diff --git "a/12_monkeys.txt" "b/12_monkeys.txt" new file mode 100644--- /dev/null +++ "b/12_monkeys.txt" @@ -0,0 +1,7084 @@ + TWELVE MONKEYS + + An original screenplay by + + David Peoples + & + Janet Peoples + + Inspired by + + LA JETEE, a Chris Marker Film + + + + + + Production Draft + June 27, 1994 + + + + + + + + + FADE IN: + + INT. CONCOURSE/AIRPORT TERMINAL - BAY + + 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. + + 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. + + 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. + + TTTLES END + + INT. FIRST UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT + + 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. + + 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. + + 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 + 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 + 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. + + INT. ART GALLERY - NIGHT + + A strikingly "real" world of bright colors. Extravagant paintings + adorn the walls. A POET, tiny and ruddy faced, squints over his + glasses as he reads in a booming voice to an AUDIENCE of thirty + seated on folding chairs. + + POET + Still among the myriad microwaves, the + infra-red messages, the gigabytes of ones + and zeroes, we find words, infinitesimally + small, byte-sized now, tinier even than + science lurking in some vague electricity + where, if we listen we can hear the solitary + voice of that poet telling us, + "We are no other than a moving row + Of Magic shadow-shapes that come and go + Round with the Sun-illumined Lantern hold + In Midnight by the Master of the show." + + As the POET reads, we STUDY the audience, mostly YUPPIE CULTURE + JUNKIES or BOHEMIANS. Among them, a light-haired woman of twenty- + eight, soberly dressed, wearing glasses. She's KATHRYN RAILLY. +And + it's her beeper that suddenly BEEPS. BEEP! BEEP! + + POET'S VOICE (o.s.) + "The Moving Finger writes; and, having writ, + Moves on: nor all your Piety nor Wit + Shall lure it back to cancel half a Line, + Nor all your Tears wash out a Word of it." + + BEEP! BEEP! Scowling at the outrageous interruption, the POET + looks up from the text just as RAILLY, tumbling, shuts off the + beeper and rises, embarrassed. As she makes her way to an exit, + the glaring POET continues... + + POET + "Yesterday This Day's Madness did prepare; + Tomorrow's Silence, Triumph or Despair: + Drink! for you know not whence you came, nor why: + Drink! for you know not why you go, nor where." + + INT. CORRIDOR/POLICE STATION - NIGHT + + DETECTIVE FRANKI leads RAILLY past crowded holding cells. + + FRANKI + -- so they get there and they ask the guy + real nice for some kind of i.d., and he gets + agitated, starts screaming about viruses. + Totally irrational, totally disoriented, + doesn't know where he is, what day it is, + alla that stuff. All they got was his + name. They figure he's stoned out of + his mind, it's some kinda psychotic + episode, so they're gonna bring him... + + RAILLY + He's been tested for drugs? + + FRANKI + Negative for drugs. But he took on + five cops like he was dusted to the + eyeballs. No drugs. You believe that? + + FRANKI pauses, indicating a tiny observation window of thick +meshed + glass in an otherwise solid door, and RAILLY looks through it. + + RAILLY'S POV THROUGH THE WINDOW: a MAN, his back to her, in + strait-jacket and prison denims, examining the wall of the padded + cell with the distorted intensity of a "mental case". + + RAILLY + You have him in restraints. + + FRANKI + Were you listening? We got two officers in + the hospital. Yeah, he's in restraints, plus + the medic gave him enough stellazine to kill + a horse. Look at him! Still on his feet. + + RAILLY'S POV THROUGH THE WINDOW: the MAN in the cell turns, looks + right at her. In spite of the cuts and welts, it's clearly COLE. + + RAILLY + That would explain the bruises, I + guess. The struggle. + + FRANKI + You want to go in? Examine him? + + RAILLY + Yes, please. You said he gave a name... + + FRANKI + (unlocking the door) + James Cole. That's everything we got. None + of the James Coles on the computer match him. + No license, no prints, no warrants. Nothing. + You want me to go in with you? + + RAILLY + (entering) + No, thank you. + + FRANKI + I'll be right here...just in case. + + INT. ISOLATION CELL + + COLE stares at RAILLY. The environment is intensely real...vivid + colors...each sound, however slight, very distinct, almost loud... + and yet she appears to him almost like a vision. + + RAILLY + Mr. Cole? My name is Doctor Railly. + I'm a psychiatrist. I work for the + County -- I don't work for the police. + My only concern is your well being -- + do you understand that? + + COLE + I need to go now. + + RAILLY + I'm going to be completely honest. I'm + not going to lie to you. I can't make + the police let you go...but I do want + to help you. And I want you to trust + me. Can you do that, James? May I + call you "James"? + + COLE + "James"! Nobody ever calls me that. + + RAILLY + (frowns, studies him) + Have you been a patient at County? + Have I seen you someplace? + + COLE + No, not possible. Listen, I have to + get out of here. I'm supposed to be + getting information. + + RAILLY + What kind of information? + + COLE + It won't help you. You can't do anything + about it. You can't change anything. + + RAILLY + Change what? + + COLE + I need to go. + + RAILLY + Do you know why you're here, James. + + COLE + Because I'm a good observer. Because I + have a tough mind. + + RAILLY + I see. You don't remember assaulting a + police officer...several officers? + + COLE + They wanted identification. I don't have + any identification. I wasn't trying to + hurt them. + + RAILLY + You don't have a driver's license, + James? Or a Social Security card? + + COLE + No. + + RAILLY + Why not? Most people have some ID. + + COLE + You wouldn't understand. + + RAILLY + You've been in an institution, haven't + you, James? A hospital? + + COLE + I have to go. + + RAILLY + A jail? Prison? + + COLE + Underground. + + RAILLY + Hiding? + + COLE + I love this air. This is wonderful air. + + RAILLY + What's wonderful about the air, James? + + COLE + It's so clean. No germs. + + RAILLY + You're afraid of germs? + + COLE + I have to go. + + RAILLY + Why do you think there aren't any germs + in the air, James? + + COLE + This is April, right? + + RAILLY + July. + + COLE + (sudden panic) + July?! + + RAILLY + Do you know what year it is? + + COLE + What year is it? + + RAILLY + What year do you think it is? + + COLE + 1995? + + RAILLY + You think it's July of 1995? That's + the future, James. Do you think you're + living in the future? + + COLE + (slightly confused) + No, 1995 is the past. + + RAILLY + 1995 is the future, James. This is 1989. + + COLE looks stunned. + + INT. POLICE STATION CORRIDOR - MORNING + + COLE, bound tightly by the strait-jacket, heavy manacles on his + ankles, is being escorted down the corridor by two surly +POLICEMEN. + + COLE + Where are you taking me? + + POLICEMAN #1 + South of France, buddy. Fancy hotel. + You're gonna love it. + + COLE + South of France?! I don't want to go + to the South of France. I want to make + a telephone call. + + POLICEMAN #2 smirks as he unlocks a heavy steel door. + + POLICEMAN #2 + Zip it, scumbag -- you fooled the shrink + with your act, but you don't fool us. + + Then, POLICEMAN #2 swings the steel door open and sunlight + overwhelms COLE, blinding him in a dazzling fury of white light. + + EXT. CITY STREET/MINI-VAN - DAY + + A Mini-van, the kind of vehicle used to transport a half dozen + prisoners, crawls through a busy street. The Police Department + logo is prominent on the side of the van beneath barred windows. + + INT. COUNTY HOSPITAL/SHOWERS - AN HOUR LATER (MORNING) + + Fierce spray recalls the decontamination in the future. COLE + stands stark naked under the shower while two muscular attendants, + PALMER and BILLINGS, supervise. + + As PALMER shuts off the water, BILLINGS hands COLE a towel and + starts inspecting his scalp... + + BILLINGS + Lemme see your head, Jimbo, see if you + got any creepy crawlies. + + COLE + I need to make a telephone call. + + BILLINGS + (pulling Cole's head) + Gotta work that out with a doctor, Jimbo. + Can't make no calls 'til the doctor says. + + COLE + It's very important. + + BILLINGS + What chew gotta do, Jimbo, is take it + easy, relax into things. We all gonna + get along fine if you just relax. + + COLE gets the hint of menace in the message and submits to the + lice inspection, only his eyes revealing his frustration. + + INT. HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY) + + COLE stands in the doorway, stunned by his first sight of the + large room. His eyes go to the heavily-grilled windows where + light pours in from outside. Then, to the TV, where a CARTOON + COMMERCIAL makes raucous noises. + + PATIENTS, in K-Mart street clothes or ratty robes, stare gloomily + at the TV, or play cards, pace, or just stare blankly. + + BILLINGS is at COLE'S side, beckoning to a patient, JEFFREY MASON, + a twenty year old white youth dressed in khakis and a plaid shirt. + + BILLINGS + Jeffrey. Yo! Jeffrey. This here is James. + Whyncha show James around? Tell him the TV + rules, show him the games an' stuff, okay? + + JEFFREY + (with a sly look) + How much you gonna pay me? Huh? I'd + be doing your job. + + BILLINGS + Five thousand dollars, my man. That + enough? I'll wire it to your account + as usual, okay? + + JEFFREY + Okay, Billings. Five thousand. That's + enough. Five thousand dollars. I'll + give him the Deluxe Mental Hospital Tour. + + As BILLINGS walks away chuckling, JEFFREY turns to COLE. + + JEFFREY + Kid around, kid around. It makes them feel + good, we're all pals. We're prisoners, they're + the guards, but it's all in good fun, you see? + + COLE nods and JEFFREY indicates card tables where PATIENTS are + playing cards, checkers, chess, or working on jig saw puzzles. + + JEFFREY + Here's the games. Games vegitize you. + If you play the games, you're + voluntarily taking a tranquilizer. + + COLE sees a partially completed puzzle of the well-known painting, + THE PEACEABLE KINGDOM, depicting a serene world of animals in +harmony. + + JEFFREY + What'd they give you? Thorazine? How + much? Learn your drugs -- know your doses. + + COLE + I need to make a telephone call. + + JEFFREY + A telephone call? That's communication + with the outside world! Doctor's + discretion. Hey, if alla these nuts + could just make phone calls, it could + spread. Insanity oozing through telephone + cables, oozing into the ears of all those + poor sane people, infecting them! Whackos + everywhere! A plague of madness. + (suddenly sly and confidential) + In fact, very few of us here are actually + mentally ill. I'm not saying you're + not mentally ill, for all I know you're + crazy as a loon. But that's not why + you're here. Why you're here is because + of the system, because of the economy. + (indicating the TV) + There's the TV. It's all right there. + Commercials. We are not productive + anymore, they don't need us to make + things anymore, it's all automated. What + are we for then? We're consumers. Okay, + buy a lot of stuff, you're a good citizen. + But if you don't buy a lot of stuff, you + know what? You're mentally ill! That's + a fact! If you don't buy things...toilet + paper, new cars, computerized blenders, + electrically operated sexual devices... + (getting hysterical) + SCREWDRIVERS WITH MINIATURE BUILT-IN + RADAR DEVICES, STEREO SYSTEMS WITH + BRAIN IMPLANTED HEADPHONES, VOICE- + ACTIVATED COMPUTERS, AND... + + A woman orderly, TERRY, turns from the feeble PATIENT she's +helping. + + TERRY + Take it easy, Jeffrey. Be calm. + + Abruptly, JEFFREY stifles his hysteria, takes a deep breath and + continues, completely calm now. But COLE isn't listening. He's + mesmerized by the TV. + + JEFFREY + So if you want to watch a particular + program, say "All My Children" or + something, you go to the Charge Nurse + and tell her what day and time the show + you want to see is on. But you have to + tell her before the show is scheduled + to be on. There was this one guy who + was always requesting shows that had already + played. He couldn't quite grasp the + idea that the Charge Nurse couldn't + just make it be yesterday for him, turn + back time ha ha. What a fruitcake!! + + This last thought actually penetrates COLE'S focus on the TV and + he turns to JEFFREY who's picking up speed again. + + JEFFREY + Seriously, more and more people are + being defined now as mentally ill. Why? + Because they're not consuming on their + own. But as patients, they becone + consumers of mental health care. And + this gives the so-called sane people work! + (hysteria again) + WHOOO! SHOCK THERAPY! GROUP THERAPY! + HALLUCINATIONS! THERAPEUTIC DRUGS! + IGGIDY DIGGIDY DIG! PERFECT! THE + SYSTEM IN HARMONY LIKE A BIG MACHINE... + + TERRY + Okay, that's it, Jeffrey, you're gonna + get a shot. I warned you... + + JEFFREY + (calming himself, smiling) + Right! Right! Carried away, heh heh. + I got "carried away". Explaining the + workings of...the institution. + + Just then, TJ WASHINGTON, a somber-looking African American in a + bathrobe, taps COLE on the shoulder. + + TJ WASHINGTON + I don't really come from outer space. + + JEFFREY + This is TJ Washington, Jim -- he + doesn't really come from outer space. + + TJ WASHINGTON + Don't mock me, my friend. + (to Cole) + It's a condition of "mental divergence". + I find myself on another planet, Ogo, + part of an intellectual elite, preparing + to subjugate barbarian hordes on Pluto. + But even though it's a totally convincing + reality in every way...I can feel, breathe, + hear...nevertheless, Ogo is actually a + construct of my psyche. I am mentally + divergent in that I am escaping certain + unnamed realities that plague my life + here. When I stop going there, I will + be well. Are you also divergent, friend? + + The P.A. SYSTEM interrupts, startling COLE. + + P.A. SYSTEM (v.o.) + James Cole. Report to Staff. James Cole! + + JEFFREY + Staff! Whoo! Time for Staff. Now the + geniuses cure you. Hallelujah! + + INT. PSYCH WARD CONFERENCE ROOM - MINUTES LATER (DAY) + + COLE is agitated, speaking forcefully. + + COLE + This is a place for crazy people! I'm + not crazy! + + RAILLY, four other PSYCHIATRIC RESIDENTS, including RAILLY'S best + friend, MARILOU MARTIN, and their chief, DR. OWEN FLETCHER, sit + around a beat-up conference table, watching COLE, who sits facing + the doctors, with BILLINGS looming behind him. (Some of the +DOCTORS + bear a strong resemblance to the SCIENTISTS OF THE FUTURE.) + + RESIDENT #1 + We don't use that term..."crazy", Mr. Cole. + + COLE + Well, you've got some real nuts in here! + Listen to me, all of you -- I have to + tell you something that's going to be + difficult for you to understand, but... + + DR. RAILLY + James...please. These are all doctors + here and we want to help you. + + DR. FLETCHER + Mr. Cole -- last night you told Dr. + Railly you thought it was... + (checking a file) + 1995. ... How about right now? Do you + know what year it is right now? + + COLE + 1989. Look, I'm not confused. There's been + a mistake, I've been sent to the wrong place. + + Suddenly, COLE reaches out and BILLINGS lunges forward, but COLE + is just grabbing a pad and pencil. + + COLE + Hey, I'm not going to hurt anybody. + + FLETCHER restrains BILLINGS with a hand signal. + + COLE + (drawing) + Do any of you know anything about the + Army of the Twelve Monkeys? They paint + this, stencil it, on buildings, all + over the place. + + COLE waves a sketch of the dancing monkey logo we saw earlier. + + DR. CASEY + Mr. Cole... + + COLE + Right. I guess you wouldn't, this is + 1989, they're probably not active yet. + That makes sense! Okay. Listen to me, + three billion people died in 1995. + Three billion, got that? Almost + the whole population. Of the world! + Only about one percent survived. + + DOCTORS exchange knowing looks. This is an old story, apparently. + + RESIDENT #2 + Are you going to save us, Mr. Cole? + + COLE + Save you? How can I save you? It + already happened! I can't save you. I'm + simply trying to get some information for + people in the present so that someday... + (sees their eyes) + You don't believe me. You think I'm + crazy. But I'm not crazy. I'm a convict, + sure, I have a quick temper, but I'm as + sane as anyone in this room. I... + + COLE stops, sees DR. FLETCHER tapping his pencil. COLE'S seen + that tapping before -- in the future! It disorients him. + + DR. RAILLY + Can you tell us the name of the prison + you've come from? + + COLE doesn't answer. He's staring at the tapping pencil. + + DR. FLETCHER + Does this bother you, Mr. Cole? + + COLE + (recovering, new tack) + No! Look, I don't belong here! What I + need to do is make a telephone call to + straighten everything out. + + DR. FLETCHER + Who would you call, Mr. Cole, who would + straighten everything out? + + COLE + Scientists. I'm supposed to report in + to them. They'll want to know they + sent me to the wrong time. + + DR. FLETCHER + So you could talk to these scientists + and they do what? Send you to the future? + + COLE + No, no. I can't talk to them. It's called, + "voice mail". I'm supposed to leave messages. + They monitor it from the present. + + RESIDENT #2 + "From the present." We're not in the + present now, Mr. Cole? + + COLE + No, no. This is the past. This has + already happened. Listen... + + RESIDENT #3 + Mr. Cole, you belong in 1995 -- that's + the present, is that it? + + COLE + No, 1995 is the past, too. Look... + + DR. FLETCHER + These scientists, Mr. Cole? Are they + doctors like ourselves? + + Two of the residents exchange quick knowing looks. + + COLE + No! I mean yes, but... Look, I've been given + a lot of drugs but I'm still perfectly lucid. + You have to let me use the phone. One call! + + COLE looks desperately toward RAILLY, pleading eyes meeting hers. + + INT. LOW RENT APARTMENT - DAY + + Four little KIDS SCREAM and SQUABBLE while the phone CHIRPS + insistently in the tiny, cluttered apartment and a harried MOTHER + lunges for the phone, answers sharply... + + MOTHER + Yes? + (listens, frowns, then) + Whaaaaat? "Voice mail"! I don't know + what you're talkin' about. ... Is this + a joke? I don't know any scientists. + James who? Never heard of you! + + The MOTHER slams down the phone. + + INT. RAILLY'S OFFICE/COUNTY HOSPITAL - DAY + + A dismayed COLE still has the receiver in his hand. +Sympathetically, + RAILLY takes it from him. + + RAILLY + It wasn't who you expected? + + COLE is clearly agitated, starts to pace, upset. Nuts? + + COLE + It was some lady. She didn't know anything. + + RAILLY + Perhaps it was a wrong number... + + COLE + No. That's the reason they chose me -- + I remember things. + + RAILLY frowns, studying the distracted man with intense interest. + It's clear COLE is becoming a special patient and RAILLY'S cool, + detached demeanor is giving way ever so slightly. + + RAILLY + James, where did you grow up? Was it + around here? Around Baltimore? + + COLE + (lost in thought) + What? + + RAILLY + I have the...strangest feeling I've met + you before...a long time ago, perhaps. + Were you ever...? + + COLE + Wait! This is only 1989! I'm supposed + to be leaving messages in 1995. It's + not the right number yet. That's the + problem. Damn! How can I contact them? + + RAILLY recovers her distance, her poise, as she takes a bottle, + pours out some tablets, and holds them out to COLE. + + RAILLY + James, take these. + (watching him step back) + Please -- I helped you like I said I + would. Now I want you to trust me. + + INT. AIRPORT CONCOURSE - DAY (THE DREAM) + + MR. PONYTAIL races past the startled YOUNG COLE. + + MR. PONYTAIL + WATCH IT! + + Was it JEFFREY wearing gaudy pants and a ponytail? It was + definitely JEFFREY'S VOICE. + + TRAVELERS dive for cover as a WOMAN'S VOICE cries out... + + WOMAN'S VOICE + NOOOOOOOOOO! + + The TERRIFIED TRAVELER looks up at YOUNG COLE, makes eye contact, +but + doesn't speak. The TERRIFIED TRAVELER looks a lot like DR. +FLETCHER! + + Just then, YOUNG COLE is distracted by a running figure. It's + the BLONDE MAN in the Hawaiian shirt, but he's not injured. He's + sprinting toward the gates, glancing back over his shoulder, his + moustache slightly askew! + + A sharp CRACK of a GUNSHOT rings out! Then, DAZZLING LIGHT. + Everything goes white! + + INT. DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT + + COLE'S eyes blink awake, blinded by a flashlight. + + He's lying in one of thirty beds in a darkened ward. Disoriented. + Which world is this? The room is full of BREATHING, SNORING, + occasional MOANS. He can barely discern the shadowy figures of + an ORDERLY and a NURSE, making their rounds, checking each bed. + + His eyes adjusting to the darkness, COLE watches them exit. + + He turns and sees a patch of moonlight coming in a barred window. + + With a quick glance at the sleeping PATIENTS, he slips out of + bed, makes his way stealthily to the window, peers out. + + COLE'S POV: the moon, glowing in the sky, illuminating a single + tree. Under the tree, in silhouette, a COUPLE embraces, kisses. + + ANGLE ON COLE, looking out the window, absorbed. + + VOICE (o.s.) + It won't work. You can't open it. + + Alarmed, COLE turns, sees JEFFREY in the next bed. + + JEFFREY + You think you can remove the grill but + you can't. It's welded. + + COLE checks the grill anyway. + + JEFFREY + See? I toldja. And all the doors are + locked, too. They're protecting the + people on the outside from us. But the + people outside are as crazy as us. + + COLE has become preoccupied with a small SPIDER creeping along + the window sill. He's staring at it when he's distracted by a + sudden SOUND. Grabbing the SPIDER, COLE scrambles back into bed + just as the door opens and an ORDERLY probes the dark room with + the blade of his flashlight. + + ANGLE ON COLE, in bed, feigning sleep. + + The flashlight clicks off and COLE hears the door close. + + For a long moment the ward is silent except for BREATHING, + SNORES, occasional MOANS. Then, COLE hears JEFFREY'S hoarse + whisper, picking up right where he left off. + + JEFFREY + You know what "crazy" is? "crazy" is + "majority rules". Take germs for example. + + Although COLE is preoccupied with the SPIDER struggling to get + out of his fist, he can't help reacting to the word, "germs"! + + COLE + Germs?! + + JEFFREY + In the 18th century there was no such + thing! Nobody'd ever imagined such a + thing -- no sane person anyway. Along + comes this doctor...Semmelweiss, I + think. He tries to convince people... + other doctors mostly...that there are + these teeny tiny invisible "bad things" + called germs that get into your body and + make you...sick! He's trying to get + doctors to wash their hands. What is + this guy...crazy? Teeny tiny invisible + whaddayou call 'em?..."germs"! + + As JEFFREY warms to his subject, getting excited, COLE tries to + figure out where to put the SPIDER. + + JEFFREY (cont.) + So cut to the 20th century! Last week + in fact, right before I got dragged + into this hellhole. I order a burger + in this fast food joint. The waiter + drops it on the floor. He picks it up, + wipes it off, hands it to me...like it + was all okay. + + No alternative. COLE pops the SPIDER in his mouth and swallows + it as JEFFREY prattles on... + + JEFFREY + "What about the germs?" I say. He + goes, "I don't believe in germs. Germs + are just a plot they made up so they + can sell you disinfectants and soap!" + Now, he's crazy, right? Hey, you + believe in germs, don't you? + + COLE + I'm not crazy. + + JEFFREY + Of course not, I never thought you were. + You want to escape, right? That's very + sane. I can help you. You want me to, + don't you? Get you out? + + COLE + If you know how to escape, why don't you...? + + JEFFREY + Why don't I escape, that's what you + were going to ask me, right? 