Mushy middle. I’ve certainly read better.

  • Anonymous

    This needs to be re-uploaded, I think; it’s not working for me.

  • Anonymous

    Never mind the previous comment. I got it to work.

  • Anonymous

    News that this is being made with Jake Gyllenhaal to star and Duncan Jones of Moon to direct. Has potential.

  • Chris

    Is there link to download this script?

  • http://www.blogger.com/profile/16049356544057046007 aldentre

    Robert Downey Jr. absolutely must play Rutledge. No other options. Done.

  • http://storyfanatic.com Jim

    OK – I know I’m late to the game on this, but that was a fantastic screenplay! Told myself I was only going to read the first 10 pages or so and found myself riveted to my chair for the next 50.

    While I recognize some of the similarities with regards to the subject matter (Groundhog Day, Deja Vu, that one X-files episode with the bank), I still felt that it pushed those thematic elements into an entirely new realm and gave us some fun sci/fi elements those other films didn’t have.

    Spoiler alert – Goodwin’s change seems to come out of nowhere for me. Structurally it’s the right thing to happen, but his growth to that point seems a bit underdeveloped. Skimming back over the 2nd act I can see where it came from and why it happened, but it seemed a little light to me. Perhaps this could be developed more?

    Regardless, this is one engaging story. Strangely enough I found myself slowing down while reading the last 8 pages or so, I didn’t want to miss a beat.

    Loved it and I’m totally inspired to write now – thanks!

  • Anonymous

    eh.

  • Anonymous

    The promise to “strike three more times” is vague at best. One jihadi video does not make for great “ticking bomb” escalation.

    That’s the problem with doing the “trapped in one location” thing. You don’t get a feel for ratcheting suspense when your main character is continually being told things, rather than experiencing them for himself.

    As part of my job, I read lots of scripts that are being produced. This one is filled with “un-filmable” bits like describing what’s going on inside a character’s head. The audience doesn’t get to read the script, so they’ll never know that it’s strange in that opening moment for Colter (geez, look at my “hero” name) to see someone else’s face in the mirror instead of his own.

    This will always be a better *read* than a movie.

  • http://www.blogger.com/profile/05408214011758642852 Dan

    **Spoilers**

    What I liked the best wasn’t the ticking time-bomb scenario (which is pretty cliched by now), but the mid-script revelation that our hero is basically a brain in a jar. At first I thought it was unnecessary and distracting because it complicated the hero’s quest to figure out the bomber’s identity. But as I kept reading, the implications raised by the plot twist began to sink in, and the writer did a good job at tapping into existential questions about control, free will and medical ethics. What started out as a fun little sci-fi exercise became unexpectedly moving and profound. I’m not surprised that the script is being adapted by Duncan Jones, since his previous movie MOON showed a similarly philosophical approach to sci-fi.

    In the end, the script didn’t remind me of DEJA VU so much as 12 MONKEYS (and its predecessor LA JETEE) and IDENTITY, given the futility and hopelessness of the main character’s plight. I also picked up similarities with the Twilight Zone episode where an astronaut hallucinates being stranded in an abandoned town after losing his mind during a sensory-deprivation experiment.

  • http://www.blogger.com/profile/11757063230894749531 Mark

    Did noone else think the ending was terrible?

  • 650, bro

    i thought the ending was bad. it was just sooo….i dont know. the whole script felt like a squandered opportunity. personally, i didn’t feel the ticking clock at all, given he seemed like he went into the source code (btw, why the fuck is it called the source code? it sounds like a shitty matrix rip-off like “transmorphers” or “snakes on a train”) like 7 thousand times. and no buildings/bridges blew up. plus rutledge had a total douche-ex-machina turn and goodwins was the same but the opposite way. came out of NOWHERE! not that it was a bad script, but i dont get the collective hard-on for it. plus, vera farmiga is gonna play goodwin? whathafuuuuuckk?!?!

  • http://ferreson.livejournal.com/ ferreson

    I read some cast news about this movie that can only be good news for the production. With Jake Gyllenhaal in the lead role its sure to get the attention and funding that it needs to make it awesome. As well, Michelle Monaghan and Vera Farmiga are great supporting actresses that will boost the credibility of the film. Especially since Farmiga will be riding the wave of the Up In The Air buzz. But to top it all off, the news that has me the most thrilled is that Duncan Jones will be directing. I thought Moon was INCREDIBLE and it seems like there couldn’t be a more perfect follow up for him than this movie. I can only imagine he will rock this out. I’m totally excited about this now.