'Cause + I'd be crazy to escape! I'm all taken + care of, see? I've sent out word. + + COLE + What's that mean? + + JEFFREY + I've managed to contact certain underlings, + evil spirits, secretaries of secretaries, and + assorted minions, who will contact my father. + When he learns I'm in this kind of place, + he'll have them transfer me to one of those + classy joints where they treat you...properly. + LIKE A GUEST! LIKE A PERSON! SHEETS! + TOWELS! LIKE A BIG HOTEL WITH GREAT DRUGS + FOR THE NUT CASE LUNATIC MANIAC DEVILS... + + PATIENTS are waking up as the NURSE and two ORDERLIES burst into +the + dorm and head straight for JEFFREY who's struggling to calm +himself. + + JEFFREY + Sorry. Really sorry. Got a little + agitated. The thought of escaping + crossed my mind and suddenly...suddenly + I felt LIKE BENDING THE FUCKING BARS + BACK, RIPPING OFF THE GODDAMN WINDOW + FRAMES AND...EATING THEM, YES, EATING + THEM, AND LEAPING, LEAPING... + + COLE watches the ORDERLIES grab JEFFREY and haul him away. + + JEFFREY + You dumb assholes! I'm a mental patient! + I'm supposed to act out. Wait til you + morons find out who I am. My father's + gonna be really upset. AND WHEN MY + FATHER GETS UPSET, THE GROUND SHAKES! + MY FATHER IS GOD! I WORSHIP MY FATHER. + + INT. WARD DAYROOM - MORNING + + ANGLE ON TV SCREEN/A VIDEO IMAGE OF A LAB MONKEY, convulsing + pathetically, a victim of shocks from the numerous wires attached + to his tiny, restrained body. + + ANGLE ON COLE, sitting, writing intensely in a magazine with + crayon, surrounded by dull-eyed PATIENTS in pajamas and ratty + robes, staring at the shuddering LAB MONKEY on the TV screen. + + JEFFREY'S VOICE (o.s.) + Torture! Experiments! We're all + monkeys + + COLE locks up, startled, as JEFFREY, one eye bruised black, takes + the seat next to him. + + COLE + They hurt you! + + JEFFREY + Not as bad as what they're doing to + kitty. + + ANGLE ON TV, showing a laboratory CAT turning in mad circles, + eating its own tail, while a NEWS REPORTER narrates. + + TV NEWS REPORTER (v.o.) + These video tapes were obtained by + animal rights activists who worked + underground as laboratory assistants + for several months. Authorities say + there is little they can do until... + + The video footage now shows LAB WORKERS watching the results of + their experiments passively. + + ANGLE ON COLE, reacting angrily. + + COLE + Look at those assholes, they're asking + for it! Maybe people deserved to be + wiped out! + + JEFFREY + (startled, turning) + Wiping cut the human race! That's a + great idea! But it's more of a long + term thing -- right now we have to + focus on more immediate goals. + (sudden whisper) + I didn't say a word about "you know + what". + + COLE + What are you talking about??? + + JEFFREY + You know -- your plan. + + As COLE stares, befuddled, JEFFREY sees COLE'S magazine. + + JEFFREY + What're you writing? You a reporter? + + COLE + (shielding the magazine) + It's private. + + JEFFREY + A lawsuit? You going to sue them? + + Just then BILLINGS looms over COLE, extending a cup full of pills. + + BILLINGS + Yo, James -- time to take your meds. + + INT. DAY ROOM/HOSPITAL - THIRTY MINUTES LATER (MORNING) + + ANGLE ON THE TV, a commercial playing: a beautiful couple romps + in the surf in slow motion while an eager NARRATOR encourages... + + NARRATOR (v.o.) + Take a chance. Live the moment. Sunshine. + Gorgeous beaches. The Florida Keys! + + ANGLE ON COLE, very drugged, seated in front of the TV along with + other drugged PATIENTS, staring at the screen. + + ANGLE ON THE TV, showing a picture of the Marx Brothers. + + TV AWNOUNCER (v.o.) + We'll return to the Marx Brothers in + "Monkey Business" following these + messages. + + JEFFREY'S VOICE (o.s.) + Monkey Business! Monk Key Business. + + COLE sees JEFFREY sliding into the next chair and smirking. + + JEFFREY + Get it? Monk - Key. Monk! + (big grin) + Key! + + JEFFREY flashes his palm open for one quick moment. A KEY! + + COLE + (groggy) + What....??? + + JEFFREY + Wooooo, they really dosed you, bro. + Major load! Listen up -- try and get + it together. Focus! Focus! The plan! + Remember? I did my part. + + COLE + What...??? + + JEFFREY + Not, "what", babe! When! + + "When???" + + JEFFREY + (pressing the key into Cole's hand) + Now! + + VOICE/TV (o.s.) + Let us guide you to the stocks and + bonds that will enhance your portfolio. + + JEFFREY + (leaping to his feet) + YES -- NOW! BUY NOW! STOCKS AND BONDS! + NO MORE MONKEY BUSINESS -- BUY NOW. + + ANGLE ON TV, almost mimicking JEFFREY with an ad...a BULL and a + BEAR and a computer screen showing stock prices fluctuating. + + VOICE/TV (v.o.) + A portfolio tailored to your specific + needs and the needs of your loved ones... + + ANGLE ON COLE, dumbfounded, watching JEFFREY dance crazily. + + JEFFREY + YES, YES. ENHANCE YOUR PORTFOLIO NOW! + + ANGLE ON BILLINGS, across the ward, reacting to JEFFREY, lets go + of the OLD MAN he's helping as another orderly, TERRY, presses a + beeper, calling for help. + + ANGLE ON COLE, flabbergasted, as JEFFREY cavorts around the room. + + JEFFREY + BUY! SELL! SEIZE THE OPPORTUNITY! + + ANGLE ON A HAND, inserting the last piece into the PEACEABLE + KINGDOM JIGSAW PUZZLE. Just then, JEFFREY'S HAND sweeps the + puzzle off the table, scattering it into a thousand pieces. + + ANGLE ON JEFFREY, dancing away while the PATIENT who just + completed the puzzle stares, very upset. + + Other PATIENTS are getting agitated, too, as JEFFREY avoids a + lunge by BILLINGS and dances off, using PATIENTS as a shield. + + HEAVY WOMAN PATIENT + I'M GETTING DIZZY. MAKE HIM STOP! + + SKINNY MAN PATIENT + HERE THEY COME! THEY'RE COMING! + + OLD MAN PATIENT + FIVE HUNDRED DOLLARS! I GOT FIVE + HUNDRED DOLLARS! I'M INSURED! + + JEFFREY + OPPORTUNITY! DEFINITELY! A WINDOW OF + OPPORTUNITY! OPENING NOW! NOW'S THE TIME + FOR ALL GOOD MEN TO SEIZE THE MOMENT! YES! + YES! MASTERCARD! VISA! THE KEY TO HAPPINESS! + + ANGLE ON COLE, realizing through the haze of drugs that JEFFREY + is sending a message to him. COLE looks at the ward door. + + COLE'S POV: the WARD DOOR opens and two husky ORDERLIES enter. + One locks the door with a key, one of many on a key ring attached + to his belt, as the other ORDERLY rushes to join the pursuit. + + JEFFREY + SEIZE THE MOMENT! GET RICH! NOW'S THE + TIME! GO FOR IT! + + BILLINGS + (missing a tackle) + God damn you, Jeffrey, quit playing the fool. + + ANGLE ON COLE, hesitating. He locks at the door...blurring in + and out of focus. He looks down at the key in his hand. + + ANGLE ON JEFFREY, being grabbed by the ORDERLIES. JEFFREY + resists wildly as they struggle to overpower him. + + JEFFREY + LAST CHANCE! LAST CHANCE! HEY -- OW! + + ANGLE ON COLE, moving to the door. He reaches it and tries to + insert the key in the lock. + + ANGLE ON LOCK, as the key keeps missing the hole. + + ANGLE ON COLE, glancing nervously over his shoulder. + + COLE'S POV: ORDERLIES swarm over JEFFREY, don't notice COLE. + + ANGLE ON COLE, managing to insert the key. It won't turn. + + A PATIENT, close at hand, startles COLE, speaking into his ear. + + PATIENT + Place to go would be...Florida. The + keys are lovely this tine of year. + + COLE, unnerved, desperate tries the key again. It turns. + + PATIENT + Be careful. J. Edgar Hoover isn't really dead. + + COLE pauses, stares, not understanding. Then, he opens the door. + + INT. CORRIDOR/COUNTY HOSPITAL + + Stepping through the door, COLE finds himself in an ante-room + facing several elevators. + + A uniformed SECURITY MAN sitting at a near-by desk doesn't even + lock up from the magazine he's reading. + + Barely daring to breathe, COLE steps toward the elevators so his + back is to the SECURITY MAN. But he doesn't know how to control + this elevator. What should he do? + + SECURITY MAN'S VOICE (o.s.) + Two's not working today. Use one. + + COLE freezes, sneaks a glance over his shoulder. + + COLE'S POV: the SECURITY MAN continues his reading. He's a big + guy with reading glasses perched on his nose. He looks exactly + like the MENACING GUARD IN THE FUTURE...SCARFACE! + + ANGLE ON COLE, stunned! + + Just then, an elevator door slides open. The elevator's empty. + + COLE steps into it. + + INT. ELEVATOR/COUNTY HOSPITAL + + The door closes, isolating COLE in the elevator. + + COLE finds the down button, is about to push it when the elevator + springs to life. The numbers on the indicator over the door + start to rise. 7...8...9. + + Then, the elevator stops and the door opens. + + Two DOCTORS and an AIDE stand in front of the door, waiting. + + COLE hesitates. + + They look at him. They seem to expect him to exit. + + Avoiding eye contact, COLE exits the elevator. + + As they enter the elevator, the DOCTORS look back at COLE and +frown. + + INT. RAILLY'S OFFICE - MORNING + + RAILLY has just arrived for work. She's slipping on her white + doctor's coat when... + + DR. CASEY, one of the other residents, sticks his head in the + door waving a crayoned message on a page torn from a magazine. + + DR. CASEY + This was in my box, but I have a slight + suspicion it wasn't meant for me. + + CASEY enters the room, reading the scrawled words dramatically. + + DR. CASEY + "You are the most beautiful woman I have + ever seen. You live in a beautiful + world. But you don't know it. You have + freedom, sunshine, air you can breathe." + + RAILLY + (smiling) + Cole. James Cole -- right? + + She reaches for the note but CASEY moves it out of her grasp. + + DR. CASEY + "I would do anything to stay here, but + I must leave. Please, help me." + + RAILLY + Poor man... + + CASEY is handing her the note when another resident, DR. GOODINS, + sticks his head in the door. He's upset. + + DR. GOODINS + Hey, Kathryn, James Cole is one of + yours, right? + + RAILLY and CASEY stare at him. + + DR. GOODINS + He got out. Took off. Last seen, he + was up on nine. + + INT. X-RAY DEPARTMENT/BASEMENT - DAY + + A PATIENT is being swallowed by a large tube, a CAT SCANNER, + while a DOCTOR in a white coat speaks reassuringly. + + DOCTOR + Just relax -- don't fight it. We have + to know exactly what's there so we can... + + The DOCTOR stops, astonished, as the door bursts open. + + It's COLE! He stares at the PATIENT and the Cat Scanner. + + The PATIENT lifts his head up and stares at COLE. + + DOCTOR + Eh, excuse me. Can I help you? + + COLE turns and rushes back out the door. + + INT. CORRIDOR/COUNTY HOSPITAL + + COLE steps into the corridor, turns to his right, freezes. + + A POSSE of SECURITY GUARDS is headed in his direction. + + COLE turns to his left. + + Four ORDERLIES are coming that way. + + COLE'S trapped. A beat. He attacks the nearest man. BILLINGS. + + INT. TECH ROOM/PSYCH WARD - SHORTLY (DAY) + + RAILLY prepares a hypo, turns to COLE who is strapped tightly on + a gurney with BILLINGS and an RN standing on either side, tense + for more trouble. One of BILLINGS' eyes is starting to swell +shut. + + RAILLY + It's just a shot to calm you. + + COLE + No more drugs. Please... + + RAILLY + I have to do this, James. You're very + confused. + + RAILLY pushes the needle into COLE'S skin. + + INT. CONFERENCE ROOM/PSYCH WARD - LATER (DAY) + + DR. FLETCHER faces RAILLY across the conference table. DR. + CASEY, DR. GOODINS, DR. MARILOU MARTIN are also there. + + DR. FLETCHER + Don't be defensive, Kathryn, this isn't + an inquisition. + + RAILLY + I didn't think I was being defensive. + I was just... + + DR. FLETCHER + He should have been in restraints. It + was bad judgment on your part, plain + and simple. why not just cop to it? + + RAILLY + Okay, it was bad judgment. But I have + the strangest feeling about him -- I've + seen him somewhere and... + + DR. FLETCHER + (impatient, not interested) + Two policemen were already in the + hospital and now we have an orderly + with a broken arm and a Security + Officer with a fractured skull. + + RAILLY + I said it was bad judgment! What else + do you want me to say? + + DR. FLETCHER + You see what I mean? You're being defensive. + (to Dr. Casey) + Isn't she being defensive, Bob? + + But just then, BILLINGS sticks his head in the door. + + BILLINGS + Uh, Dr. Fletcher -- we got another... + situation. + + INT. CORRIDOR/PSYCH WARD - MOMENTS LATER (DAY) + + DR. FLETCHER looks into an empty padded cell as RAILLY, MARTIN, + GOODIN, BILLINGS, PALMER and the NURSE crowd behind him. + + DR. FLETCHER + He was in full restraints? And the + door was locked? + + BILLINGS + Yes, sir. Did it myself. + + DR. FLETCHER + And he was fully sedated? + + RAILLY + He was fully sedated! + + DR. FLETCHER + Then are you trying to tell me that a + fully sedated, fully restrained patient + somehow slipped out that vent, replaced + the grill behind him and that he's wriggling + through the ventilation system right now? + + DR. FLETCHER indicates an impossibly tiny vent high in the wall. + + INT. CONCOURSE/AIRPORT - DAY (THE DREAM) + + Seen through the glass windows, a 747 takes off, climbing into + the sky as the airport P.A. System drones... + + P.A. SYSTEM + Flight 784 to San Francisco now + boarding at Gate 38... + + YOUNG COLE, watching the 747, whirls at the SOUND of a COMMOTION. + + MR. PONYTAIL bumps him. + + The BLONDE MAN sprints past. The WOMAN'S VOICE calls out! + + WOMAN'S VOICE + NOOOOOOOOOO! + + TRAVELERS dive for cover briefly revealing the mysterious BRUNETTE + running after the BLONDE MAN! But this time, YOUNG COLE catches + just a glimpse of her face. She looks a little like RAILLY except + for the dark hair, the make-up. and the flashy earrings. She + calls out, her VOICE blending weirdly with the P.A. SYSTEM... + + BRUNETTE/P. A. SYSTEM + The Freedom For Animals Headquarters + now boarding on Second Avenue. The + Army of the Twelve Monkeys... + + ENGINEER'S VOICE (o.s.) + Cole, you moron -- wake up! + + INT. ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE + + As COLE blinks awake, the digitized monotone of the P.A. SYSTEM + continues to drone in an unearthly VOICE... + + UNEARTHLY VOICE/P.A. SYSTEM + -- they're the ones who are going to do it... + + COLE'S eyes seek the source of the sound and find it on the table + in front of the panel of disapproving SCIENTISTS facing him. It's + a beat-up old tape recorder. + + UNEARTHLY VOICE/TAPE RECORDER + I can't do anything more. The Police + are after me. + + The tape ends, runs off the reel, flap...flap...flap... + + ASTROPHYSICIST + Well? + + COLE + Uh, what? + + ENGINEER + He's drugged out of his mind! He's + completely zoned out. + + ASTROPHYSICIST + Cole, did you or did you not record + that message? + + COLE + Uh, that message...me? + + MICROBIOLOGIST + It's a digital reconstruction of a + message, Cole, from a weak signal on our + contact number. Did you make that call? + + COLE + (angrily) + I couldn't call! You sent me to the + wrong year! It was 1989. + + SCIENTISTS + 1989! + + The SCIENTISTS react, exchanging looks, whispers. Then, + + ZOOLOGIST + You're certain of that? + + GEOLOGIST + (before Cole can answer) + What did you do with your time, Cole? + Did you waste it on drugs? Women? + + COLE + They forced me to take drugs. + + BOTANIST + Forced you! Why would someone force + you to take drugs? + + COLE + I got into trouble. I got arrested. + But I still got you a specimen -- a + spider -- but I didn't have anyplace to + put it, so I ate it. It was the wrong + year anyway, so I guess it doesn't matter. + + The SCIENTISTS stare incredulously, then turn, exchange knowing + looks, huddle, start whispering to one another. + + Struggling to stay awake COLE sees, blurrily, the MICROBIOLOGIST + staring at COLE intently. For one moment, the face belongs to + DR. FLETCHER! + + COLE blinks hard...and the MICROBIOLOGIST has his own face, again. + + COLE'S head slumps forward now...and everything goes dark. + + GEOLOGIST'S VOICE (o.s.) + Cole! + + INT. ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE + + COLE comes awake with a start. The room is dark now, except... + + a slide is being projected on a torn screen. It's a picture of a + stenciled graffiti...the logo of The Army of the 12 Monkeys. + + ENGINEER + What about it, Cole? + + ZOOLOGIST + Did you see it? + + COLE + Uh, no, sir. I... + + Another slide CLICKS into place. Youthful PROTESTERS, their + placards featuring slogans and images of Animal Atrocities, + confront POLICE in riot gear. + + ASTROPHYSICIST + What about these people? Did you see + any of these people? + + Zooming in, panning, the SCIENTISTS emphasize the FACES of the + PROTESTERS. The FACES are unfamiliar to COLE (though WE will + recognize some of them later on). + + COLE (o.s.) + Uh, no, sir, I...wait! + + The image pans back to a much enlarged blurry FACE among the + PROTESTERS. In spite of the poor image, the expression of rage + is clear, and it seems to resemble a somewhat older JEFFREY MASON. + + ASTROPHYSICIST + Him? You saw that man? + + COLE + Uh, I think so. In the mental hospital. + + MICRO3IOLOGIST + (switching on the light) + You were in a mental institution?! + + The SCIENTISTS MUTTER disapprovingly among themselves. + + ASTROPHYSICIST + You were sent to make very important + observations! + + BOTANIST + You could have made a real contribution. + + GEOLOGIST + Helped to reclaim the planet... + + ZOOLOGIST + As well as reducing your sentence. + + MICROBIOLOGIST + The question is, Cole -- "Do you want + another chance?" + + COLE stares at them, trying to figure out what they mean. + + INT. CONCOURSE/AIRPORT - DAY (THE DREAM) + + The BRUNETTE runs up the concourse, her back to YOUNG COLE, as + frightened PASSENGERS duck for cover, SHOUTING! + + RASPY VOICE (o.s.) + Hey! Who's that? + + INT. CELL - ETERNAL NIGHT + + COLE opens his eyes. Where is he? Silence as he examines the + tiny cell. Bare cement walls. High ceiling. Same color and + size as the isolation room at the county hospital. + + RASPY VOICE (o.s.) + Hey, Bob...what's your name? + + COLE looks around frantically. Up, down. Where is the VOICE + coming from? Maybe from that tiny vent high in the wall... + + COLE + Where are you? + + RASPY VOICE (o.s.) + You can talk! Wah'dja do, Bobby boy? + Volunteer? + + COLE + My name's not "Bob". + + RASPY VOICE (o.s.) + Not a prob, Bob. Where'd they send you? + + COLE + Where are you? + + RASPY VOICE (o.s.) + Another cell. ... Maybe. + + COLE + What do you mean, "maybe"? What's that + supposed to mean? + + RASPY VOICE (o.s.) + Maybe. Means "maybe" I'm in the next cell, + another "volunteer" like you -- or "maybe" + I'm in the Central Office spying on you + for all those science bozos. Or, hey, "maybe" + I'm not even here. "Maybe" I'm just in + your head. No way to confirm anything. + Ha Ha. Where'd they send you? + + COLE doesn't answer. + + RASPY VOICE (o.s.) + Not talking, huh, Bob? That's okay + I can handle that. + + COLE + 1989. + + RASPY VOICE (o.s.) + 89! How was it? Good drugs? Lotsa + pussy? Hey, Bob, you do the job? D'ju + find out the "big info"?...Army of the + Twelve Monkeys...where the virus was + prior to mutation? + + COLE + It was supposed to be 1995. + + RASPY VOICE (o.s.) + Science isn't an exact science with + these clowns. You're lucky you didn't + end up in ancient Egypt! + + INT. LAB - ETERNAL NIGHT OF THE FUTURE + + COLE is strapped on a gurney. SCIENTISTS hover near-by, + whispering. The walls of the gloomy chamber are damp, sweating. + + GEOLOGIST + No mistakes this time, Cole. + + ASTROPHYSICIST + Stay alert. Keep your eyes open. + + ZOOLOGIST + Good thinking about that spider, Cole. + Try and do something like that again. + + MICROBIOLOGIST + Just relax now -- don't fight it. We + have to know exactly what's there so we + can fix it. + + The gurney is being wheeled into a crudely welded steel tube... + reminiscent of the cat scanner in County Hospital. + + COLE'S POV: a last glimpse of anxious FACES, then the chamber + door is CLANGED shut. + + EVERYTHING IS BLACK. A HUM BUILDS. THE BLACKNESS VIBRATES, THE + HUM REACHES A DEAFENING LEVEL, THEN DIMUENDOS. WE BEGIN TO HEAR + BURSTS OF MACHINE GUN FIRE, VOICES SHOUTING IN FRENCH, A SUDDEN + HUGE EXPLOSION! THEN... + + EXT. TRENCH/FRANCE - DAY + + DRIZZLING RAIN. And SCREAMS. COLE'S in a deep trench, naked, + eyes wide with terror. What's going on? Where is he? SOLDIERS + in gas masks push urgently past him rushing toward their injured + COMRADES who've been ripped apart by the shell that just hit + fifteen yards away. Muffled VOICES shout through gas masks... + in FRENCH. COLE doesn't know it, but this is World War I! + Suddenly, a SERGEANT confronts him, shouting in French. + + SERGEANT + (FRENCH, subtitled) + Where's your mask?! And your clothes... + and your weapon, you idiot?! + + COLE + What? What?? + + COLE looks around desperately. A horribly WOUNDED MAN is being + stretchered past them in the narrow trench. Machine guns chatter + close at hand. AAK AAK AAK. A grenade EXPLODES. Reacting to the + foreign word, the SERGEANT jams his bayonet into COLE'S ribs... + + SERGEANT + (FRENCH, subtitled) + Captain! A Kraut! We got a Kraut! + + COLE + I don't understand. Where am I? + + The CAPTAIN hurries over, snapping at COLE in German. + + CAPTAIN + (GERMAN, subtitled) + How'd you get here, soldier? What's + your rank? Where are your clothes? + + COLE + I...don't understand. + + CAPTAIN + (frowning, GERMAN, subtitled) + German! Speak German! What are you + doing here? + + VOICE (o.s.) + (pleading in English) + I gotta find 'em. I gotta find 'em. + Please, you gotta help me! + + COLE turns, sees... + + It's his friend, JOSE, the Puerto Rican kid from the next cell in + the "underground" time. He's being carried past COLE now on a + stretcher, blood all over his torso, horribly wounded. + + COLE + JOSE! + + JOSE + Cole! Oh, God, Cole, where are we? + + JOSE reaches out to COLE just as a PHOTOGRAPHER takes a FLASH + PICTURE of the kid being carried off on the stretcher. SUDDENLY, + SHOTS RING OUT. COLE goes down. Hit in the leg! + + SOLDIERS in gas masks rush past him like giant insects. + + Looking to his left, COLE sees the CAPTAIN lying beside him, dead + from a chest wound, his gas mask half off. + + COLE is reaching for the mask when... + + A SHELL HITS CLOSE BY WITH AN ENORMOUS EXPLOSION. + + EXT. COLLEGE CAMPUS - NIGHT + + Stunningly quiet. We are on a placid campus looking at the + dignified architecture of Breitrose Hall. MOVING IN we FOCUS ON + a large poster advertising "The Alexander Lectures, Spring 1995". + WE SKIM the listings (Jon Else on The Nuclear Agony, Dr. Andrew + Miksztal on Biological Ethics, etc.) until we SETTLE ON... + + DR. KATHRYN RAILLY + MADNESS AND APOCALYPTIC VISIONS + MAY 17 + + INT. AUDITORIUM/BREITROSE HALL - NIGHT + + A large screen dominates the auditorium stage. On the screen is + a slide of an engraving from the Middle Ages showing a MADMAN in + apparent agony, his mouth shaped to a scream, as he is restrained + by PEASANTS. The projector ZOOMS slowly in on the agonized FACE + of this MADMAN as we HEAR RAILLY'S VOICE lecturing. + + RAILLY'S VOICE (o.s.) + According to the accounts of local + officials at that time, this gentleman, + judged to be about forty years of age, + appeared suddenly in the village of Wyle + near Stonehenge in the West of England in + April of 1162. Using unfamiliar words and + speaking in a strange accent, the man made + dire prognostications about a pestilence + which he predicted would wipe out humanity + in approximately 8OO years. Deranged and + hysterical, the man raped a young woman of the + village, was taken into custody, but then + mysteriously escaped and was not heard of again. + + WE DISCOVER RAILLY, six years older now, standing at a lectern + in a pool of light. She's dwarfed by the giant screen where the + engraving is replaced by a series of slides of woodcuts showing + scenes of pestilence in the Middle Ages as she lectures to an + audience of mostly SCHOLARLY TYPES. + + RAILLY (cont.) + In 1841, Mackay wrote, "During seasons + of great pestilence, men have often + believed the prophecies of crazed + fanatics, that the end of the world was + come." Obviously, this plague/doomsday + scenario is considerably more compelling + when reality supports it in some form, + whether it's the Bubonic Plague, smallpox, + or AIDS. In addition to these "natural" + contagions, there are now technological + horrors as well: besides radiation, + consider our lurking fear of germ + warfare and its close approximation, + chemical warfare, which first reared + its ugly head in the deadly mustard + gas attacks during the First World War. + + ON THE SCREEN, a SERIES of SLIDES show images of WORLD WAR I + SOLDIERS in gas masks, in death throes, etc.. + + RAILLY'S VOICE (cont. o.s.) + During such an attack in the French + trenches in October, 1917, we have an + account of this soldier... + + ON THE SCREEN, a slide of an old deteriorated photograph shows + JOSE, the Puerto Rican kid, strapped to a stretcher, being carried + by SOLDIERS through the trenches during an attack. JOSE appears + to be ranting madly as the projector ZOOMS CLOSER on his face +until + the image approximates Munch's famous painting. + + RAILLY'S VOICE (cant. o.s.) + -- who, during an assault, was wounded + by shrapnel and hospitalized behind the + lines where Doctors discovered he had + lost all comprehension of French but + spoke English fluently, albeit in a + regional dialect they didn't recognize. + The man, although physically unaffected + by the gas, was hysterical. He claimed + he had come from the future, that he was + looking for a pure germ that would + ultimately wipe mankind off the face of + the earth in the year... 1995! + + The AUDIENCE gives a nervous CHUCKLE. + + ON THE SCREEN, a different old photograph of JOSE. This time + he's in a military hospital, gaunt, haunted, very ill. + + RAILLY'S VOICE (cont. o.s.) + Although seriously injured, the young + soldier disappeared from the hospital + before more data could be gathered. No + doubt, he was trying to carry on his + mission to warn others, substituting + for the agony of war...a self-inflicted + agony we call the "Cassandra Complex". + + As RAILLY continues, we SCAN the AUDIENCE and DISCOVER MARILOU +MARTIN, + RAILLY'S friend, and MARILOU'S HUSBAND, WAYNE CHANG, both +listening + attentively. Further away, another MAN listens intently. A MAN +with + shoulder-length carrot-colored hair. His name is DR. PETERS. + + RAILLY (cont.) + Cassandra, in Greek legend you will recall, + was condemned to know the future but to be + disbelieved when she foretold it. Hence, + the agony of foreknowledge combined with + impotence to do anything about it. + + INT. RECEPTION ROOM - AN HOUR LATER (NIGHT) + + A stack of new books. THE DOOMSDAY SYNDROME, Apocalyptic + Visions of the Mentally Ill by Dr. Kathryn Railly + + Surrounded by enthusiastic members of the audience, RAILLY is + seated at the table signing books but DR. PETERS has her ear. + + DR. PETERS + I think, Dr. Railly, you have given + your alarmists a bad name. Surely + there is very real and very convincing + data that the planet cannot survive the + excesses of the human race: proliferation + of atomic devices, uncontrolled breeding + habits, the rape of the environment, the + pollution of land, sea, and air. In this + context, isn't it obvious that "Chicken + Little" represents the sane vision and + that Homo Sapiens' motto, "Let's go + shopping!" is the cry of the true lunatic? + + DR. PETERS smiles self-importantly at RAILLY as an elderly + disheveled PROFESSOR elbows in front of him. + + DISHEVELED PROFESSOR + Doctor Railly -- please! I wonder if + you're aware of my own studies which + indicate that certain cycles of the + moon actually impact on the incidence + of apocalyptic predictions as observed + in urban emergency rooms and... + + As the PROFESSOR babbles, MARILOU MARTIN and her husband, WAYNE + CHANG, appear and whisper... + + MARILOU + You were great. + + RAILLY + You're leaving? + + MARILOU + The reservation's at nine thirty -- + it's getting late. + + DISHEVELED PROFESSOR + Doctor Railly -- please -- this is very + important! + + WAYNE CHANG + (checking the professor) + You sure you're gonna be all right? + + RAILLY + (smiles, checks her watch) + I'll be there in twenty minutes. + + DISHEVELED PROFESSOR + Dr. Railly, I simply cannot understand + your exclusion of the moon in relation + to apocalyptic dementia... + + EXT. PARKING LOT/BREITROSE HALL - NIGHT + + A full moon. + + COLLEAGUES in a VOLVO pull out of the parking lot, calling, + "Congratulations" to RAILLY. + + She waves back as she hurries to her black ACURA, one of the last + cars left in the lot. + + The outside lights of Breitrose Hall go off. + + RAILLY seems to be alone in the lot as she fishes keys from her + purse, unlocks her car door, starts to open it when... + + Suddenly, she's grabbed from behind in a choke-hold by a large + shadowy MAN looming out of the darkness behind her. + + MAN'S VOICE + Get in! + + Unable to scream, she writhes and kicks as he forces her into the + front seat. + + MAN'S VOICE + I've got a gun. + + RAILLY freezes, terrified, as he opens the rear door and + scrambles in behind her. + + INT. ACURA/PARKING LOT + + Fighting to suppress the quaver in her voice, RAILLY says... + + RAILLY + You can have my purse. I have a lot of + cash and credit... + + MAN'S VOICE (o.s.) + Start the car. + + Glancing in the rear view mirror, RAILLY sees penetrating eyes + peering out of the shadows, no other features. + + Half-turning in the seat, she holds out the keys to him. + + RAILLY + Here! You can have the keys. You can... + + He grabs her hair and yanks her head back hard, speaking fiercely + into her ear, his face last in shadow. + + MAN + START THE CAR! NOW! + + EXT. ACURA/PARKING LOT + + The engine STARTS, the Acura backs up, then heads for the exit. + + INT. ACURA + + Steering fearfully, RAILLY hears him speak more calmly now. + + MAN'S VOICE (o.s.) + I don't want to hurt you. But I will. + I've hurt people before when...when I + had no choice. Turn left. + + As she makes the turn, RAILLY glances in the rear view mirror, + sees him unfolding a tattered map. His face is lost in darkness + but she glimpses ragged, torn clothing as he tries to read the + map by the intermittent glow of passing street lights. + + RAILLY + Where... where are we going' + + MAN + I need you to drive me to Philadelphia. + + RAILLY + (startled, horrified) + But that's... that's more than 200 miles! + + MAN + That's why I can't walk there. Turn + here... I think... + + RAILLY obeys. She glances in the mirror again, hesitates, then + boldly switches on the dome light, holding her breath fearfully + for his reaction. + + He grunts appreciatively. Relieved, she looks in the mirror + again, trying to get a better look at him, but now his features + are concealed by the map. + + RAILLY + If you make me go with you, it's + kidnapping. That's a serious crime. + If you let me go, you could just take + the car and... + + MAN + I don't know how to drive! We went + underground when I was nine, I told you + that. When you come to the corner, + turn right. + + Startled, RAILLY whirls, looks right at him. + + He's lowered the map. It's COLE! Haggard, unshaven, dirty. + + RAILLY + Cole! James Cole! You escaped from a + locked room six years ago. + + COLE + 1989. Six years for you. There's the + sign! Right here! + + COLE is indicating a freeway entrance. + + RAILLY turns the wheel sharply. + + EXT. FREEWAY - NIGHT + + The Acura veers up the ramp and onto the freeway. + + INT. ACURA/FREEWAY - NIGHT + + RAILLY glances in the mirror, sees COLE settling back wearily + against the seat. She says carefully... + + RAILLY + I can't believe this is a coincidence, + Mr. Cole. Have you been...following me? + + COLE + You told me you'd help me. I know this + isn't what you meant, but...I was desperate... + no money...bum leg... sleeping on the streets. + I probably smell bad. Sorry about that. + But then I saw your book in a store window + with a notice about your lecture. + (sudden pride) + I can read, remember? + + RAILLY + Yes, I remember. + (a beat, then) + Why do you want to go to Philadelphia? + + COLE + It's the next step. I checked out the + Baltimore information, it was nothing. + It's Philadelphia, that's where they + are, the ones who killed everyone. + (pointing suddenly, eagerly) + Zs that a radio? Does it play music? + + RAILLY turns on the radio and immediately WE HEAR the SOUND of +SURF + and the CRIES of gulls, background to an oozing baritone +COMMERCIAL. + + COMMERCIAL/RADIO (o.s.) + This is a personal message to you. + + COLE sits up, alert, listening intently. + + COMMERCIAL/RADIO (cont. o.s.) + Are you at the end of your rope? Are + you dying to get away? + + COLE'S eyes narrow, concentrating on this personal message. + + COMMERCAIL/RADIO (cont. o.s.} + The Florida Keys are waiting for you. + + COLE frowns as the SOUND of breaking SURF and crying GULLS fills + the car. It's confusing! He blurts out... + + COLE + I've never seen the ocean! + + Observing his confusion in the mirror, RAILLY assumes her + professional tone. + + RAILLY + It's an advertisement, Mr. Cole. You + do understand that, don't you? It's + not really a special message to you. + + COLE frowns. He did think it was for him, but she's probably +right. + + COLE + You used to call me "James". + + RAILLY + You'd prefer that? ... James...you + don't really have a gun, do you. + + COLE + (cynical laugh) + Everybody's got a gun. In this city... + + He breaks off reacting to the RADIO MUSIC! FATS DOMINO singing + "BLUEBERRY HILL"! COLE grins, mouth agape, eyes wide like a +kid's. + + COLE + Can you...can you make it louder? I + love hearing twentieth century music! + Hearing music and breathing air! + + As RAILLY cranks up the volume, she watches the mirror + incredulously, sees him stick his head out the window into the + wind, mouth open, "eating" the air hungrily. + + EXT. FREEWAY/ACURA - NIGHT + + "BLUEBERRY HILL" BLARES as the Acura, COLE'S head out the rear + window, zips past a sign at 65 mph. + + The sign says, "PHILADELPHIA 233 MILES." + + INT. ACURA/FREEWAY - NIGHT + + RAILLY glances in the mirror at the nut in the rear seat with his + head out the window. what can she do? Just then, while she's + trying to figure something out, an ANNOUNCER'S VOICE breaks in... + + ANNOUNCER/RADIO (o.s.) + This just in from Fresno, California: + emergency crews are converging on a + cornfield where playmates of nine year + old Ricky Neuman say they saw him + disappear right before their eyes. + + COLE pulls his head back inside with a frown, troubled now. + + ANNOUNCER/RADIO (cont. o.s.) + Young Neuman apparently stepped into an + abandoned well shaft and is lodged somewhere + in the narrow 150 foot pipe, possibly alive, + possibly seriously injured. Playmates claim + they heard him cry out faintly but since then + there has been no contact with... + + COLE + "Never cry wolf!" + + RAILLY + What? + + COLE + My father told me that. "Never cry + wolf." Then people won't believe you + if...something really happens. + + RAILLY + "If something really happens"...like + what, James? + + COLE + Something bad. Is that all the music? + I don't want to hear this stuff... + + RAILLY glances at him as she scans stations. + + RAILLY + Did something terrible happen to you when + you were a child? Something so bad...? + + COLE + Ohhhh, that one! Can we hear that one? + + It's IVORY JOE HUNTER singing, "SINCE I MET YOU, BABY". + + IVORY JOE/RADIO (o.s.) + "Since I met you, baby, + My whole life has changed... + + Ecstatic, COLE sticks his head out the window again. + + EXT. ACURA/FREEWAY + + COLE'S POV: the heavens, glittering with a million stars and a + lover's moon as IVORY JOE croons the achingly romantic lyrics... + + IVORY JOE/RADIO (cont. o.s.) + "-- cause since I met you, baby. + All I need is you..." + + ANGLE ON COLE, wind in his hair, eyes shining, gulping air +blissfully. + + INT. RAILLY'S APARTMENT - MORNING + + Two POLICE OFFICERS and an anxious MARILOU MARTIN listen to an + answering machine's message while a hungry CAT cries plaintively. + + ANSWERING MACHINE + Dr. Railly -- this is Palmer from Psych + Admitting. There was a guy here this + afternoon looking for you. He seemed + very agitated. We tried to keep him, but + he refused 'n I kept thinking, I know + this guy. Then, just a few minutes ago, + it came to me. It's Cole! James Cole. + Remember him? The paranoid who pulled + the Houdini back in '89. Well, he's + back and he's...cuckoo...and he's looking + for you. I thought you oughta know. + + The machine switches off. The POLICE OFFICERS exchange a look. + + MARILOU MARTIN + It's just as I told you -- my husband + and I had gone ahead -- she never + showed. That's totally unlike her! + + OFFICER TWO + (pulls out his notebook) + Do you happen to know the make of her car? + + MARILOU MARTIN + Um...Acura...'92 Acura. ... Also, that + cat's starving! She would never neglect + her cat! + + EXT. MOTEL - MORNING + + The ACURA is parked outside room 46 of the HIGHWAYS & BYWAYS + MOTEL, which has definitely seen better days. + + INT. MOTEL ROOM 46 + + The TV is on. A commercial is just starting. A catfood jingle. + + The sound of HEAVY BREATHING. + + ANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side + of the double bed, sound asleep. + + INT. CONCOURSE/AIRPORT - DAY (THE DREAM) + + GUNSHOT! YOUNG COLE glimpses the BLONDE MAN staggering, wounded. + + The mysterious BRUNETTE races past him toward the BLONDE MAN, and + YOUNG COLE again glimpses the resemblance to RAILLY, in spite of + the dark hair, the make-up, the flashy earrings. + + Close at hand, YOUNG COLE'S FATHER, his face still out of view, +says, + + FATHER'S VOICE (o.s.) + Son, it's important for your cat to + have the nourishment necessary for + healthy bones and a rich coat. + + INT. MOTEL ROOM 46 + + COLE comes awake with a start. He stares, disoriented, at the + CATFOOD COMMERCIAL on the TV. + + RAILLY'S VOICE (o.s.) + Please untie me. I'm very uncomfortable. + + COLE turns to RAILLY, beside him on the bed, frightened and + helpless, her jacket arranged to restrain her like a +strait-jacket. + + COLE'S instinct is to free her at once, but he controls his + impulse. He looks away, gets up, and, wincing, limps to the + dresser, stepping around empty fast-food cartons. He pulls a + razor and shaving soap from a paper bag, then goes into the + bathroom, leaving the door open, and starts to shave. + + COLE + You were in my dream just now. Your hair + was different, but I'm sure it was you. + + RAILLY + We dream about what's important in our lives. + And I seem to have become pretty important + in yours. What was the dream about? + + COLE + About an airport...before everything + happened. It's the same dream I always + have -- the only one. I'm a little kid + in it. + + RAILLY + And I was in it? What did I do? + + COLE + You were very upset. You're always + very upset in the dream, but I never + knew it was you before. + + RAILLY + It wasn't me before, James. It's + become me now because of...what's + happening. Please untie me. + + Finished shaving, COLE re-enters the bedroom, toweling his face. + + COLE + No, I think it was always you. It's + very strange. + + RAILLY + You're flushed. And you were moaning. + I think you're running a fever. What + are you doing? + + COLE is rummaging through RAILLY'S wallet, pulling out money. + + COLE + I'll be back in a minute. + + He heads for the door. + + RAILLY + No! Don't leave me here like this! + + Too late! He shuts the door behind him, leaving her alone. + + ANGLE ON THE TV SCREEN, where an ANCHORMAN sits at a News Set. + + TV ANCHORMAN + And in Fresno, California...crews + continue to attempt to rescue nine year + old Ricky Neuman. + + ANGLE ON RAILLY, twisting and struggling on the bed, trying to + get loose, tears welling in her eyes. + + TV ANCHORMAN (cont. o.s.) + The boy was playing ball with four + other children when he literally + disappeared off the face of the earth. + + EXT. MOTEL CORRIDOR - MORNING + + COLE puzzles over a junk food vending machine, inserts coins +tentatively. + + INT. MOTEL ROOM + + ANGLE ON TV, the picture of RAILLY filling the screen. + + + ----------------------- PAGE 52 MISSING ----------------------- + + + COLE + My notes. Observations. Clues. + + RAILLY + Clues? What kind of clues? + + COLE + A secret army. The Army of The Twelve + Monkeys. I've told you about them. + They spread the virus. That's why we + have to get to Philadelphia. I have to + find them -- it's my assignment. + + RAILLY + What will you do...when you find + this...secret army? + + COLE + I just have to locate the virus in its + original form before it mutates. So + scientists can come back and study it + and find a cure. So that those of us + who survived can go back to the surface + of the earth. + + RAILLY maintains a professional deadpan, says nothing as they pass + a pickup truck with a MOTHER, FATHER, and five KIDS in the back. + + COLE stares at the KIDS, a sad look in his eyes. + + COLE + You won't think I'm crazy next month. + People are going to start dying. At + first the papers will say it's some + weird fever, some virus. Then they'll + begin to catch on. They'll get it. + + RADIO NEWSCASTER (o.s.) + We interrupt this program with a + special bulletin... + + RAILLY and COLE both react to the radio, suddenly alert. + + RADIO NEWSCASTER (o.s.) + This report just in from Fresno, + California. Naval sonar specialists + who were flown to the site... + + COLE + I thought it was about us. I thought + maybe they'd found us and arrested me + or something. + + RAILLY stares at COLE. + + COLE + Just a joke. + + RADIO NEWSCASTER (o.s.) + -- an hour ago have been unable to + determine the location of the boy in the + 150 foot shaft...but a TV sound man who + lowered an ultra-sensitive microphone into + the narrow tube claims he heard breathing + sounds coming from approximately seventy + feet down... + + COLE reaches over and changes stations. MUSIC again. + + RAILLY + Does that disturb you, James? Thinking + about that little boy in the well? + + COLE + When I was a kid I identified with that + kid, down there alone in that pipe...a + hundred feet down -- doesn't know if + they're going to save him. + + RAILLY + What do you mean -- when you were a kid? + + COLE + Nevermind. It's not real -- it's a + hoax. A prank. He's hiding in a barn. + Hey, turn left here. Left! + + COLE quickly checks the map as RAILLY stares, then turns left. + + EXT. SKID ROW STREET/PHILADELPHIA - DAY + + An elderly EVANGELIST with long stringy hair, wearing a tattered + bathrobe, stands on a Skid Row corner WAVING a worn Bible as he + rants at disinterested DERELICTS, WINOS, and BAG LADIES. + + EVANGELIST + "And the wild beasts of the islands + shall cry in their desolate houses and + dragons in their pleasant palaces: and + her time is near to come, and her days + shall not be prolonged." + + ANGLE ON RAILLY'S ACURA, crawling down the street, RAILLY driving, + COLE, beside her, staring out the window. + + INT. ACURA/SKID ROW STREET + + COLE is scrutinizing the crumbling walls, boarded-up store + fronts, tattered posters, decaying signs, miserable "RESIDENTS". + + COLE + Where I come from we think of this as Eden. + If we could just see the sun, eat sun-grown + food. Eden! Look at them! They donut + know what they have. They don't see the + sky. They don't feel the air! + + COLE'S POV: a BMW speeds toward them, passes, its radio BLARING! + + COLE (o.s.) + And the ones who aren't hungry are so smug + they haven't a clue. WAIT! STOP! + + EXT. ACURA/SKID ROW + + On foot now, COLE pulls an astonished RAILLY to a wall covered +with + graffiti, a hopeless tangle of symbols, words, and crude pictures. + + Clueless, RAILLY stares at the wall, then at COLE. + + COLE touches a bit of red-stenciled graffiti hidden under gang + insignias. We can just see TWELVE MONKEYS holding hands in a +circle. + + COLE + The Twelve Monkeys!!! They're here. + (looks around) + Somewhere. Come on! + + He pulls her along the sidewalk. No question, he's insane. + + At the next alley entrance, COLE stops abruptly. Then, still + keeping a firm grip on RAILLY'S arm, he starts ripping down newly + tacked-up posters announcing a Rap concert. + + RAILLY stares at him, then turns and is looking all around when, + suddenly, COLE pulls her up tight and threatens... + + COLE + Look, I'm warning you. You do anything, + I'm going to go crazy -- hurt people! + + RAILLY + I'm not going to "do" anything, I + promise. But you need help, James. + None of this is what you think it is. + + ANGLE ON COLE, not listening, staring triumphantly! He's found + another partially obscured stencil of THE TWELVE MONKEYS! + + But just then, a raspy VOICE startles COLE. + + RASPY VOICE (o.s) + You can't hide from them, Bob. + + COLE whirls, sees a derelict, LOUIE, leering at him, speaking in a + voice eerily like the RASPY VOICE from the next cell in the +future. + + LOUIE + No, sir, Old Bob -- don't even try. + (conspiratorially) + They hear everything. They got that + tracking device on you. They can find + you anywhere. Anytime. Ha Ha! + + RAILLY looks from LOUIS to COLE, sees COLE'S stunned reaction. + + LOUIE + (touches his back jaw) + In the tooth, Bob! Right? + (sudden triumphant grin) + But I fooled 'em, old buddy! + + He opens his mouth wide. NO TEETH' + + COLE grabs RAILLY and pulls her into the alley and down it. + + COLE + They're keeping an eye on me. + + RAILLY + Who's keeping an eye on you? + + COLE + The man...with the voice. I recognized + him. He's from the present. He... + + COLE breaks off, freezes as he sees... + + there on a brick wall is a stencil of the DANCING MONKEYS + + And further on, another red stencil! + + EXT. VACANT LOT - MOMENTS LATER (DAY) + + CRACKHEADS huddle against a building, sucking their pipes, + oblivious to COLE pulling RAILLY past. + + COLE scans the walls for messages in the confusion of graffiti. + + RAILLY is considering her surroundings dubiously when, suddenly, + COLE pulls her toward the mouth of a dark and forbidding alley. + + RAILLY + James, no -- we shouldn't be here! + + COLE ignores her, yanking her after him into the alley. + + INT. DARK ALLEY - DAY + + Two TOM CATS face off, arching their backs and HISSING menacingly. + + COLE avoids them as he pulls RAILLY into the gloom. + + ANGLE ON RAILLY, seeing something alarming twenty yards ahead! + + RAILLY'S POV: TWO THUGS, standing over a MAN, kicking him. + + RAILLY tries to stop, but COLE, intent on the wall messages, + doesn't notice the THUGS. + + The TWO THUGS turn and spot COLE and RAILLY moving toward them. + + These creeps have mean eyes, predator faces. + + RAILLY digs her heels in, forcing COLE to stop. + + RAILLY + James! We have to go back. Those men... + + Too late. While COLE turns and stares at her, uncomprehending, + the TWO THUGS are approaching. + + FIRST THUG + Hey, buddy. + + Startled, COLE turns to face them. + + The SECOND THUG lunges for RAILLY'S purse, yanks it from her. + + COLE reaches to grab it back, but...WHACK! The FIRST THUG smacks + COLE hard across the face with something metallic. + + Bloody-faced, dazed, COLE doesn't even have a chance to clear his + head as the FIRST THUG shoves the hard object against COLE'S + cheek. It's a cheap thirty-eight pistol. + + RAILLY turns to run, gets two steps before the SECOND THUG knocks + her roughly to the ground. + + SECOND THUG + Stick around, bitch. + + Looming over her, the SECOND THUG starts to unzip his fly. + RAILLY looks over to COLE, SEES... + + COLE dropping to his knees, groveling at the FIRST THUG'S feet. + + COLE + Please! Please don't hurt me! + + The FIRST THUG steps close, kicks COLE contemptuously, cocks his + foot for a second kick when... + + COLE uncoils, lunging, rising, his strong arms around the bigger + man's calves, lifting him mightily, high off the ground. + + The gun FIRES wildly as COLE staggers forward with the FIRST THUG + in his arms and smashes the man into the brick wail behind him. + The FIRST THUG goes down in a heap, dropping the pistol. + + Zipping his fly hastily, the SECOND THUG turns to deal with COLE + but COLE attacks him....rocking him again and again with savage + blows that come one after another with lightning speed. The +SECOND + THUG staggers back, bloody and dazed as RAILLY watches, amazed. + + Turning back to the FIRST THUG, COLE sees the MAN reaching for + the dropped pistol. + + COLE kicks him viciously in the jaw. The FIRST THUG'S head whips + back. SNAP! He collapses against the brick wall. + + COLE turns back to see the SECOND THUG retreating down the alley + as fast as he can stagger. + + RAILLY stares up at COLE. He looks very dangerous. He glances + in her direction as he pockets the pistol. + + COLE + Are you hurt? + + RAILLY + Uh, no. Yes. I mean, just some scrapes... + + As RAILLY gets to her feet, she sees COLE bend over the + motionless THUG and quickly go through his pockets. + + RAILLY + Is he...alive? + + COLE ignores the question as he pockets the man's wallet and a + handful of bullets, then turns and snaps at RAILLY. + + COLE + Come an. We're running out of time. + You can't help him. + + As COLE yanks her roughly away, she looks back, sees the FIRST + THUG'S sightless eyes, wide open...staring blankly. + + RAILLY + Oh, Jesus, James! You killed him! + + COLE + I did him a favor. Now come on. + + COLE, pulling her again, sees more "12 MONKEYS" on the wall. + + RAILLY + You didn't have a gun before, did you? + + COLE + I've got one now. + + EXT. SECOND AVE - DAY + + The EVANGELIST, spotting COLE and RAILLY hurrying past him, + points urgently at COLE. + + EVANGELIST + You! You! You're one of us, aren't you? + + But COLE has stopped and is staring at... + + A STOREFRONT OFFICE...its windows covered with posters. The sign + over the office says, FREEDOM FOR ANIMALS ASSOCIATION. + + INT. FAA STORE - MOMENTS LATER (DAY) + + Earnest young activists, FALE, deathly pale, BEN, long haired, + and TEDDY, muscular, are gathered around a counter collating + leaflets that demand an END TO SPECIEISM. Behind them, a large + poster proclaims, "ANIMALS HAVE SOULS, TOO". Just then, there's + a tremendous CLAP OF THUNDER as the ACTIVISTS look up and see + COLE and RAILLY enter. + + COLE looks startled. It sounds like torrential RAIN POURING in + here. Maintaining a tight grip on RAILLY'S wrist, he looks + around frantically for an explanation for the tropical downpour. + + Bookshelves line two walls. The front window is blanked cut with + posters of Animal Rights demonstrations, newspaper clippings, + photos of animal atrocities. The fourth wall features the + counter where the three ACTIVISTS face COLE as a JUNGLE BIRD + SCREAMS in the DOWNPOUR. + + FALE + Uh, can we help you? + + COLE looks confused as the RAIN abates and an ELEPHANT trumpets + an urgent warning. + + FALE + Excuse me. You looking for something + in particular? + + RAILLY + It's all right, James -- it's just a tape. + + COLE'S eyes follow her look. It's a tape recorder underneath a + sign advertising, "THE TRUE MUSIC OF THE WORLD". + + COLE + I, uh, I'm looking for the, ah, the + Army of the Twelve Monkeys. + + FALE glances at BEN and TEDDY. "We have a problem!" the look +says. + MONKEYS start CHATTERING on the tape as TEDDY comes around the + counter, bigger than COLE, physically imposing, menacing. + + TEDDY + We don't know anything about any "Army + of the Twelve Monkeys", so why don't + you and your friend disappear, okay? + + COLE backs away, a firm grip on RAILLY, as a LION ROARS. + + COLE + I just need some information... + + TEDDY + Didn't you hear me? We're not... + + TEDDY breaks off mid-sentence...freezes. + + COLE is pointing a pistol at them. A TIGER SNARLS. + + RAILLY + James, no -- don't hurt them. + (to the activists) + Please, I'm a psychiatrist -- just do + whatever he tells you to do. He's... + upset -- disturbed. Please -- he's + dangerous -- just cooperate. + + MONKEYS CHATTER wildly as TEDDY backs up. + + FALE + What do you want -- money? We only + have a few bucks. + + COLE is suddenly very much in charge and self-confident again. A + BABOON HOWLS with laughter. + + COLE + I told you what I want. + (snaps at Railly) + Lock the door! + + RAILLY + James, why don't we...? + + COLE + Lock it now! + + RAILLY hurries to the door to lock it as BEN says to FALE, + + BEN + I told you that fuckhead Mason would + get us into something like this. + + FALE + Shut up! + + COLE + Mason??? + + RAILLY + Jeffrey Mason? + + BEN + Yeah, tucking, crazy Jeffrey Mason. + + INT. FAA STORE BASEMENT - TWENTY MINUTES LATER (DAY) + + The three ACTIVISTS are tied tightly together in the middle of + the floor in this dimly-lit, windowless basement. They're very + frightened, eager to cooperate. + + FALE + Then, Jeffrey becomes like this...big + star -- the media latch on to him + because he's picketing his own father, + a "famous Nobel Prize winning virologist". + You musta seen all that on TV. + + COLE + No, I don't watch TV. + + COLE, the gun next to him, rummages through boxes of papers while + RAILLY watches helplessly. Suddenly, COLE finds something he + thinks he's seen before. He holds it up. + + COLE + Is this him -- Dr. Mason? + + It's a photograph of DR. MALCOLM MASON, being escorted by a + phalanx of riot cops through a mob of raging activists. + + FALE + That's him. + + BEN + (very frightened) + What are you going to do with us? + + COLE + (stares at the photo, then) + Tell me more about Jeffrey. + + FALE + (a helpless shrug to his cohorts) + Jeffrey started getting bored with the + shit we do...picketing, leafleting, + letter-writing stuff. He said we were, + "ineffectual liberal jerkoffs". He + wanted to do guerrilla "actions" to + "educate" the public. + + COLE holds up a clipping showing horrified SENATORS standing on + their desks as RATTLESNAKES slither along the Senate Floor. + + FALE + Yeah, that's when he let a hundred + snakes loose in the Senate. + + TEDDY + But we weren't into that kind of stuff. + It's counter productive, we told him. + + FALE + So he and eleven others split off and + became this underground..."army" + + COLE + The Army of The Twelve Monkeys. + + BEN + They started planning a "Human Hunt". + + TEDDY + They bought stun guns and nets and bear + traps. They were gonna go to Wall + Street and trap lawyers and bankers... + + BEN + But they didn't do it. They didn't do + any of it. + + TEDDY + Yeah, just like always, Mr. Big Shot + sold his friends out! + + COLE + What's that mean? + + FALE + He goes on TV, gives a news conference, + tells the whole world he just realized + his daddy's experiments are vital for + humanity and that the use of animals is + absolutely necessary and that he, Jeffrey + Mason, from now on, is going to personally + supervise the labs to make sure all the + little animals aren't going to suffer. + + COLE + (holding up a rolodex) + What's this? + + EXT. FREEWAY - AFTERNOON + + In the crawling traffic, WE FIND a battered FORD covered with + bumper stickers and painted slogans. "I BRAKE FOR ANIMALS"... + "FREE THE ANIMALS"..."WOULD YOU LET A MINK WEAR YOUR SKIN?" + + RAILLY (v.o.) + You can't just barge in on a famous + scientist. They'll have security guards, + gates, alarm systems. It's insane, James. + + INT. MOVING FORD/FREEWAY + + A ROLODEX CARD with an address on "Outerbridge Road" for "Jeffrey + Mason c/o Dr. Malcolm Mason" rests on a map spread across COLE'S + lap. COLE is in the passenger seat, RAILLY'S at the wheel, + maneuvering in heavy traffic. + + RAILLY + If those young men don't get loose, + they could die in that basement. + + COLE glances out the window, indicates the PEOPLE in passing + cars...COMMUTERS, FAMILIES, TRUCKERS. + + COLE + All I see are dead people. Everywhere. + What's three more? + + RAILLY + (a beat, carefully, a new tack) + You know Dr. Mason's son, Jeffrey + Mason, don't you, James? You met him + in the County Hospital six years ago. + + COLE is studying the map again. + + COLE + The guy was a total fruitcake. + + RAILLY + And he told you then his father was a + famous virologist. + + COLE is absorbed in the map, his finger tracing "Outerbridge +Road". + + COLE + No -- he said his father was "God"! + + EXT./INT. FORD/COUNTRY HIGHWAY - LATER (DAY) + + The RADIO BLARES a country song as the Ford zips along an open + highway. COLE has his head out the window, sucking air, loving + the music, but his bliss is feverish now -- he's not well. As + the SONG ends, he pulls his head inside. An ANNOUNCER'S VOICE + intones over the RADIO... + + RADIO ANNOUNCER (o.s.) + This just in: police are widening + their search for Dr. Kathryn Railly, + prominent psychiatrist and author. + Authorities confirm that Dr. Railly has + been abducted by escaped mental patient, + James Cole. The two are believed to be + traveling in Railly's 1992 black Acura, + license plate H-E-A-D-D-R. + + RAILLY glances at him, sees he's in pain. She feels so badly for + him. She wants to help him. She says, tenderly... + + RAILLY + This can't go on, James. You're not + well. You're burning with fever. + + COLE, refusing to succumb, instead, leans over to check the gas +gauge. + + COLE + We need gas. + + RAILLY + I thought you didn't know how to drive. + + COLE + I said I was too young to drive. I + didn't say I was stupid. + + RAILLY + What's the matter with your leg? + + COLE + I got shot. Look -- there's a gas + station up ahead. + + RAILLY + Shot! Who shot you? + + COLE + It was some kind of...war. Never mind, + you wouldn't believe me. Turn off here. + + INT. PARKED FORD/GAS STATION - MINUTES LATER (AFTERNOON) + + The GAS STATION ATTENDANT checks the oil while COLE and RAILLY + remain in the car. She's pulling a gas card from her wallet. + + COLE + You were going to run out off gas on + purpose, weren't you? + + RAILLY + No. I want you to turn yourself in, James -- + It'll go much better for you if you do + -- but I'm not going to trick you. + + COLE + (sees the credit card) + That has your name on it. Give him cash. + + RAILLY puts the card back into her wallet and pulls out cash as + the GAS STATION ATTENDANT slams the hood down. + + RAILLY starts opening the door. Alarmed, COLE tries to stop her. + + COLE + Where are you going? + + She looks him in the eye, then indicates the tiny Convenience + Store appended to the Gas Station. + + RAILLY + You can come with me. I have to get + some things. Scissors, bandages, some + alcohol or whiskey. ... I have to look + at your leg, James. I'm a doctor. + + COLE looks helpless, hesitant. She's in charge...for the moment. + + EXT. CLEARING/WOODS - AN HOUR LATER (AFTERNOON) + + The sun dazzles through the canopy of leaves. We HEAR the CAR + RADIO but not the engine. + + RADIO ANNOUNCER (v.o.) + Meanwhile in Fresno, where mining + engineers continue their desperate + attempt to sink a shaft parallel to the + ant in which nine year old... + + COLE, in his underwear, leans back on a large rock beside the + Ford, his pants hanging on the car's open door. He's staring up + at the sun and the sky. RAILLY finishes bandaging his thigh. + + RAILLY + You shouldn't put your weight on it. + You need stitches and antibiotics. + Lucky for you it was near the surface. + + RAILLY wraps the bullet in some gauze and sticks it in her pocket + while COLE continues staring up at the sky. + + COLE + I love seeing the sun. + + A beat. COLE tries to stand up. + + RAILLY + Wait -- let me help you. + + RAILLY puts an arm around him and helps him to his feet. A beat. + They're very close. They don't move. RAILLY looks like she can + barely breathe. + + COLE + (leans closer, shuts his eyes) + You smell so good. + + RAILLY + (trying to concentrate) + You have to give yourself up, you know. + + A beat. The spell is broken. He reaches for his pants, then + turns back to her, suddenly grim. + + COLE + I have to do something now. Something + I don't want to do. I'm so sorry. + + RAILLY reacts, sudden fear in her eyes. He looms over her. He's + cold now, steeled. + + COLE + I have a mission. It's important. + + RAILLY steps back...horrified, realizing she's going to die. + + EXT. MASON MANSION - NIGHT + + A SECRET SERVICE AGENT ambles vigilantly among the rows of luxury + cars parked beside the brightly-lit rural mansion. Encountering + another AGENT, he pauses. + + FIRST AGENT + They find him? + + SECOND AGENT + Who?? + + FIRST AGENT + That kid. The one in the pipe. + + SECOND AGENT + You believe this? They're dropping a monkey + down there with a miniature infra-red camera + strapped on him and a roast beef sandwich + wrapped in tinfoil. + + FIRST AGENT + You're making that up! + + ANGLE UNDER A PARKED MERCEDES, where COLE is hiding, listening to + the receding VOICES of the AGENTS. + + SECOND AGENT (o.s.) + I shit you not. ... Man, life is weird! + A monkey and a sandwich. Wonder who + thought that one up. + + FIRST AGENT (o.s.) + Probly give the sonafabitch a Nobel + Prize! + + Quickly, COLE rolls to the next car and under it. He doesn't + see...the pistol fell out of his pocket, under the Mercedes. + + INT. MASON MANSION/DINING ROOM - NIGHT + + A formal dinner for forty. Desert has been served. DR. MALCOLM + MASON rises to the enthusiastic applause of the GUESTS. + + DR. MASON + Would that I could enjoy this opulent + dinner and this excellent and + stimulating company for itself, with no + sense of purpose. But alas, I am + "burdened" with the sense that with all + this excess of public attention and + this cacophony of praise, there comes + great responsibility. Indeed, I + practically feel a soapbox growing + under my feet whenever I stand for more + than a few seconds. + + While GUESTS laugh at DR. MASON'S last remark, SECRET SERVICE + AGENT #3 enters the room, scowling, looking for someone. + + DR. MASON (o.s.) + The dangers of science are a time worn + threat, from Prometheus stealing fire + from the Gods to the Cold War era of + the Dr. Strangelove Terror. + + AGENT #3 spots who he's looking for. JEFFREY MASON! + + DR. MASON (cont.) + But never before, not even at Los Alamos + when the scientists made bets on whether + their first atomic bomb test would wipe out + New Mexico, has science given us so much + reason to fear the power we have at hand. + + ANGLE ON JEFFREY, as AGENT #3 whispers in his ear. + + JEFFREY + What are you talking about? What + friend? I'm not expecting anyone. + + ANGLE ON DR. MASON, reacting with irritation to the disturbance. + + DR. MASON + Current genetic engineering as well as + my own work with viruses has presented + us with powers as terrifying as any... + + ANGLE ON JEFFREY, following the AGENT out of the dining room, + grumbling loudly enough to disturb his father's audience. + + JEFFREY + This is ridiculous. My father is + making a major address. + + INT. HALLWAY/MASON MANSION + + The conversation continues as JEFFREY and AGENT #3 enter the hall. + + AGENT #3 + Normally if we caught a guy sneaking + around like this with no I.D., we'd + bust his ass, excuse the French, but + this one said he knows you... + (smirk, smirk) + -- and, since you seem to have had + some...uh...unusual...uh..."associates", + we certainly didn't want to arrest one + of your, uh, closest...pals. + + INT. LIBRARY/MASON MANSION + + COLE, smudged with dirt and car grease, sitting in the shadows in + a wingback chair, looks up as JEFFREY and AGENT #3 enter the + room. A FOURTH AGENT looms beside the wingback chair. + + JEFFREY + (dismissing Cole casually) + Never saw him before in my life. Go + ahead and shoot him or torture him or + whatever it is you do. + + COLE + (rising) + You do know me. You helped me once. + + JEFFREY + (turning to leave) + That would be totally out of character. + Helping people is against my principles. + (to the Agents) + See, he definitely doesn't know me. Now, + I'm going to go back and listen to my + father's very eloquent discourse on the + perils of science WHILE YOU TORTURE THIS + INTRUDER TO DEATH. + + COLE + I'm here about some monkeys. + + Halfway out the door, JEFFREY freezes. A beat. + + JEFFREY + Excuse me -- what did you say? + + COLE + Monkeys. Twelve of them. + + JEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY + rushes to COLE and embraces him. + + JEFFREY + Arnold...Arnold. + + COLE is astonished. The AGENTS are, too. + + JEFFREY + (stepping back) + My God, Arnie, what's happened to you? + You look like shit + + AGENT #3 + (dubious) + You know this man? + + JEFFREY + Of course I know him. What do you + think -- I act like this to strangers? + Listen -- you fellas are terrific. I + thought you were pulling a number on + me. What a terrible thing if you'd + thrown old Arnie out. I owe you guys + the big apologia! Mea culpa, fellas. + (turning to Cole) + Christ, Arnie, it's black tie! I mean, + I said, "drop by," but, like, this is + Dad's big "do"...vips, senators, secret + service, and...and everything. + + JEFFREY throws an arm around COLE'S shoulder and starts leading + him toward the door as the two AGENTS exchange narrow-eyed looks. + + AGENT #4 + "Arnie?" + + JEFFREY + Arnold Pettibone. Old Arnie Pettibone. + Used to be my best friend. Still is. + What've you lost, Arnie -- forty pounds? + No wonder I didn't know you. You hungry? + Lots of dead cow, dead lamb, dead pig. + Real killer feast we're putting on tonight. + + The AGENTS watch JEFFREY lead the limping, disheveled COLE out. + + AGENT #4 + These people -- all of 'em -- are true + weirdoes! + + AGENT #3 + (moving to the phone) + I'm gonna call in a description of this + "Pettibone" character. You go keep an + eye on him. Make sure he doesn't do + one of the guests with a fork. + + INT. HALLWAY/MASON MANSION + + GUESTS pouring from the dining room into the hall meet JEFFREY + and a very disconcerted COLE. + + JEFFREY + Hey, nice ta see ya. Lookin' good! Hi, + there. Yes, it has been a long time. + + In the b.g., too far away to hear them, AGENT #4 trails JEFFREY +and + COLE as they maneuver through the GUESTS toward the grand +staircase. + + JEFFREY + (whispers to Cole) + County Hospital, right? 