  • Anonymous

    Wasn’t crazy about the happy romantic ending. I know it’s cold but I would’ve preffered Colter to have just died (In Christina’s world). Also how are we meant to care about Colter’s freedom and life when a happy ending is Colter “replacing” Sean Fentress. To me it just seemed hyprocritical. Good story but I just thought it was a poor ending.

  • http://www.blogger.com/profile/07072207270351473911 fred

    Hey Carson,

    First off, great site! I just discovered it a couple of days ago, and I’ve been reading some (great) scripts since. :) Thanks for all your great work!

    About this script, I really liked it, but I agree with some of the previous comments : the ending sucked, it was your usual Hollywood happy/crappy ending. I hope they change that, and here is my attempt at changing things:

    - Page 51: change the answer to “did she die, too?” from “Yes. This drivers license photo was found with her body. We’re creating a database…” to “Yes. Her body still hasn’t been officially identified, but it fits [your description], and this drivers license photo was found next to it, as was her phone. We’re creating a database…”

    - Then change the ending completely. For his last trip, COLTER should talk to CHRISTINA, maybe get her to call STEPHANIE again, only this time he would get to talk to her. Also, he should get to held her bag somehow. Then it should move into a scene that would “mimic” one that took place earlier, after he had called STEPHANIE. When he got off the train, and was looking for CHRISTINA, only to finally see her, still on the train, on the phone with STEPHANIE.

    Do the same thing, only in reverse, as in this time she’s off the train, and he’s on it. Again, they lock into each other’s eyes and stare for as long as they can, but if she looks pretty pissed by this situation, and even though he knows he’s heading for one last (final) explosion (/death), he’s happy. He’s looking at her, and she’s finally off the train, she’s safe, and he smiles.

    Then he hangs up and puts the phone back into her bag, as he’s still carrying it. This could be when he sees, inside the bag or as wallpaper of the phone or something, that famous picture of a bicycle that’s been haunting him. Surprised, maybe he looks up and sees CHRISTINA, far away, in a beam of light (instead of a tunnel).

    The train explodes, but after the initial detonation noise we soon only hear a monotone beeping, as COLTER, or whatever was left of him, died back in the lab. We see the flat line, maybe keep the same scene as in this script, only without sound. Fade back and forth between this and the explosion, but all we hear is the flat line monotone beep. Dissolve to white. The End.

    I feel that would be a much better ending. You can’t have him save everyone/prevent the explosion, that’s silly. And it makes no sense that, even in a “parallel” world (inside the source code) he could keep on living after the 17 minutes, and after he died in the “real” world.

    That way, he does die, and he doesn’t prevent the explosion. All he did was a phone call basically, one only leading to one small change : CHRISTINA is off the train. And who knows, maybe it stuck, maybe he did save the girl in the end, for real. We leave it open. It was a small change, the dead body was never really identified, and COLTER (SEAN) was on the train, with her phone, and with her bag (and, so, with her drivers license). That’s as much a happy ending as it should go.

    What do you think?

  • Anonymous

    Not bad. But if this is one of your most favorite scripts… i don’t know, i rather felt like “meh”. Coming from the writer of “Species III” this script is anything but perfect. A a huge amount of suspension of disbelief is needed here. And as per usual most of the “science” didn’t make a lot of sense. There’s time travel but also parallel worlds and also simulation. The whole name “source code” is ridiculous, often times it felt like the writer just picked some technical programmers jargon. At one point, the whole world around Colter turns into a “big array of pixels” (because that’s just like brains operate i guess) and lines of source code floating around. The characters are not really believable too. Then there’s the ridiculous, tired cliche of “something slipping trough the real world” and the uncomfortable happy ending. Am i supposed to feel happy that Colter hijacked some poor dudes body in a parallel world to live? That’s like rape. Or maybe i misunderstood the concept of the Source Code but then again it is rather confusing. And not in the good way.

  • Anonymous

    I liked the script but would also have liked some scenes be improved.

    1) Christinas out of charachter call to her reporter friend. He is just a weirdo on the train, the last thing she wants is to introduce him to her friends. I thought bullshit when i read that. To introduce a whole new charachter just to find out Colter is dead seems cheap. Why not just have the father on the phone “He is dead you sicko” (or have the father call back later raving mad, instead of that reporter calling back to connect with the bomb blowing up in Colters face scene.)

    2) At the end there are lots of scenes where Colter is not involved. The source code military guys getting into a fight, changing keycodes etc.. It just distracts from the Colter story and feels like dumb action. Why not just cut it short and have the nice source code guy stay late and turn off the life support machine when he goes home?