1989. The + "Immaculate Escape" -- am I right? + (smiling to guests) + Why, thank you -- you look wonderful, too. + + COLE + Listen to me -- I can't do anything + about what you're going to do. I can't + change anything. I can't stop you. I + just want some information... + + JEFFREY + We need to talk. Come on. Upstairs. + (to a guest) + I am a new person! I'm completely + adjusted. Witness the tux. It's Armani. + (whispers to Cole) + Who chattered? Goines? Weller? + + COLE + I just need to have access to the pure + virus, that's all! For the future! + + JEFFREY studies COLE. COLE doesn't just talk crazy. He looks +crazy! + + JEFFREY + Come on, follow me. You don't lock so good. + + JEFFREY starts guiding COLE up the grand staircase as COLE, +glancing + back, spots AGENT #3 and AGENT #4, both keeping an eye on him now. + + COLE + I don't have time to go upstairs. The + police are looking for me. I need to + know where it is and exactly what it is. + + JEFFREY + (brightening suddenly) + I get it! This is your old plan, right? + + COLE + Plan? What are you talking about? + + JEFFREY + Remember? We were in the dayroom, + watching TV, and you were all upset + about the...desecration of the planet. + And you said to me, "Wouldn't it be + great if there was a germ or a virus + that could wipe out mankind and leave + the plants and animals just as they + are?" You do remember that, don't you? + + COLE + Bulishit! You're fucking with my head! + + JEFFREY + And that's when I told you my father was + this famous virologist and you said, "Hey, + he could make a germ and we could steal it!" + + COLE + (grabbing Jeffrey) + Listen, you dumb fuck! The thing mutates + We live underground! The world belongs + to the fucking dogs and cats. We're + like moles or worms. All we want to do + is study the original... + + AGENT #4'S VOICE + Okay -- take it easy. We know who you + are, Mr. Cole. + + COLE feels a firm grip on his shoulder, turns and sees AGERT #4 + + AGENT #4 + Let's go somewhere and talk this thing + over. Okay? Just come with me... + + JEFFREY + You're right! Absolutely right. Me's + a nut case, totally deranged. Delusional! + Paranoid. HIS PROCESSOR'S ALL FUCKED + UP, HIS INFORMATION TRAY IS JAMMED. + + AGENT #4 is wishing JEFFREY would chill out even as the THIRD + AGENT is climbing up the staircase to help. + + COLE is like a trapped animal. He's being led down the staircase + now with JEFFREY, right on his heels, yelling so EVERYONE can +hear. + + JEFFREY + YOU KNOW WHAT IT IS, THE "ARMY OF THE + TWELVE MONKEYS"? IT'S A COLLECTION OF + NATURE KOOKS WHO RUN A STORE DOWNTOWN. + SPACE-CASE DO-GOODERS SAVING RAIN + FORESTS. I HAVE NOTHING TO DO WITH + THOSE BOZOS ANYMORE. I QUIT BEING THE + RICH KID FALL GUY FOR A BUNCH OF + INEFFECTUAL BANANAS. SO MUCH FOR YOUR + GRAND PLOT! + + COLE stares back at JEFFREY as both AGENTS hustle COLE down the + stairs. It sounds true! JEFFREY'S so confident. + + AGENT #3 + Take it easy, Mr. Mason, we've got him. + Everything's... + + JEFFREY + MY FATHER HAS BEEN WARNING PEOPLE ABOUT + THE DANGERS OF EXPERIMENTATION WITH + VIRUSES AND DNA FOR YEARS. YOU'VE + "PROCESSED" THAT INFORMATION THROUGH + YOUR ADDLED PARANOID INFRA-STRUCTURE AND + LO AND BEHOLD, I'M FRANKENSTEIN AND THE + "ARMY OF THE TWELVE MONKEYS" BECOMES + SOME SORT OF SINISTER REVOLUTIONARY + CABAL. THIS MAN IS TOTALLY BATSHIT! YOU + KNOW WHERE HE THINKS HE COMES FROM??? + + Suddenly, COLE, catching the AGENTS by surprise, wrenches free, + shoves them aside, and stumbles down the rest of the staircase. + + INT. FOYER/MASON MANSION + + COLE heads for the front door, but there's an AGENT there! COLE + turns and limps madly toward the dining room, pushing his way + through the crowd of amazed GUESTS. + + INT. DINING ROOM/MASON MANSION + + SERVANTS, clearing the table, look up astonished as two AGENTS + burst into the room. + + AGENT #4 + Did a man just come through here...limping? + + INT. KITCHEN/MASON MANSION + + COOKS stare, amazed, as two OTHER AGENTS burst into the kitchen + and look about urgently. + + INT. DEN/MASON MANSION + + A large projection TV is on and a knot of GUESTS is gathered in + front of it...watching the spooky VIDEO IMAGES. + + TV REPORTER (v.o.) + These pictures we are seeing are coming + to us live from deep inside the pipe. + You can just make out the metal wall + behind those roots and I guess those + must be spider webs. + + MRS. McCANN, a guest, watching the TV, expresses concern... + + MRS. McCANN + Well, if you ask me, I think that monkey + is going to eat the sandwich himself. + + Just then, two AGENTS burst into the den. + + The GUESTS turn from the TV, startled, stare open-mouthed, but + the AGENTS have spotted an open window and are hurrying to it. + + AGENTS POV OUT THE WINDOW: the rows of expensive parked CARS. + + ON THE TV SCREEN, RAILLY'S photograph appears. + + TV ANCHOR (v.o.) + This just in: Police say that the body of + a woman found strangled in the Knutson state + Park could be kidnap victim, Dr. Kathryn Railly. + + As the AGENTS run out of the room, a photo of RAILLY'S abandoned + Acura comes up on the TV screen. + + TV ANCHOR (v.o.) + Earlier in the day, police located + Railly's abandoned car not far from a + building where three animal rights + activists were found bound and gagged... + + EXT. MASON MANSION - MINUTES LATER (NIGHT) + + Pistols drawn, AGENTS move cautiously among the rows of parked + luxury cars, checking inside and under the vehicles. + + AN AGENT'S VOICE (o.s.) + COME ON OUT, MR COLE -- WE'RE NOT GOING + TO HURT YOU. + + INT. PARKED GREEN JAGUAR + + COLE, scrunched down on the floor next to the driver's seat, + spots the key dangling from the ignition, then lifts his head + slightly to study the shift mechanism, trying to figure it out. + + EXT. PARKED CARS/MASON MANSION + + AGENTS continue to move cautiously among the parked cars. + + INT. PARKED GREEN JAGUAR + + COLE eases himself into the driver's seat, tentatively slides the + shift into "Drive", then turns the key. Nothing happens. + + Panic. COLE studies the shift again. + + EXT. PARKED CARS/MANSION + + AGENT #5 approaches the row where the Jaguar is parked. + + INT. PARKED GREEN JAGUAR + + COLE slides the shift from D (Drive) to N (Neutral). He twists + the key again. The engine ROARS...SEVEN THOUSAND RPM! + + EXT. LAWN/MANSION + + AGENT #5 whirls at the sound. + + SMASH. The JAGUAR clips the Mercedes parked in front of it and + accelerates right at him! + + AGENT #5 dives aside just as the speeding JAGUAR whizzes past + him, slams into a parked Cadillac, bounces off, grinds between + two other parked vehicles with a fierce scream of tearing metal. + + INT. MOVING JAGUAR + + Caught between two cars, COLE can only lean on the gas pedal. + + The JAGUAR comes free with a great SCCCREEEEECH... + + COLE sees the driveway ahead in the moonlight. Steering madly, + he plows through shrubs and gardens heading for the driveway. + + EXT. MASON MANSION - NIGHT + + Lights off, veering wildly, the JAGUAR reaches the driveway. + + AGENTS are leaping into cars and a HELICOPTER is coming to life, + its rotors whipping around. + + INT. SPEEDING JAGUAR/OUTERHRIDGE ?OAD - NIGHT + + COLE turns onto the road, careening crazily from one side to the + other, unable to see ahead with no headlights. + + COLE + LIGHTS! LIGHTS! + + He starts hitting switches. The wipers come on, the RADIO BLARES. + + RADIO REPORTER'S VOICE/RADIO (o.s.) + ---when they pulled the monkey out, it + was still clutching the tinfoil wrapped + sandwich. + + Rounding a bend, an ONCOMING CAR heads straight at COLE. + + COLE yanks the wheel as the OTHER CAR, horn BLARING, just misses +him. + + Recovering, COLE loses the road, speeds crazily along the +shoulder. + + INT. FLYING HELICOPTER - NIGHT + + The PILOT, an agent, steers the chopper while the CO-PILOT pans a + spotlight over the two lane road beneath them. + + Just then, the PILOT sees headlights below. + + PILOT + There! He's showing lights. + + INT. SPEEDING JAGUAR - NIGHT + + COLE can see the road now in his headlights as the windshield + wipers scrape frantically and the RADIO BLARES... + + RADIO REPORTER'S VOICE/RADIO (o.s.) + We don't know what to think. They + didn't locate him and they don't know + how much longer he can last, that's + assuming the boy is still alive. + + A spotlight hits the car and COLE hears the sound of the + HELICOPTER as it lowers over him! + + EXT. OUTERBRIDGE ROAD + + The HELICOPTER maneuvers over the speeding JAGUAR. + + INT. SPEEDING JAGUAR + + COLE can see the underbelly of the HELICOPTER a few feet above + his front windshield. + + Desperate, he yanks the wheel hard, veering off the road. + + COLE'S POV THROUGH THE WINDSHIELD: dense woods ahead. + + EXT. HELICOPTER/WOODS + + The chopper pulls up sharply, avoiding the trees, then levels out. + + INT. HELICOPTER + + The PILOT skims the top of the trees while the CO-PILOT rakes the + forest below with his spotlight. + + PILOT + Goddamnit! Where is he? + + The CO-PILOT gets a brief glimpse of headlights through the +leaves. + + CO-PILOT + There! Over there. + + PILOT + Where? + CO-PILOT + Eight o'clock! He was right there. + + The headlights are gone. Nothing but darkness below. + + PILOT + He musta turned his lights of if. + + CO-PILOT + Couldn't drive down there without + lights. We just can't see 'em. + + PILOT + Maybe he's not driving! + + EXT. WOODS - LATER (NIGHT) + + A weather forecast BLARES from the radio of the steaming Jaguar, + crumpled into a tree, the driver's door open. + + A POLICE OFFICER, pistol drawn, approaches the car cautiously, as + OTHER OFFICERS and AGENTS stay behind trees, weapons ready. + + The POLICE OFFICER lunges forward, pointing his weapon into the + Jaguar. He inspects the car, then turns and calls out... + + POLICE OFFICER + He's not in here. + + EXT. WOODS/CLEARING - NIGHT + + Limping, bleeding from various cuts, COLE CRASHES through + underbrush as he follows a stream through the woods. + + Suddenly, he sees what he's looking for. + + The FORD...barely visible in the moonlight, parked in the trees + beside the stream. The car looks empty. + + INT. TRUNK/FORD + + Total blackness! The sound of keys in the lock. + + Then, the trunk swings open and COLE stands in the moonlight, + looking down + + RAILLY is in the trunk, tears of rage and frustration in her eyes. + + RAILLY + You bastard! You total bastard! + + EXT. FORD + + COLE backs away, as RAILLY scrambles out of the trunk, swinging. + + He slips, falls, and she starts kicking him as she rants +hysterically. + + RAILLY + I could have died in there. If something + had happened to you I would have died. + + COLE is lying on the ground, looking up, his lip caked with blood. + + COLE + I...I...I'm really sorry. + + Noticing his cuts and torn clothes, she stops kicking him. + + RAILLY + What have you done? Did you...kill someone? + + COLE + (getting to his feet) + No! I...don't think so. I stole a car + and they chased me. I hit a tree. + + RAILLY + See -- you can drive after all! + + COLE + Yeah, sort of, I guess. I...I'm sorry + I locked you up. I thought...I thought... + I think maybe I am crazy! + + She looks at him. Breakthrough? Very calm now, the doctor. + + RAILLY + What made you think that? + + COLE + Jeffrey Mason said it was my idea about + the virus. And suddenly, I wasn't + sure. We talked when I was in the + institution, and it was all...fuzzy. + The drugs and stuff. + (horrified) + You think maybe I'm the one who wiped + out the human race? It was my idea? + + RAILLY + Nobody is going to wipe out the human + race. Not you or Jeffrey or anybody + else. You've created something in your + mind, James -- a substitute reality. + In order to avoid something you don't + want to face. + + COLE + I'm..."mentally divergent". I would + love to believe that. + + RAILLY + It can be dealt with, but only if you + want to. I can help you. + + COLE reacts to the sound of VOICES in the woods, dogs BARKING. + + COLE + I need help all right. They're coming + after me. + + RAILLY + First, it's important that you + surrender to them instead of them + catching you running. Okay? + + COLE + (brightening) + It would be great if I'm crazy. If I'm + wrong about everything...the world will be + okay. I'll never have to live underground. + + RAILLY + Give me the gun. + + COLE + The gun! ... I lost it + + RAILLY + You're sure? + + COLE + (showing her) + No gun! + (looking up) + Stars! Air! I can live here. Breathe! + + RAILLY starts around to the front of the car. + + RAILLY + I'm going to attract their attention, + let them know where we are, okay? + + RAILLY gets in the driver's seat...and starts to HONK the horn. + + RAILLY + (calling out) + They'll tell you to put your hands on top + of your head. Do what they tell you. You're + going to get better, James -- I know it! + + ANGLE ON COLE, spotting something on the ground. An insect! He + reaches down to grab it, but, instead, grins, grabs some grass, + stands, and starts rubbing it happily all over his face. The + HORN BLARES as COLE looks up at the sky. + + ANGLE ON THE NIGHT SKY, the moon full, the sky rich with stars. + + ANGLE ON COLE, tears of joy running down his face. + + COLE + I love this world! + + ANGLE ON RAILLY, in the driver's seat, hearing near-by SHOUTS + from the woods. The police are almost here. She gets out of the + car, starts around toward COLE. + + RAILLY + Remember, I'm going to help you. I'll + stay with you. I won't let them... + + She breaks off mid-sentence...stares, stunned! + + COLE is gone. Disappeared. + + INT. POLICE STATION OFFICE - MORNING + + RAILLY is being "debriefed" by POLICE OFFICERS and FBI AGENTS. + + RAILLY + Then I said something to him about + cooperating and he said he would do + that, so I got in the car and started + honking the horn. When I got out, he + was gone. + + LIEUTENANT HALPERIN + You lucked out. For a while we thought + you were a body they found down state... + mutilated. + + A COP enters, hands a photo to LIEUTENANT HALPERIN who studies it. + + RAILLY + He wouldn't do something like that -- he... + + LIEUTENANT RALPERIN + (interrupts, hands her the photo) + This the man he attacked? + + RAILLY looks at the photo, an 8 x 10 of the FIRST THUG, slumped + against the alley wall, obviously dead. + + RAILLY + I'd like to be clear about this. That + man and the other one were..."severely" + beating us. James Cole didn't start + it. In fact -- he saved me! + + LIEUTENANT RALPERIN + Funny thing, Doctor, maybe you can + explain it to me, you being a psychiatrist + -- why do kidnap victims almost always + try to tell us about the guys who grabbed + 'em and try to make us understand how + kind these bastards really were? + + RAILLY + (as if reciting) + It's a normal reaction to a life- + threatening situation. + (suddenly animated) + He's sick. He thinks he comes from the + future. He's been living in a carefully + constructed fantasy world and that world + is starting to disintegrate. He needs + help! + + INT. AIRPORT CONCOURSE/THE DREAM + + YOUNG COLE stares, eyes wide. + + He sees the BRUNETTE, cradling the head of the BLONDE MAN as he + sprawls on the concourse... + + ASTROPHYSICIST'S VOICE (O.S.) + Wake up! Wake up! + + GEOLOGIST'S VOICE (O.S.) + I think we gave him too much. + + MICROBIOLOGIST'S VOICE (O.S.) + WAKE UP, PRISONER! + + INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT + + COLE blinks awake. All he can see are blurry faces hovering over + him, hammering him with questions. + + ASTROPHYSICIST + Come on, Cole, cooperate! + + GEOLOGIST + Spit it out... you went to the home of + a famous virologist... + + COLE + (weakly) + You...don't...exist! You're in + my mind... + + SCIENTISTS (IN RAPID SUCCESSION) + What? What's that? What did he say? His + brain's fried. Give him another shot! + SPEAK UP, COLE. WHAT DID YOU DO NEXT? + + INT. RAILLY'S APARTMENT - EVENING + + The TV shows film of RAILLY leaving the police station. + + TV REPORTER (v.o.) + The kidnap victim seemed exhausted but + apparently unharmed by her 30 hour ordeal + as she left the police station in + Philadelphia this morning. So far she + has refused to make a public statement. + + RAILLY'S friends, MARILOU and WAYNE, are watching the TV. + + A door opens and KATHRYN RAILLY, wearing a robe, comes out of her + bedroom. She still looks exhausted Followed by her cat, she + enters the kitchen area and turns on the kettle as WAYNE hastily + turns down the TV. + + WAYNE + Sorry. + + RAILLY + No -- I'm in a state of hyper- + alertness. I can't sleep. + + MARILOU + Did you take the sedative? + + RAILLY + I hate those things. They mess my head + up. + + The old mug shot of COLE appears on the screen and RAILLY remotes + the volume up. + + TV REPORTER (v.o.) + Along with the kidnapping of the Baltimore + woman, James Cole is now also wanted in + connection with the brutal slaying of + Rodney Wiggins, an ex-convict from... + + RAILLY goes to the window, pushes aside the drape, and sees... + + HER POV: ACROSS THE STREET...A COP keeps watch. + + RAILLY (o.s.) + Do they really expect him to come here? + + RAILLY returns to the kitchen area where MARILOU is getting the + tea things out. + + TV REPORTER on air + And in Fresno, California... + + RAILLY + (glances sadly toward the TV) + He's dead, isn't he -- that little boy? + + WAYNE + He's fine. It was just a "prank" he + and his friends pulled. + + CLOSE ON RAILLY'S FACE... SHOCKED. + + ANGLE ON THE TV SCREEN, showing footage of a sheepish nine year + old boy being led out of a barn by the police. The cops look +grim. + + TV REPORTER (v.o.) + Authorities have so far been noncommittal + about whether they will try to file + charges against the families of the + children involved in the hoax. + + RAILLY stares at the TV, stunned. + + INT. "HOSPITAL" ROOM - ETERNAL NIGHT + + VOICES! SINGING! COLE blinks awake, looks around, confused, then + stares in disbelief.... + + Crowded around COLE'S bed, the SCIENTISTS are concluding a + ragged, out of tune, rendition of "BLUEBERRY HILL." + + SCIENTISTS + ---found my thrills on Blueberry Hill... + + Seeing he's awake, SCIENTISTS break off the song and applaud. + + SCIENTISTS + Well done, James! Well done! Nice + going! Congratulations! Good for you! + + BOTANIST + During your "interview," while you + were..."under the influence," you told + us you liked music! + + COLE, confused, looks around, sees he's in a one-bed windowless + room adorned with cheap reproductions of 19th and 20th century + landscapes. + + The BOTANIST responds to COLE'S obvious disbelief with a + friendly smile and the others join in rapid fire, overlapping. + + ZOOLOGIST + This isn't the prison, James. + + BOTANIST + This is a hospital. + + ASTROPHYSICIST + But just until you recover your, + uh,... equilibrium. + + ENGINEER + You're still a little... disoriented. + + GEOLOGIST + Stress! Time travel! + + ASTROPHYSICIST + You stood up very well, considering... + + GEOLOGIST + Superior work! Superior! + + BOTANIST + You connected the Army of the 12 + Monkeys to a world famous virologist + and his son... + + MICROBIOLOGIST + Others will take over now... + + ZOOLOGIST + We'll be back on the surface in a + matter of months.... + + GEOLOGIST + We'll retake the planet. + + ASTROPHYSICIST + We're very close! Because of you! + + ENGINEER + (unrolling a document) + This is it, James...what you've been + working for. + + BOTANIST + A full pardon! + + MICROBIOLOGIST + You'll be out of here in no time. + + ASTROPHYSICIST + Women will want to get to know you... + + COLE + I DON'T WANT YOUR "WOMEN," YOU + BRAINLESS TWIT! I WANT TO BE WELL! + + Unseen until now, two guards, TINY and SCARFACE, suddenly break + through the ring of SCIENTISTS, push COLE down, and tighten the + loose restraints, already in place, but unnoticed before. + + ASTROPHYSICIST + (sympathetically) + Of course you want to be well, James. + And you will be...soon. + + COLE bursts into hysterical laughter. + + 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! + + INT. PSYCHIATRIST'S OFFICE - DAY + + CLOSE ON KATHRYN RAILLY, insisting fiercely to someone, + + RAILLY + He not only used the word "prank" -- he + said the boy was hiding in a barn. + + RAILLY's talking to her former boss, DR. OWEN FLETCHER, +psychiatrist + sitting across from her in his office, tapping his pen. + + DR. FLETCHER + He kidnapped you, Kathryn. You saw him + murder someone. You knew there was a real + possibility he would kill you, too. You + were under tremendous emotional stress. + + RAILLY + For God sakes, Owen, listen to me -- he + knew about the boy in Fresno and he says + three billion people are going to die! + + DR. FLETCHER + Kathryn, you know he can't possibly + know that. You're a rational person. + You're a trained psychiatrist. You + know the difference between what's real + and what's not. + + RAILLY + And what we believe is what's accepted as + "truth" now, isn't it, Owen? Psychiatry -- + it's the latest religion. And we're the + priests -- we decide what's right and what's + wrong --we decide who's crazy and who isn't. ... + I'm in trouble, Owen. I'm losing my faith. + + INT. "HOSPITAL" CELL - ETERNAL NIGHT + + Alone in his "hospital" room, COLE struggles without success to + free himself from his restraints. + + RASPY VOICE (o.s.) + You sure fucked up, Bob! + + Startled, COLE freezes, then ignores the RASPY VOICE and + continues his feverish struggle. + + RASPY VOICE (o.s.) + But I can understand you don't want + your mistakes pointed out to you. I can + relate to that, old Bob. + + COLE looks around in spite of himself. Nothing to see but the + walls and the landscape paintings. + + RASPY VOICE (o.s.) + Hey, I know what you're thinking. You're + thinking I don't exist except in your + head. I can see that point of view. But + you could still talk to me, couldn't you? + Carry on a decent conversation? + + COLE + (blurting) + I saw you! In 1995! In the real world! + You were a bum! You pulled out your teeth. + + RASPY VOICE (o.s.) + Why would I pull out my teeth, Bob? + They don't like that. That's a no-no. + And when did you say you saw me? + In...1872? + + COLE + FUCK YOU! + + RASPY VOICE (o.s.) + Yelling won't get you what you want. You + have to be smart to get what you want. + + COLE + Oh, yeah? What do I want? + + RASPY VOICE (o.s.) + You don't know what you want? Sure you + do, Bob. You know what you want. + + COLE, agitated, rocks back and forth. Then... + + COLE + Tell me. Tell me what I want. + + RASPY VOICE (o.s.) + To see the sky -- and the ocean -- to + be topside -- breathe the air -- to be + with her. ... Isn't that right? Isn't + that what you want? + + Completely shaken, COLE hesitates for a long moment. When he + speaks, it comes out of him like air...a whisper. + + COLE + More...than...anything. + + INT. RAILLY'S BEDROOM - MORNING + + RAILLY'S in bed, asleep, having a very bad dream. Suddenly, the + bedside phone RINGS. Her eyes snap open. A beat to orient + herself. RING. She reaches for the phone. + + INTERCUT LIEUTENANT HALPERIN'S OFFICE/RAILLY'S BEDROOM + + CLOSE ON HALPERIN, at his desk, talking into the phone. + + LIEUTENANT HALPERIN + Dr. Railly? Jim Halperin, Philly P.D.. + Sorry to call so early but... + + CLOSE ON RAILLY, eager, concerned. into the phone, + + RAILLY + You found him? Is he all right? + + CLOSE ON HALPEPIN, noting her reaction with raised eyebrows + giving an "I told you so" look to the BLACK PLAINCLOTHES cop + across his desk, then continuing into the phone, + + LIEUTENANT HALPERIN + Au contraire, Doctor. No sign of your + good friend, the kidnapper. However, + the plot thickens. I have a ballistic + report on my desk that says the bullet + you claim you removed from Mr. Cole's + thigh is an antique...and all indications + are it was fired...sometime prior to 1920. + + ANGLE ON RAILLY, reacting, stunned. + + ANGLE ON HALPERIN, continuing soberly now, + + LIEUTENANT RALPERIN + So what I was thinking was, maybe if I + sent a detective down there to talk + with you, you could maybe revise or + amplify on the circumstances.... + Hello? Hello? Dr. Railly? + + HALPERIN considers the dead phone, glances at the COP again. + + INT. RAILLY'S BEDROOM/STUDY + + Her hand still on the receiver, RAILLY looks shocked. Then, she + hurries into her study and starts frantically pulling neatly + arranged piles of papers and books from a bookcase until she + finds a copy of her book. She leafs through it hurriedly, + locates the picture of the Puerto Rican KID (JOSE) in WWI. + + Peering closely, she tries to see everything in the picture. + Then, she turns and reaches for a research folder of old + photographs and rummages through it until she finds...!!! + + RAILLY + No! + + It's an uncropped shot of JOSE being carried on the stretcher in + the trenches. And there in the corner with no helmet, no gas + mask, and just a bit of bare shoulder showing...it's COLE!!! + + INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT + + Clean shaven, clear eyed, COLE sits before the frowning +SCIENTISTS. + + ASTROPHYSICIST + The food, the sky, the certain, uh, + sexual temptations -- you haven't + become "addicted" have you, Cole? To + that "dying" world' + + COLE + No, sir! I just want to do my part. + To get us back on top...in charge of + the planet. And I have the experience, + I know who the people are... + + BIOLOGIST + He really is the most qualified... + + GEOLOGIST + But all that..."behavior"... + + ASTROPHYSICIST + (to Cole, a little hurt) + You said we weren't "real," Cole... + + COLE + Well, sir, I don't think the human mind + was built to exist in two different... + whatever you call it..."dimensions." + It's stressful, you said it yourselves, + it gets you confused. You don't know + what's real and what's not. + + MICROBIOLOGIST + But you know what's real now? + + COLE + Yes, sir. + + The SCIENTISTS start to confer openly among themselves + + GEOLOGIST + He'd have to bone up, catch up to our + research, the latest clues... + + ZOOLOGIST + He's proved to be a quick study... + + The ASTROPHYSICIST fixes COLE with a sharp, penetrating look. + + ASTROPHYSICIST + You can't trick us, you know. It + wouldn't work. + + BIOLOGIST + And why would you want to? It'll be + dangerously close to the end. + + COLE + I understand. There'd be no point. + + ASTROPHYSICIST + We're going to think about it, Cole. + Among ourselves. We'll get back to you. + + INT. DR. MASON'S OFFICE - DAY + + Standing in front of a wall of glass in his office, overlooking a + hi-tech lab below where WORKERS in white "space suits" work + methodically, DR. MASON speaks angrily into a phone. His male + ASSISTANT, whose features we don't see, stops writing a formula + on a blackboard and listens. + + DR. MASON + You have reason to believe that my son + may be planning to do what?!!! + + INT. RAILLY'S APARTMENT/STUDY + + RAILLY, trying to stay calm, is talking to Dr. Mason on the phone. + + RAILLY + Please, I know it sounds insane but... + + INT. DR. MASON'S OFFICE + + Dr. Mason on the phone. + + DR. MASON + (into the phone) + I'm afraid this doesn't seem very + professional to me, in fact it's + distressingly unprofessional for some- + one who treated my son briefly (if + indeed you actually are who you say you + are) to take a sudden unsolicited interest + in his mental health six years later, + and to telephone a parent to express + opinions that would be inappropriate... + (breaks off, listens, then) + I don't know anything about "Monkey + armies", Doctor. Nothing whatsoever. + If my son ever was involved in... + (listens, then,) + It would be doubly inappropriate to + discuss matters of security with you, + Dr. Railly, but if it will put you at + ease, neither my son nor any other + unauthorized person has access to any + potentially dangerous organisms in this + laboratory. Thank you for your concern. + + DR. MASON hangs up angrily and glares. + + DR. MASON'S ASSISTANT (o.s.) + Dr. "Kathryn" Railly???? + + DR. MASON + The psychiatrist who was kidnapped by + that man who broke into my house. She + seems to have been suddenly struck by + the most preposterous notion about Jeffrey. + + DR. MASON'S ASSISTANT (o.s.) + I attended a lecture once...Apocalyptic + visions. + + We see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red- + haired man who insisted to Dr. Railly you didn't have to be + insane to think the world was coming to an end. + + DR. PETERS (cont.) + Has she succumbed to her own + theoretical..."disease"? + + But DR. MASON is lost in thought, not listening. + + DR. MASON + Given the nature of our work, we can't ever + be careful enough. I think we should review + our security procedures, perhaps upgrade them. + + INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT + + COLE is facing the BOTANIST who's using a pointer to indicate + various fading photos and newspaper clippings tacked on the wall. + + BOTANIST + Let's consider again our current + information -- if the symptoms were + first detected in Philadelphia on June + 28, 1995, that makes us know that...? + + COLE + It was released in Philadelphia, + probably on June 14, 1995. + + BOTANIST + And it appeared sequentially after that + in...? + + With a quick glance at the panel of SCIENTISTS staring at him + from behind the long table, COLE replies like a good pupil, + + COLE + San Francisco, New Orleans, Rio de + Janeiro, Rome, Kinshasa, Karachi, + Bangkok, then Peking. + + BOTANIST + Meaning...??? + + COLE + That the virus was taken from Philadelphia + to San Francisco, then to New Orleans, + Rio de Janeiro, Rome, Kinshasa, Karachi, + Bangkok, then Peking. + + BOTANIST + And your only goal is...??? + + COLE + To find out where the virus is so a + qualified scientist can travel back into + the past and study the original virus. + + BOTANIST + So that...??? + + COLE + Uh, so that a vaccine can be developed + that will, uh, allow mankind to reclaim + the surface of the earth. + + COLE glances nervously at the suspicious SCIENTISTS as the + BOTANIST switches on a slide projector and projects... + + a magazine photo of wall graffiti: "ATTENTION!!! POLICE ARE + WATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?" + + BOTANIST (o.s.) + This is from a magazine printed in late + September, 1995. The writer speculated + that this graffiti might be related to + the epidemic that by that time had + already killed thirty million people + world-wide and was getting worse. He + says, certain people, unnamed, were + questioned, but what came of that is not + known. But it is a clue you should pursue. + + COLE stares at the picture. + + EXT. FAA STOREFRONT - DAY + + LOUD BANGING! The storefront window, completely covered with + posters, quivers violently. Images of MONKEYS covered with + electrodes, BABY SEALS being viciously clubbed, DOGS jammed into + tiny cages quiver as somebody beats on the window. It's RAILLY. + + RAILLY + IS ANYBODY IN THERE? HELLO? IS + SOMEONE IN THERE? IF YOU'RE IN THERE, + I NEED TO TALK TO YOU. + + INT. FAA STORE + + JEFFREY, BEN, TEDDY, and two of JEFFREY'S youthful cohorts, SANDY + and KWESKIN, wait motionless beside a heap of cardboard cartons + as FALE peeks out the front window through a slit between posters. + + FALE + It's the kidnap woman -- the one who + was with the guy who tied us up. + + BEN + What's she doing? + + FALE + She's drawing attention to us, that's + what she's doing. ... I don't know what + you're up to this time, Mason, but + you're gonna get us in deep shit! + + JEFFREY + Whine, whine, whine. What about walkie + talkies? We used to have walkie talkies. + + EXT. FAA STOREFRONT + + From littered doorways, DERELICTS sneak peeks at RAILLY as she, + seemingly mad, shakes the doorknob, then hammers on the door. + + RAILLY + I SAW YOU! I SAW SOMEONE MOVING. I + KNOW YOU'RE IN THERE! + + RASPY VOICE (o.s) + Secret experiments! + + RAILLY whirls, sees LOUIE, the raspy-voiced toothless derelict. + + LOUIE + That's what they do -- secret weird stuff! + + RAILLY + You! I know you! + + But LOUIE is studying the pictures of the tortured animals now. + + LOUIE + Not just on them. Do 'em on people, + too -- down at the shelters. Feed 'em + chemicals 'n take pictures of 'em. + + RAILLY + Have you seen James Cole? The man...? + + LOUIE + They're watchin' you. Takin' pictures. + + RAILLY follows his look. + + ANGLE ON AN OLD CHEVY, parked across the street, the PLAINCLOTHES + COP slouched at the wheel, pretending to read a newspaper. + + RAILLY + The police. I know. Listen, I need to + talk to James, but he has to be careful + how he contacts me. He mustn't get + caught. Do you understand me? + + LOUIS + Uh, yeah, sure. Uh...who's James? + + RAILLY + He was with me, he spoke to you. + Several weeks ago. He said you were + from the future...watching him. + + LOUIS gives her a look that says, "I'm outta here!" + + But just then, RAILLY spots two TEZNAGE PUNKS surreptitiously + "tagging" their way along the street with cans of spray paint. + + RAILLY stares at the PUNKS. + + INT. FAA STORE + + FALE watches JEFFREY go over a check list while KWESKIN, SANDY, + and TEDDY organize materials, and BEN peeks out the small opening + between posters at the front window. + + JEFFREY + You get the bolt cutters? + + KWESKIN + One dozen. They're in the van. + + FALE + One dozen bolt cutters! Whadda you + gonna do with one dozen bolt cutters? + + JEFFREY + (grins) + You really want to know? + + FALE + No! Absolutely not. Don't tell me anything. + + BEN + Hey! Do you know what she's doing? + + Everybody freezes, looking toward 3EN, who's peeking outside. + + Then, except for JEFFREY, they all crowd around BEN to get a look. + + POV THROUGH SLIT: a glimpse of RAILLY, spray painting the front + of the store! + + TEDDY + What's it say? + + BEN + I can't see it. + + JEFFREY + (erupting) + WHY DON'T WE FORGET MY GODDAMN + PSYCHIATRIST AND DEAL WITH THE TASK AT + HAND. THIS IS IMPORTANT. + + FALE + (spinning around) + Your psychiatrist? Did you just say, + "your psychiatrist"? + + JEFFREY + Ex-psychiatrist! Now, what about + flashlights? How many flashlights...? + + FALE + That woman is...was...your... + psychiatrist? And now she's spray- + painting our building? + + EXT. FAA STOREFRONT/SECOND AVENUE + + ANGLE ON SLACK PLAINCLOTHES COP, across the street in the CHEVY, + amazed, watching RAILLY spray painting. He shakes his head +wearily. + + ANGLZ ON STREET TYPES, inching closer, watching RAILLY with + amazement, too. They include... + + an IRISH DRUNK, white haired, red-faced, bloated... + + a NATIVE AMERICAN with tormented eyes and a mangled ear... + + an AFRICAN AMERICAN with one eye... + + the TEENAGED PUNKS... + + a WHITE MAN, shabbily dressed, joining the knot of ONLOOKERS, + reacting at the sight of RAILLY. It's COLE! He pushes toward +her. + + COLE + Kathryn! + + RAILLY stops spraying, whips around at the sound of his VOICE. + + RAILLY + James! + + With a quick glance toward the PLAINCLOTHES COP, RAILLY takes + urgent charge of the situation. + + RAILLY + James! That's a policeman. Pretend + you don't know me. If he sees you... + + COLE + (turning, looking) + No, I want to turn myself in. Where is he? + (placing his hands on his head) + Don't worry -- it's all okay now. I'm + not crazy any more! I mean, I am + crazy, mentally divergent, actually, + but I know it now and I want you to + help me. I want to get well... + + ANGLE on RAILLY, desperately pulling COLE'S hands off his head as + she tries to block the COP'S view of COLE. + + RAILLY + James -- put your hands down and listen + to me. Things have changed! + + ANGLE ON THE PLAINCLOTHES COP, checking the mug shot of COLE on + his clipboard, then reaching for his radio mike. + + ANGLE ON RAILLY, reacting to the COP speaking into his mike: she + tosses the spray paint can aside, grabs COLE and tries to pull + him along...but COLE isn't moving. He's staring at the front of + the FAA Store with disbelief! + + RAILLY + James, come on! We have to get out of here! + + COLE looks from the wall to the can rolling on the sidewalk, + then back to the wall where RAILLY has sprayed the huge words: + + ATTENTION!!! POLICE ARE WATCHING! + IS THERE A VIRUS? IS THIS THE + SOURCE? THREE BILLION DIE? + + It's the graffiti COLE saw in the future, in the picture! + + COLE + I've seen that...before. + + But RAILLY'S total attention is on their dilemma. + + RAILLY + James, trust me. We're in terrible + trouble. We have to run. + + Very confused, COLE lets her drag him along the sidewalk, past + ONLOOKERS. She looks crazier than he does. + + ANGLE ON THE CHEVY, making a sudden, urgent u-turn, almost + colliding with a passing car. BRAKES SQUEAL and a HORN BLARES. + + INT. FAA STORE - DAY + + ANGLE ON BEN, peeking out, reacting to the drama. + + BEN + Wow, a guy in a Chevy is chasing her + and some other guy I can't see. + + FALE + Hey, no problem, it's probably just + another kidnapping featuring Jeffrey's + shrink, pardon me, make that ex-shrink. + (indicating Jeffrey to the others) + This is your leader, a certifiable lunatic + who told his former psychiatrist all his + plans for God knows what whacko irresponsible + schemes, and now who knows what she's + painted out there on our wall? + + JEFFREY + WHO CARES WHAT PSYCHIATRISTS WRITE ON + WALLS? + (moves to Fale, jabs him with a finger) + You think I told her about the Army of + the 12 Monkeys? Impossible! Know why, + you pathetically ineffectual and + pusillanimous "pretend-friend-to- + animals"?! I'll tell you why: because + when I had anything to do with her six + years ago, there was no such thing -- I + hadn't even thought of it yet! + + FALE + (triumphant) + Then how come she knows what's going on? + + JEFFREY abruptly switches from rage to good humor, adopting a + supercilious smile and a patronizing tone. + + JEFFREY + Here's my theory on that. While I was + institutionalized, my brain was studied + exhaustively in the guise of mental health. + I was interrogated, x-rayed, studied + thoroughly. Then, everything about me + was entered into a computer where they + created a model of my mind. + + They all stare, mesmerized, at the strutting JEFFREY. Is he + serious? Is he crazy? Doesn't matter -- he's charismatic. + + JEFFREY (cont.) + Then, using the computer model, they + generated every thought I could possibly + have in the next, say ten years, which + they then filtered through a probability + matrix to determine everything I was + going to do in that period. So you + see, she knew I was going to lead the + Army of the Twelve Monkeys into the + pages of history before it ever even + occurred to me. She knows everything + I'm ever going to do before I know it + myself. How about that? + + JEFFREY smiles smugly into FALE'S flabbergasted face. + + JEFFREY + Now I have to get going -- do my part. + You guys check all this stuff out and + load up the van. Make sure you have + everything. I'm outta here. + + JEFFREY exits. The others stare at the door. + + FALE + He's seriously crazy -- you know that. + + EXT. SKID ROW ALLEY - DAY + + An overflowing dumpster squats near the mouth of an alley. + + The unmarked CHEVY crawls slowly past the alley, the PLAINCLOTHES + COP'S eyes searching everywhere. + + Trash stirs in the dumpster and RAILLY'S eyes peer up out of the + torn cardboard boxes, rotting food, and styrofoam litter. + + HER POV: the POLICE CAR passes from view. + + ANGLE ON RAILLY, emerging from the refuse, hissing, + + RAILLY + James! Come on. + + A confused COLE emerges from the opposite end of the dumpster, + bits of lettuce in his hair. + + COLE + I don't understand what we're doing. + + RAILLY + (climbing out of the dumpster) + We're avoiding the police until I + can....talk to you. + + COLE + (climbing out after her) + You mean, treat me? Cure me? Kathryn, + those words on the wall -- I've seen + them before... I...I...dreamed them. + + But she's not listening. She's peeking out the alley entrance. + + RAILLY'S POV: across the street is a run-down skid row hotel, + THE GLOBE, ROOMS WEEKLY, DAILY. + + INT. GLOBE HOTEL/LOBBY - MINUTES LATER + + The DESK CLERK, an old alkie who hates trouble but finds it often, + stares across the counter suspiciously at RAILLY and COLE. + + DESK CLERK + Twenty five bucks an hour. + + RAILLY + An hour?! + + DESK CLERK + You want quarter hours, go someplace else. + + RAILLY + (catches on, pulls out her last bills) + Here's ninety eight. For the night. Deal? + + The DESK CLERK squints warily at this turn of events. Then, he + turns, gets