    3) At one point Colter tells the source code guys to just go on an wipe his memory, instead of killing him. Like he dosnt care. He should instead explain why death is better than being stuck in the machine.. He never explained. Infact he seems to be more than happy to play around in the source code with his girl.

    4) The 911 call that saves the day and gets the police there in force to arrest the terrorist. Id rather seen Colter throw the guy on the tracks.

    5) Memory wipe angle was not really needed. It just muddied the plot. There was enough of a conflict between prefering death to being stuck in that machine forever. Also memories are physical things in the brain. His memories wouldnt be wiped by messing with the computer that fed the simulation to his eyes, ears, etc..

    On the whole though i enjoyed the script.

  • Anonymous

    I liked it but agree with others that it’s nearly the same plot and time travel scenario as 12 Monkeys – sending some poor sod back in time repeatedly to investigate and prevent a catastrophe.

    If it were made into a movie, expanding on the medical ethics bit would help and I agree the ending is too much of a hero saves NY, gets the girl, “happily ever after” wrap-up.

  • Anonymous

    stop saying its like 12 monkeys. its more like LA JETEE (1962) which 12 monkeys is based on.

  • Anonymous

    Is now being filmed with Jake Gyllenhaal ;-)

  • http://www.blogger.com/profile/10458959318731675638 KMAC

    Wow – finally got around to reading it, and really enjoyed it. No surprise it’s in production with A-list talent.

    Say what you want about the illogicalities of the science, but that’s what scienceFICTION is. I didn’t stumble on any of it, like any movie I go in wanting to suspend disbelief and pedantry and it was easy with this script.

    A good indication of how well it moved was when I got to the first mention of ‘Source Code’ in the script – out of interest I checked to see what page I was on and was shocked to see it was 47. Shocked insofaras it felt like I’d been locked onto my computer screen for fifteen, such was the pace of the writing and story.

    I like the ending too. I understand a few people saying it’s hypocritical and ‘rape’, even, to have stolen Fentress’ body – but I see that as easily explained: the ‘glitch’, as it were, that allowed Colter to appear in this new, parallel environment also allowed and redesignated Fenstress to continue his life elsewhere. I don’t see him as dead, quite the opposite – just continuing on, unaware, saved.

    Could write a million things more, but will just say that the writer also had a beautiful command of prose. With such a great premise, he could have been lazy and phoned it in, but didn’t. Reading his description was as visual as it was enjoyable, so hats off:

    ‘Nearby TREES INCINERATE, mere matchsticks
    amid sheets of flames.’

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  • Anonymous

    @ fred:

    “I feel that would be a much better ending.”

    No, it won’t.

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  • Anonymous

    To the ‘reader’ that complained that the thoughts inside the character’s head are ‘unfilmable’, you should stop reading Syd Field books. It’s the director’s job to visualize internal conflicts & emotions. I want the writer to tell me a compelling story, not to be crippled by hack rules made up by people who can’t write.

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  • Darwin

    This script is overrated. 63 people killed in one night by 3 men?! That’s just silly. The worst part is that there isn’t any character development, nor a story arc. This script has the same depth as an episode of Tales from the Crypt. This thinly veiled torture porn attempts (but fails) to masquerade itself as some sort of existential/mortality tale. In the end, I didn’t care about any of the two dimensional characters or their childish motives.

  • Darwin

    Ignore the review above, I didn’t realize this review was for Source Code.

  • Leroy

    I’m super late to the party and would love to read the source code script. Any place I can find it?

  • Leroy

    Finally the link works again. Killer script! Nothing is ever perfect, you can’t please everyone, and the Director can always work out final details to his liking.

    I couldn’t stop reading it, had to finish in one sitting. Fantastic story and writing in my opinion.

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  • Anonymous

    Ummmmmm… Has anyone played ‘Assassin’s Creed’? I have to admit that the plot is reminiscent of the game’s… Oh well, nothing in Hollywood is ever that original anymore!

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    I’m really and can’t seem to find a link for Source Code with the Billy Ray re-write. Anyone who can help???

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  • Anonymous
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    SPOILER!

    Near the end, is Goodwin trying to “nudge” Colter into disappearing into the parallel world?

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    Great review – like your writing style. Deja Vue was not good – this sounds much better though. Enjoyed your Facebook movie review but too late to comment there.

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  • Anonymous

    A great thing I learned about screenwriting from this script was that using the character of christine he gave a face to all the innocent people who lost their lives on the train. I cared about christine and in turn did not want the train to blow. I love the fact that she was a girl who regrets not fulfilling her dreams. As a reader I know the outcome and know that she never gets to fulfill her dream. It made it tragic and made me wish that our protag would change their fate. Made me root for him more

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