a key, turns back and hands it to her. + + DESK CLERK + Forty four. Fourth floor, turn right. + Elevator's busted. + + RAILLY turns, COLE follows, and they walk quickly to the stairs + passing the stares of gloomy RESIDENTS sitting on torn sofas + chairs in front of an old TV with hideous color. + + ANGLE ON THE DESK CLERK, watching RAILLY and COLE climb + stairs. As they disappear from view, he picks up the phone, + punches a number, speaks into the phone. + + DESK CLERK + Tommy? This is Charlie at the Globe. + You know if Wallace has a new girl? + Sort of a rookie type? Blonde? + + INT. GLOBE HOTEL ROOM 44 - MINUTES LATER (DAY) + + COLE sits on the lumpy bed in the dingy room, watching RAILLY + pace back and forth like a mad woman. + + RAILLY + Okay...you were standing there looking + at the moon...you were eating grass... + then what? + + COLE + I thought I was in...prison again. + + RAILLY + Just like that? You were in prison? + + COLE + No, not really. It's...it's in my + mind. Like you said. + + RAILLY + You disappeared! One minute you were + there, the next minute you were gone. + Did you run through the woods? + + COLE + I don't know -- I don't remember. + + RAILLY + The boy in the well. How did you know + that was just a hoax? + + COLE + It was? I didn't...know. + + RAILLY + James, you said he was hiding in the barn... + + COLE + I think I saw a TV show like that when + I was a kid. Where a boy... + + RAILLY + IT WASN'T A TV SHOW! IT WAS REAL! + + COLE looks at her. She's really upset. + + COLE + Well, maybe that kid saw the same TV + show and copied it. Listen, you were + right, it's all in my head. I'm mentally + ill, I imagine all that stuff. I know + they're not real, I can trick them, make + them do what I want. I just worked on + them in my head and I got back here. I + can get better. I can stay here. + + RAILLY pulls a photo from her purse, shows it to COLE. + + It's the uncropped picture from her book, the photo of JOSE in + WWI with a fuzzy image of COLE on the edge of the frame, + + RAILLY + What does this mean to you? + + COLE + ...I had a dream about...something + like that. + + RAILLY + You had a bullet from World War One in + your leg, James! How did it get there? + + COLE + You said I had delusions -- that I + created a world -- you said you could + explain everything... + + RAILLY + Well, I can't. ... I mean...I'm trying + to. I can't believe that everything we + do or say has already happened, that we + can't change what's going to happen, + that I'm one of the three billion + people who are going to die...soon. + + COLE stands, moves close to her. + + COLE + I want to be here. In this time. With + you. I want to become...become a whole + person. I want this to be the present. + I want the future to be unknown. + + RAILLY + (sudden hopeful idea!) + James...do you remember...six years + ago...you had a phone number! You + tried to call and... + + WHAM! The door flies open, kicked violently, the flimsy lock not + holding. A menacing figure stands in the doorway. WALLACE. A + wiry biker-type with jail house tattoos and mean eyes. + + COLE and RAILLY are too stunned to say anything as WALLACE looks + them over coldly, insolently, then advances on RAILLY. + + WALLACE + This is my territory, bitch! + + COLE + (confused, turns to Railly) + Is this real -- or is this one of my + delusions? + + RAILLY + This is definitely real: + (to Wallace) + Excuse me, I think we have a little + misunderstanding here... + + WALLACE smashes RAILLY in the face. She flies back against the + wall and onto the floor as WALLACE spins around to COLE who is + stepping toward him, but WALLACE is now holding a knife + + WALLACE + What're you -- some kind of tough guy? + You wanna be a hero? You gonna try and + mess with me? Come on... + + A beat. COLE puts his hands up placatingly as he backs around + WALLACE and moves to RAILLY, whose eye is already swelling. + + WALLACE + Now that's a smart boy. But you, + honey, you think you can go 'round + me and peddle your fancy ass in this + part of town, you bet your life we got + what I would call a major goddamn + misunderstandin'. + + RAILLY reaches a hand up to COLE for assistance, but, he grabs + her purse instead, swings it around, SMASHES WALLACE in the face + with it, then grabs the pimp's arm and SNAPS it like it was a + twig! The knife clatters to the floor as WALLACE yelps in pain + and COLE slams him to the floor, straddles his chest, retrieves + the near-by knife, and presses it sharply against WALLACE'S neck. + + RAILLY + JAMES -- DON'T! + + COLE hesitates. + + WALLACE + (eyes bulging) + You...heard...her. Don't do it, man. + + RAILLY + (gets up, looks around) + Put him in the closet, ... But get his + money first. + + COLE + (amazed) + You want me to rob him? + + RAILLY + I...I...We need cash, James. + + A shadow. RAILLY turns toward the door and glimpses a FACE + disappearing, then hears SHOUTS from the hallway... + + SHOUTS (o.s.) + They're killing him! Call the cops. + + Being very careful not to move his neck, WALLACE reaches into his + pocket and produces a thick roll of bills, which RAILLY grabs. + + WALLACE + You two are crazy. I got friends. You + put me in a closet, they're gonna be + really pissed. + + COLE moves off Wallace and, keeping the knife close, yanks him to +his teeth while RAILLY hurries to the window and looks out. + + HER POV: A fire escape leads down into an alley. + + RAILLY turns just in time to see COLE shove WALLACE into the + bathroom, follow him in, slam the door behind them, and LOCK it. + + RAILLY + James, no! + + INT. BATHROOM + + RAILLY'S VOICE (from the other room) + (rattling the door knob) + James, what are you doing? + + WALLACE cowers back against the shower stall. + + WALLACE + I have friends, man -- if you cut me... + + WALLACE breaks off, bug-eyed, reacting to something we don't see! + + WALLACE + What...the...fuck..are you doing??? + + INT. GLOBE MOTEL ROOM 44 + + RAILLY is pounding on the bathroom door now as, suddenly, it + opens and COLE steps out, the knife in his right hand, dripping + with blood. + + RAILLY + Oh, my God, James. Did you kill him? + + COLE shakes his head "no" as blood oozes from his mouth. + + COLE + Just...just in case. In case I'm not + crazy... + (holds up two bloody molars) + That's how they find us. By our teeth. + (a beat, eye contact) + I don't want them to find me. Ever. I + don't want to go back. + + RAILLY's astonishment turns to emotion as it dawns on her the + choice he's made. Given up the future (if it exists, and it's + looking like it does)! Risking his life to be with her! For + this brief time! She's overwhelmed, lips trembling, tears + welling in her eyes. But just then, the SOUNDS of SHOUTS and + feet THUNDERING up the stairs snap her back to reality. + + INT. STAIRWELL/GLOBE HOTEL + + COPS' boots THUNDER up the stairwell. + + INT. ROOM 44/GLOBE HOTEL + + In between nervous glances toward the door, RAILLY supervises as + COLE obediently blocks the bathroom door with the bureau. + + RAILLY + Push it tight! + + WALLACE'S VOICE (from the bathroom) + NO PROBLEM! I'LL JUST STAY IN HERE! + DON'T WORRY ABOUT ME. + + INT. 4TH FLOOR HALLWAY/GLOBE HOTEL + + POLICE OFFICERS, led by the PLAINCLOTHES COP, make a cautious + entrance onto the 4th floor, guns drawn. + + Seedy HOTEL RESIDENTS point to Room 44, then cower back into + their doorways. + + EXT. GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY + + COLE and RAILLY clatter down the fire-escape, COLE in the lead. + They come to the end of the metal stairway. It's a long distance + to the ground. COLE jumps down, turns, reaches up to her. + + She lets herself down to him. Their eyes meet. He holds her in + his arms for a moment. Then, reluctantly, he puts her down. + They start running down the alley. + + INT. GLOBE HOTEL FOURTH FLOOR - DAY + + The PLAINCLOTHES COP has his pistol out, his back to the wall + alongside the open doorway to Room 44. The UNIFORMED OFFICERS + are backing him up, weapons drawn. + + PLAINCLOTHES COP + POLICE! THROW YOUR WEAPONS OUT AND + COME OUTTA THERE! + + No response. + + INT. GLOBE HOTEL ROOM 44 + + The PLAINCLOTHES COP charges into the room in a crouch, pistol + extended in both hands. He pans the gun around the empty room. + + HIS POV: the open window...the blood on the floor. + + WALLACE'S VOICE (from the bathroom) + HEY! ZAT THE POLICE! I'M AN INNOCENT + VICTIM IN HERE! I WAS ATTACKED BY A + COKED-UP WHORE AND A CRAZY DENTIST! + + EXT. BUS STOP/DOWNTOWN - LATE AFTERNOON + + A city bus disgorges a stream of PASSENGERS at a stop in the + toney downtown shopping district. Among them, RAILLY looks + furtively left and right, COLE on her heels. She's hidden her + bruised eye behind sun glasses; he's holding a bloody + handkerchief to his mouth. + + As he steps to the sidewalk, COLE is overwhelmed by the bustling + city, the tall downtown buildings. His eyes go up. + + COLE'S POV: a building, towering toward the sky. A building + with a ledge. The same ledge the lion prowled in the future!!! + + ANGLE ON COLE, shaken, as RAILLY ushers him into the recessed + entrance to a store. + + RAILLY + Wait here. I'm going to try that phone + number. Let's hope it's nothing! + + Dazed by his experience and the flow of SHOPPERS, COLE watches + her hurry to a pay phone twenty yards away, his view of her made + intermittent by PEDESTRIANS streaming past him, their FACES + looming frighteningly close. + + A BUSINESSMAN jostles COLE, forcing him back against the display + window. Turning, he faces the angry jaws of a BEAR only inches +away + + Recovering from a jolt of terror, COLE realizes the BEAR is a +life-size + toy in the display window. Relieved, he looks back at RAILLY. + + COLE'S POV: RAILLY, well out of earshot, speaking earnestly into + the phone. + + ANGLE ON COLE, startled, as a BUSINESSMAN, mistaking him for a + panhandler, shoves a dollar into his hand. Confused, COLE stares + at the dollar, then turns to say something to the retreating + BUSINESSMAN, but just then he sees RAILLY rushing toward him, + eyes sparkling with happiness, LAUGHING, ebullient. + + RAILLY + James! James! It's okay. We're + insane! We're crazy! + + COLE doesn't know how to respond, but a PASSERBY gives them a +look. + + RAILLY + It's a Carpet Cleaning Company... + + COLE + A Carpet Cleaning Company? + + RAILLY + (laughing) + No superiors! No scientists. No + people from the future. It's just a + Carpet Cleaning Company. They have + voice mail -- you leave a message + telling them when you want your carpet + cleaned. + + COLE + You... you left them a message? + + RAILLY + (impishly) + I couldn't resist. I was so relieved. + Wait'll they hear this nutty woman + telling them...they better watch out + for the Army of the Twelve Monkeys... + + Looking at her laughing face, COLE is struck with horror as he + realizes the truth! He starts to recite... + + COLE + "The Army of the Twelve Monkeys -- + they're the ones who are going to do + it. I can't do anything more. The + police are watching me." + + Now she's stunned. She glances back and sees the phone booth + twenty yards away. + + RAILLY + You... you couldn't have heard me. + + COLE + They got your message, Kathryn. They + played it for me. It was a bad + recording...distorted. I didn't + recognize your voice. + + RAILLY'S eyes fill with horror as she grasps the meaning. + + ANGLE ON A UNIFORMED COP, staring out the window of a POLICE + CRUISER as it inches along in the bumper to bumper traffic. + Noticing something, he reaches for his radio. + + ANGLE ON RAILLY, spotting the CRUISER, grabbing COLE, pulling him + into the CROWD. + + RAILLY + Come on. + + INT. DEPARTMENT STORE/MEN'S DEPARTMENT - 6:00 PM + + RAILLY, whose sun glasses don't really hide her bruised eye, adds + a man's Hawaiian shirt to the pile of other men's things heaped + on a counter in front of a very suspicious CLERK. + + RAILLY + And this. + (turning) + Anything else? + + But COLE'S not here. He's a short distance away...staring. + + COLE'S POV: aisle after aisle of eager shoppers and a bounty of + brand new consumer goods. + + ANGLE ON COLE, remembering another department store, dark and + full of moldering merchandise. + + ANGLE ON RAILLY, turning again to the CLERK. + + RAILLY + I guess that's it. + + CLERK + Shall I put this on your account, Ma'am? + + RAILLY + (producing Wallace's roll of bills) + No -- I'll pay cash. + + The CLERK stares at the huge roll of bills! + + RAILLY + What floor are the wigs on, please? + + EXT. PEST CONTROL VAN - NIGHT + + Surrounded by stripped and abandoned vehicles, the VAN, with a + PEST CONTROL logo on its side, is parked on a trash-littered + street beside the massive pillars of a towering freeway. + + INT. PARKED PEST CONTROL VAN + + The VAN is packed with SIX ACTIVISTS, SANDY and KWESKIN among + them, all wearing black. Some of them have climbing gear, tool + belts, all sorts of paraphernalia. KWESKIN is telling his story. + + KWESKIN + So then he goes into this incredible riff + about how his shrink, like, replicated + his brain while he was in the nut house. + Turned it into a computer. + + WELLER + And Fale believed it? + + KWESKIN + Oh, you know Fale! He's like, "If you + guys get nailed -- and I'm sure you will -- + I never saw you before in nay life!" + + LAUGHTER from all of them. Then, there's a sharp, rhythmic + series of RAPS on the side door, a signal. + + POPE quickly slides the door open. It's JEFFREY...grinning. + + Three other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of + the darkness behind JEFFREY, lugging a huge, squirming GARBAGE +BAG. + + The van occupants react with murmurs of "Awwwwwright" and "Far + out", then they help maneuver the writhing bag into the van. + + Then, JEFFREY and the other three scramble in, too. + + JEFFREY + Let's do it! + + EXT. VAN/FREEWAY + + The PEST CONTROL VAN lumbers up a ramp and onto the freeway. + + INT. PEST CONTROL VAN/MOVING + + The GARBAGE BAG squirms and grunts as JEFFREY holds a map under a + flashlight and goes over "the plan" with the other ACTIVISTS. + + JEFFREY + Okay, that's Stage One. In Stage Two, + Monkey Four is over here... + + A loud GROAN from the bag distracts the others. + + GOINES + What's the harm in opening the bag? + His eyes are taped. + + SANDY + Yeah, it's cruel leaving him like that. + + JEFFREY + Ah, but cruelty is his specialty. + + ICHIOKA + So why should we be like him? + + Shrugging cheerfully, JEFFREY tears open the garbage bag revealing + DR. MASON, trussed up, duct tape covering his eyes and mouth. + + JEFFREY + Want the full effect? + + Grinning wickedly, JEFFREY rips the tape from his father's mouth. + + DR. MASON + Jeffrey? I know it's you, Jeffrey. I + recognize your voice. + + JEFFREY puts his finger to his lips, silencing everyone. + + DR. MASON + JEFFREY??? ... Very well. You're out + of your mind, Jeffrey. I know all + about your insane plan. That woman -- + your psychiatrist -- she told me. + + JEFFREY raises his eyebrows. This he hadn't expected. + + DR. MASON + I didn't believe her -- it seemed too crazy + even for you. But, just in case, I took steps + to make sure you couldn't do it. I took myself + out of the loop! I don't have the code any + more. I don't have access to the virus. So, + go ahead -- torture me, but you can't extract + anything of use to yourself. + + The ACTIVISTS are all exchanging puzzled looks. + + JEFFREY + What...virus? + + DR. MASON + (spins his head toward Jeffrey) + She knew about it, Jeffrey. She knew + you were going to try this. + + JEFFREY + What virus are we talking about, Dad? + + DR. MASON + You're insane, Jeffrey. + + JEFFREY + You "develop" viruses and you're calling + me insane? Typical. What does this + virus attack? Don't tell me, you sick + fuck, it doesn't matter. + (to the others) + Have I ever "developed" a virus? Do I + put helpless animals in cages and measure + their reactions to electrical stimuli? + Do I inject radioactive substances into + living creatures and examine their + bowel movements? Wow! And I'm crazy! + + DR. MASON + Please tell me, Jeffrey, what exactly + are you going to do? I don't have to + tell you I'm afraid. + + JEFFREY + THIS IS A FUCKING EXPERIMENT! YOU'RE + OUR HELPLESS LITTLE TEST ANIMAL, DADDY. + GOT THAT? NOW -- WHAT FUCKING VIRUS + HAVE YOU COME UP WITH, YOU DEMENTED + FUCKING MANIAC? + + INT. MOVIE SCREEN/THEATER - NIGHT + + Spooky BERNARD HERRMAN MUSIC, giant redwoods looming skyward. + It's DAYTIME in Muir Woods. SCOTTY (JAMES STEWART) AND MADELINE + (KIM NOVAK) walk toward a display of a cross cut section of a + redwood tree. We're watching Hitchcock's VERTIGO. + + SCOTTY (up on the screen) + Here's a cross section of one of the + old trees that's been cut down. + + They look at the lines of the tree marked with cards that say, + "BIRTH OF CHRIST", "DISCOVERY OF AMERICA", "MAGNA CARTA SIGNED", + "1066 - BATTLE OF HASTINGS", and "1930 TREE CUT DOWN". + + ANGLE ON THE THEATER AUDIENCE, empty seats dimly visible in the + flickering light, a few shadowy MOVIEGOERS scattered here and +there. + + ANGLE ON THE SCREEN, MADELINE pointing, saying with profound +melancholy. + + MADELINE (up on the screen) + Somewhere in here I was born. And here + -- I die. There's only a moment for + you. You don't notice. + + ANGLE ON THE AUDIENCE, a shadowy COUPLE near the back of the + theater. WE CAN'T REALLY SEE THEM, but we recognize their VOICES + + RAILLY + Here, let me help you. + + The theater is briefly illuminated by a very bright scene on the + screen, revealing enough of COLE and RAILLY for us to see she's + doing something to his upper lip while he tries to watch the +movie. + + COLE + I think I've seen this movie before. + When I was a kid. It was on TV. + + RAILLY + (fussing with his upper lip) + Shh -- don't talk. Hold still. + + COLE + (moving his head to see the film) + I have seen it, but I don't remember + this part. Funny, it's like what's + happening to us, like the past. The + movie never changes -- it can't change + -- but everytime you see it, it seems + to be different because you're different + -- you notice different things. + + RAILLY + If we can't change anything...because + it's already happened, then we ought to + at least smell the flowers. + + COLE + Flowers! What flowers? + + From the darkness, a MOVIE PATRON makes a SSSSHHHHH shound. + + RAILLY + (whispering) + It's an expression. Here... + + She's pulling something from a shopping bag at her feet, placing + it on COLE'S head, adjusting it... + + COLE + Why are we doing this? + + RAILLY + So we can stick our heads out the + window and feel the wind and listen to + the music. So we can appreciate what + we have while we have it. Forgive me, + psychiatrists don't cry. + + There are tears in her eyes. They discomfit COLE. + + COLE + But maybe I'm wrong. Maybe you're + wrong. Maybe we're both crazy. + + RAILLY + In a few weeks, it will have started or + it won't. If there are still baseball + games and traffic jams, armed robberies + and boring TV shows -- we'll be so + happy, we'll be glad to turn ourselves + in to the police. + + SHADOWY MOVIEGOER + SHHHHHHH + + COLE + (whispers) + Where can we hide for a few weeks? + + ANGLE ON THE SCREEN, where SCOTTY and MADELINE are in the +foreground, + the OCEAN behind them. + + RAILLY + You said you'd never seen the ocean... + + EXT. GORILLA'S PEN/ZOO - NIGHT + + CLOSE ON A GORILLA, by moonlight, angry, a true nightmare vision. + + URGENT WHISPERS off screen, RUSTLING SOUNDS. Then, METAL ON +METAL. + Only now are we aware that the GORILLA is in an outdoor zoo pen + with phony rocks. Stalking back and forth. Huge. Upset. + + CLANK. CLANK. METAL ON METAL. GRUNTS of effort, then, DR. + MASON'S VOICE, plaintive, frightened. + + DR. MASON'S VOICE (o.s.) + What are you doing to me? Where are + we? Jeffrey, please... + + SANDY'S VOICE (o.s.) + For God's sake, put the tape back on + his mouth! + + The GORILLA bellows angrily, beating his chest. + + JEFFREY'S VOICE (o.s.) + Forget the tape. The monkey's louder than + he is. You gonna tape the monkey's mouth? + + EXT. PANTHERS' PEN/ZOO - NIGHT + + Under the full moon, PANTHERS pace back and forth, back and + forth, uttering ominous guttural SNARLS. + + EXT. LION'S PEN/ZOO + + The KING OF BEASTS gives a deep, fierce ROAR. From the darkness, + unseen ELEPHANTS TRUMPET their response. + + EXT. AVIARIES/ZOO + + A PANDEMONIUM of WINGS RUSTLING, the sharp metallic CLINKING of + metal on metal, the MUTTER of HUMAN VOICES, then a cacophonous + CRESCENDO of frenzied SCREECHING as PARROTS, COCKATOOS and other + EXOTIC BIRDS careen madly in their cages. + + INT. MOVIE THEATER AUDITORIUM + + CLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS + continue. Suddenly, he comes awake with a start...sees the movie + filling his field of vision. + + HIS POV: the MOVIE SCREEN. TIPPI HEDRIN, overwhelmed by + screeching BIRDS in an attic in Hitchcock's THE BIRDS. + + ANGLE ON COLE, orienting himself, looking around. Empty seats on + both sides of him. He's alone. He panics. + + COLE + Kathryn?! + + INT. THEATER LOBBY + + A lobby poster boasts "Classics 24 Hours A Day" and "Hitchcock + Festival". PANNING OFF the poster, passing a SNORING USHER, dead + to the world in an old velvet chair, WE DISCOVER a BRUNETTE in a + tight dress, just hanging up the lobby pay phone. Turning, she + reveals heavy make-up, gaudy costume jewelry, and sun glasses. + She's the BRUNETTE in COLE'S DREAM! Crossing the lobby toward + the auditorium, it's a pleasure to watch her nice body undulate + in the tight dress. + + Just then, the auditorium doors burst open and a BLONDE MAN in a + Hawaiian shirt appears, the man from COLE'S DREAM, except this + man's moustache is fixed firmly on his upper lip. The BLONDE MAN + stops, stunned at the sight of the BRUNETTE. + + BRUNETTE + We're booked on a 9:30 flight to Key West. + + The Brunette is RAILLY, no longer the frazzled professional, + revealed now by her disguise as a sexy babe. The Blonde Man is + COLE! He's confused. + + COLE + You were in my dream just now. I + didn't recognize you. + + RAILLY + Well, you look pretty different, too. + + COLE + I mean in my dream -- I didn't realize + it was you. Then...I woke up and I...I + thought you were gone. + + RAILLY + (studies him seriously) + I remember you...like this. I feel + I've known you before. I feel I've + always known you. + + Their eyes lock. Suddenly, she backs up, gently maneuvering him + with her, past the sleeping USHER, to and through an unlocked, + unmarked door, then closing it behind them. + + INT. STORAGE ROOM/MOVIE THEATER + + RAILLY and COLE are in a dimly lit cluttered storage room. She + kisses him hungrily amid the brooms, plastic trash barrels, other + janitorial items. COLE responds to her passion as they move + deeper into the room, its walls covered with old movie posters. + Tearing at each other's clothes, they collapse on a rolled + theater curtain among stacks of ancient theater seats. + + EXT. SUBURBS - DAWN + + The red rim of the rising sun is just becoming visible beyond the + silhouetted roofs of an upper middle-class suburban neighborhood. + The early light is so vague that when a huge SIBERIAN TIGER pads + across a neatly-trimmed lawn, he's more a shadowy vision than + reality. Did we really see him at all? + + EXT. CONSTRUCTION SITE - DAWN + + The rising sun flares behind the towering silhouette of an +unfinished + building, deserted in the early morning light. High up, a MONKEY + his head around a girder. + + Four stories below, other MONKEYS are climbing. + + EXT. SHOPPING MALL - DAWN + + Deserted in the first light of dawn, the stores face each other + across a broad promenade with blank staring windows. + + Nothing happens. For a long moment. Then, an AFRICAN BULL + ELEPHANT appears, turning the corner, lumbering toward us along + the promenade, raising his trunk to TRUMPET triumphantly to the + other ELEPHANTS trotting into view behind him. + + INT. TAXICAB/CITY STREETS - EARLY MORNING + + A fiftyish WOMAN CABBIE with white hair and a Southern twang is + at the wheel of the cab. + + WOMAN CABBlE + What time's your flight, friends? + + In the back seat, COLE, in the blonde wig and moustache, looks to + his companion, the sexy babe in sun glasses and heavy make-up, +RAILLY. + + RAILLY + Nine thirty + + WOMAN CABBIE + Might be tight. + + RAILLY + (startled, checks her watch) + Tight? My watch says 7:30. + + WOMAN CABBIE + On your normal mornin', okay, plenty a + time, but today, gotta take inta account + your Army-of-the-Twelve-Monkeys factor. + + RAILLY + What? What did you say? + + WOMAN CABBIE + Twelve Monkeys, honey. Guess you folks + didn't turn on your radio this morning. + + COLE and RAILLY exchange a quick look. + + WOMAN CABBIE + Bunch a weirdoes let all the animals outta + the zoo last night. Then they locked up + this big shot scientist in one of the cages. + Scientist's own kid was one a the ones did it! + + RAILLY and COLE stare at the cabbie, stunned. + + WOMAN CABBlE + Now they got animals all over the + place. Buncha zebras shut down the + thruway 'bout an hour ago and some + kinda thing called an "e-mu" it's got + traffic blocked for miles over on 22. + + Flabbergasted, RAILLY'S eyes suddenly fill with hope. + + RAILLY + That's what they were up to! Freeing + animals! + + COLE + On the walls -- they meant the animals + when they said, "We did it." + + WOMAN CABBIE + You can hear it on the radio all the + stations... + + As the WOMAN CAEBIE switches on the RADIO, RA:LLY points and COLE + follows her look. + + COLE'S POV: two CHEETAHS, sleek and magnificent against the + cityscape, streaking past the cab at ninety mph! + + ANNOUNCER/RADIO (o.s.) + In the meantime, numerous animal rights + activists have joined the chorus + condemning what they're calling the + "loose canon" activities of Jeffrey + Mason and his Army of the Twelve + Monkeys. + RIGHTS ACTIVIST/RADIO (o.s.) + Can these fools seriously believe that + releasing a captive animal into an + urban environment is being compassionate + to the animal? It's mindlessly cruel, + almost as indefensible as holding the + animal in captivity in the first place. + + RAILLY and COLE are watching FLAMINGOS cross the sky against a + backdrop of skyscrapers in silhouette. + + RAILLY + Maybe it's going to be okay. + + INT. TICKET COUNTER/AIRPORT TERMINAL - MORNING + + CLOSY ON copies of the mug shot of COLE and a photo of RAILLY + while the airport P.A. SYSTEM DRONES in the b.g.. + + REVEAL a DETECTIVE, giving the flyers to the uniformed SUPERVISOR + at one end of the ticket counter. + + DETECTIVE + Tell your people if they spot either + one of them, not to try and apprehend + then. They should notify us and... + + ANGLE ON RAILLY AND COLE, thirty yards away, entering the +terminal. + + P.A. SYSTEM + -- Flight 531 for Chicago is now ready + for boarding at Gate Seventeen. + + ANGLE ON COLE, reacting to the P.A., stopping, seeing the + bustling airport lobby. + + COLE + I know this place! ... This is my dream. + + RAILLY + Airports all look the same. Maybe + it's... + (turning, reacting) + James! Your moustache! It's slipping. + + But COLE isn't listening. He's looking around, mesmerized. + + COLE + It's not just my dream. I was actually + here! I remember now. My parents + brought me to meet my uncle. About a + week or two before...before...before + everybody started dying. + + RAILLY glances around nervously. + + RAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the + lobby, their eyes scanning the faces of TRAVELERS. + + ANGLE ON RAILLY, pulling a small tube from her purse. + + RAILLY + They may be looking for us, James. + (placing the tube in his hand) + Use this. You can fix it in the Men's Room. + + COLE + (confounded) + I was here...as a kid. I think you + were here, too. But you...looked just + like you look now. + + RAILLY + (getting desperate) + James, if we're identified, they're + going to send us someplace...but not to + Key West! + + COLE + (snaps out of it, hand to moustache) + Right! You're right. I have to fix this. + + RAILLY + (indicating a sign) + I'll get the tickets and meet you... in + the Gift Shop. + + COLE follows her look, nods, then heads for the Men's Room as + RAILLY, in sun glasses, gaudy outfit, high heels, starts clip + clopping toward the ticket counter, her ass attracting admiring + glances. + + INT. TELEPHONES/LOBBY - DAY + + BUSINESS TRAVELERS huddle over pay phones, talking earnestly, as + COLE walks past on his way to the Men's Room. + + Seeing an unoccupied phone, COLE hesitates, considers it. Coming + to a decision, he reaches into his pocket, pulls out some change. + + INT. TZCKET COUNTER/TERMINAL + + CLOSE ON the flyer of COLE and RAILLY taped under the counter, + hidden from the customers, but in clear view of the TICKET AGENT + who has just finished serving a PORTLY GENTLEMAN. The GENTLEMAN + walks away. + + ANGLE ON RAILLY, stepping up to the counter, smiling, looking + nothing like the Railly on the flyer. + + RAILLY + Judy Simmons. I have reservations for + Key West. + + INT. PAY PHONES/TERMINAL + + COLE is speaking into the phone very low, very private, very +intense. + + COLE + Listen, I don't know whether you're + there or not. Maybe you just clean + carpets. If you do, you're lucky -- + you're gonna live a long, happy life. + But if you other guys exist and you're + picking this up -- forget about the + Army of The Twelve Monkeys -- they + didn't do it. It was a mistake' + Someone else did it. The Army of The + Twelve Monkeys are just dumb kids + playing revolutionaries. It was + someone else! + + COLE looks around nervously, catches a BUSINESSMAN at the next + phone looking away quickly. COLE touches his loose moustache as + he averts his face and speaks into the phone in an urgent whisper. + + COLE + I've done my job. I did what you wanted. + Good luck. I'm not coming back! + + COLE hangs up the phone, looks around, catches a few stares. + Averting his face, he heads for the Men's Room. + + INT. TICKET COUNTER - DAY + + The TICKET AGENT is counting out a stack of bills. + + TICKET AGENT + Don't see a lot of this... cash. + + RAILLY + It's...a long story. + + TICKET AGENT + (smiles, hands over the tickets) + They'll begin boarding in about twenty + minutes. Have a nice flight, Mrs. Simmons. + + Turning to go, RAILLY fumbles the tickets while trying to put + them in her purse and they flutter to the floor. As she kneels + to retrieve them, WE SEE the long line of waiting TRAVELERS from + the waist down. WE SEE a familiar Chicago Bulls Sports Bag + resting on the floor beside sneakers and gaudy baggy pants. + we've seen this outfit before...in COLE'S dream...on MR. PONYTAIL! + + INT. MEN'S ROOM/AIRPORT - DAY + + The P.A. DRONES as CCLE, head down, lingers at a sink, washing + and rewashing his hands while another TRAVELER finishes drying + his hands, gives COLE a quizzical look, then leaves. + + Quickly, COLE glances around, checks the seemingly empty Men's + Room, then takes the tube of adhesive from his pocket, puts some + goop under the loose edge of his moustache and presses it firmly + against his face as he leans close to the mirror. + + RASPY VOICE (o.s.) + Got yourself a prob, Bob? + + COLE whirls, looks for the source of the VOICE. Nothing! Until + he spots shoes peeking from dropped trousers indicating an + occupied stall. It must be him! + + COLE + Leave me alone! I made a report. I + didn't have to do that. + + RASPY VOICE (o.s.) + Point of fact -- you don't belong here. + It's not permitted to let you stay. + + A toilet FLUSHES in the "occupied" stall. COLE'S answer is loud + and defiant. + + COLE + This is the present. This is not the past. + This is not the future. This is right now! + + A PLUMP BUSINESSMAN emerges from the "occupied" stall, gives COLE + a wary look and a wide berth as he heads for a sink. + + COLE + I'm staying here! You got that? You + can't stop me! + + PLUMP MAN + (high pitched voice) + Anything you say, chief. It's none of + my business. + + COLE looks dismayed. This guy couldn't be "THE VOICE"! And there + are no feet showing under the other stalls. Did he imagine it? + + INT. TICKET COUNTER - DAY + + The Chicago Bulls bag! It's on the counter in front of the + TICKET AGENT who's reviewing a stack of tickets in awe... + + TICKET AGENT + Woooo-eeee. San Francisco, New + Orleans, Rio de Janeiro, Rome, + Kinshasa, Karachi, Bangkok, Peking! + That's some trip you're taking, sir, + All in one week! + + MR. PONYTAIL (o.s.) + Business. + + TICKET AGENT + (handing over the tickets) + Have a good one, sir. + + INT. TERMINAL LOBBY + + COLE emerges from the Men's Room, shaken, paranoid. He glances + around nervously. Then, keeping his head down, he starts walking + toward the Gift Shop. Before he gets more than a few steps, + someone suddenly grabs his shoulder from behind. + + FAMILIAR VOICE (o.s.) + You gotta be crazy, man! + + COLE whirls, finds himself facing a Puerto Rican youth in an L.A. + Raiders jacket, a sideways baseball cap, and mirrored sun glasses + + COLE + Jo...Jose???? + + JOSE + Pulling out the tooth, man, that was + nuts! Here, take this. + + JOSE tries to slip COLE a 9mm pistol. Astonished, COLE resists! + + COLE + What? What for? Are you crazy? + + Frustrated, JOSE conceals the gun but keeps a grip on COLE'S arm. + + JOSE + Me? Are you kiddin? You're the one! + You were a hero, man. They gave you a + pardon! And whadda you do? You come + back and fuck with your teeth! Wow! + + COLE + How did you find me? + + JOSE + The phone call, man. The phone call. + + COLE + The call I just made? Five minutes ago? + + JOSE + Hey, five minutes ago, thirty years ago! + Yes, that phone call. I been in training + for this a couple a months now -- ever + since I got back from that... "weird" + war we were in. You remember that? + (pressing the pistol on Cole) + Here, take it, man! You could still be + a hero if you'd cooperate! + + INT. GIFT SHOP/TERMINAL - DAY + + RAILLY takes a travel book on Key West from a rack, considers it, + includes it with several magazines she's holding. She doesn't + notice MR. PONYTAZL enter the Gift Shop behind her! + + The P.A. System DRONES flight info as RAILLY checks her watch and + frowns. It's getting late and where's Cole? She turns, heads + for the cash register to make her purchases. + + MR. PONYTAIL, seen from behind, is at the cash register already. + He sets a newspaper on the counter and searches for change. + + The paper features a banner headline..."ANIMALS SET FREE" and a + sub head..."PROMINENT SCIENTIST FOUND LOCKED IN GORILLA CAGE" + over a photo of DR. MASON being released from the cage and + another photo of a GORILLA perched atop a parked car. + + Stepping in line behind MR. PONYTAIL, RAILLY checks her watch + again. Then, MR. PONYTAIL, having paid, turns to go and RAILLY + looks up and sees his face. though it is not visible to us. + + Startled, RAILLY frowns. Does she know this man? + + MR. PONYTAIL pauses for a moment, considering the babe in the + shades, gaudy earrings, the tight skirt, and high heels. + + RAILLY doesn't recognize the man, but we do! He's DR. MASON'S + ASSISTANT, DR. PETERS...the man who attended RAILLY's lecture! + + Smiling, DR. PETERS steps around RAILLY and exits the Gift Shop. + + Still puzzled, RAILLY puts her purchases on the counter and the + CLERK starts ringing them up as a DELIVERY MAN comes in and drops + a bundle of newspapers at her feet. + + RAILLY'S POV: the front page shows a photo of three frightened + GIRAFFES in freeway gridlock under a headline proclaiming, +"TERRORISTS + CREATE CHAOS". Further down are two more photos...DR. MASON in +the + gorilla cage and a file photo of DR. MASON in his lab. + + CLOSE ON THE SHOT OF DR. MASON in his lab. There's someone else + in the picture. It's a man wearing a lab coat and a PONYTAIL! + + ANGLE ON RAILLY, reacting, suddenly remembering! + + MEMORY FLASHBACK! INT. RECEPTION ROOM/BREITROSE HALL - NIGHT + + RAILLY looks up from the book she's signing and sees DR. PETERS. + + DR. PETERS + Isn't it obvious that "Chicken Little" + represents the sane vision and that + Homo Sapiens' motto, "Let's go shopping!" + is the cry of the true lunatic? + + INT. GIFT SHOP - DAY + + RAILLY, stunned, stares in the direction PETERS/PONYTAIL went. + + RAILLY + Oh, my God! + + P.A SYSTEM + -- flight 764 for San Francisco is now + ready for boarding at Gate 36. + + INT. LOBBY - DAY + + In the confusion of TRAVELERS streaming in different directions, + COLE hurries toward the Gift Shop while JOSE struggles to keep up. + + JOSE + Coma on, Cole, don't be an asshole. + (then, blurting it out) + Look, I got orders, man! You know what + I'm sposed to do if you don't go along? + I'm sposed to shoot the lady! You got + that? They said, "If Cole don't obey + this time, Garcia, you gotta shoot his + girlfriend!" + + COLE stops in his tracks, blown away, too stunned to speak. + + JOSE + I got no choice, man. These are my + orders. Just take it, okay? + + COLE accepts the gun this time, resigned now. They've got him. + + COLE + This part isn't about the virus, is it? + + JOSE + Hey, man... + + COLE + It's about obeying, about doing what + you're told. + + JOSE + They gave you a pardon, man. Whatdaya + want? + + COLE + Who am I supposed to shoot? + + Just then, RAILLY rushes up to COLE, not even noticing JOSE. + + RAILLY + James! Thank God! I thought you'd + disappeared. Listen, I think I know + who it is! I saw him! It's Dr. Mason's + assistant. An apocalypse nut! The next + flight to San Francisco leaves from Gate 38. + If he's there, it has to be him. + + JOSE, having heard this, steps back into the crowd as RAILLY + grabs COLE and pulls him toward the Security Check Points. + + COLE + I love you, Kathryn. Remember that. + + She doesn't hear him or see the look of doom in his eyes. + + RAILLY + Maybe we can stop him. Maybe we can + actually do something. + + INT. SECURITY CHECK POINT/TERMINAL - DAY + + A young boy of nine passes through the magnetic arch grinning. + YOUNG COLE! Exactly as he appears in the dream! + + He joins his PARENTS, who are only visible from their chests + down, and they continue along the concourse. WE LINGER and + DISCOVER two DETECTIVES watching TRAVELERS as they pass through + the magnetic arch and retrieve their bags from the X-ray machine, + comparing their faces to photos of COLE and RAILLY. + + ANGLE ON A SECURITY OFFICER, watching the x-ray monitor. + + ANGLE ON THE MONITOR, showing the X-RAY IMAGE of a sports bag +moving + along the conveyer belt. The bag contains some strange objects. + + ANGLE ON THE SECURITY OFFICER, reacting. + + SECURITY OFFICER + Excuse me, sir. Would you mind letting me + have a look at the contents of your bag? + + ANGLE ON DR. PETERS, coming through the magnetic arch, reacting. + + DR. PETERS + Me? Oh, yes, of course. My samples. + I have the appropriate papers. + + INT. END OF LINE/SECURITY CHECK POINT + + RAILLY AND COLE arrive at the very long suddenly stalled line of + TRAVELERS waiting to pass through security. + + RAILLY + Oh, God, we don't have time for this. + + ANGLE ON THE SECURITY CHECK POINT, where DR. PETERS unpacks his + Bulls bag, pulls out six metal cylinders along with a change of + clothes and a Walkman. + + DR. PETERS + Biological samples. I have the + paperwork right here. + + DR. PETERS produces a sheaf of official papers while the SECURITY + OFFICER examines one of the tubes, turning it over in his hands. + + SECURITY OFFICER + I'm going to have to ask you to open + this, sir. + + DR. PETERS + Open it? + (blinks stupidly, then) + Of course. + + DR. PETERS takes the metal cylinder and starts opening it. + + There's a SOUND of VOICES RAISED behind them. DR. PETERS pays no + attention, but the SECURITY OFFICER turns toward the NOISE. + + SECURITY OFFICER'S POV: RAILLY, trying to explain something to a + SECOND SECURITY OFFICER. + + ANGLE ON THE TWO DETECTIVES, nearby, showing interest in the + commotion. + + ANGLE ON DR. PETERS, oblivious to the fuss, pulling a closed + glass tube out of the metal cylinder. + + DR. PETERS + Here! You see? Biological! Check the + papers -- it's all proper. I have a + permit. + + SECURITY OFFICER + It's empty! + + Indeed, it looks like a sealed clear glass tube with nothing in +it. + + DR. PETERS + Well, yes, to be sure, it looks empty! + But I assure you, it's not. + + ANGLE ON RAILLY, at the end of the line, arguing with the SECOND + SECURITY OFFICER. + + RAILLY + Please listen to me -- this is very urgent! + + SECOND SECURITY OFFICER + You'll have to get in line, ma'am. + + TRAVELER + We're all in a hurry, lady. What's so + special about you? + + ANGLE ON DR. PETERS, producing the glass tubes from the other + metal cylinders as the SECURITY OFFICER examines the papers. + + DR. PETERS + You see! Also invisible to the naked eye. + + A beat. OR. PETERS grins suddenly, opens one of the glass tubes, + and waves it under the SECURITY OFFICER'S nose! + + DR. PETERS + It doesn't even have an odor. + + The SECURITY OFFICER glances up, sees what DR. PETERS is doing, + and smiles as he hands the papers back to the scientist. + + SECURITY OFFICER + That's not necessary, sir. Here you + go. Thanks for your cooperation. Have + a good flight. + + Hastily, DR. PETERS snatches up all the tubes and cylinders and + shoves them back into his gym bag. + + ANGLE ON RAILLY, raging as the SECOND SECURITY OFFICER jabs her + with his finger. + + SECOND SECURITY OFFICER + Who are you calling a "moron"? + + COLE + Get your hands off her! + + The SECOND SECURITY OFFICER stiffens for trouble. + + ANGLE ON THE DETECTIVES, watching the fuss, ready to get + involved. Suddenly, the FIRST DETECTIVE frowns. + + FIRST DETECTIVE9S POV: COLE'S moustache is slipping. COLE + senses it, reaches up to touch it, catches the DETECTIVE'S look. + For half a second their eyes meet, then COLE looks away. + + ANGLE ON DR. PETERS, hurrying away. + + SECURITY OFFICER'S VOICE (o.s.} + HOLD IT! JUST A MOMENT. + + DR. PETERS freezes, turns, ashen. + + The SECURITY OFFICER is retrieving a pair of jockey shorts from + the floor beside the search table. He waves them at DR. PETERS. + + DR. PETERS hurries back for his underpants. + + ANGLE ON COLE, trying to keep his head turned away as he + confronts the SECURITY OFFICER. + + COLE + I said, get your hands off her. She's + not a criminal. She's a doctor...a + psychiatrist. + + RAILLY looks alarmed at that. + + ANGLE ON THE DETECTIVES, coming this way. The FIRST DETECTIVE + has the photos in his hand. + + ANGLE OW DR. PETERS, bagging his jockey shorts, then starting + hastily down the windowed concourse toward the gates. + + ANGLE ON RAZZLY, suddenly spotting DR. PETERS! + + RAILLY + THERE HE IS! HE'S CARRYING A DEADLY + VIRUS! STOP HIM! + + ANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE + MAN FROM HIS DREAM! + + ANGLE ON DR. PETERS, frightened, glancing back, walking faster. + + RAILLY (o.s.) + PLEASE, SOMEBODY -- STOP HIM! + + ANGLE ON DETECTIVES, reaching RAILLY and COLE. + + FIRST DETECTIVE + (raising his badge) + Police Officers. Would you step over + here, please. + + ANGLE ON COLE, spotting something behind the DETECTIVES! + + COLE'S POV: SCARFACE, dressed like a "businessman"! He gives + COLE a cold look. + + A beat. COLE lunges at the SECOND DETECTIVE, knocking him off + balance, then sprints toward the magnetic arch and through it. + + The ALARM goes off!!!! + + The FIRST SECURITY OFFICER tries to stop COLE, but COLE knocks + him aside like a rag doll. + + ANGLE ON DR. PETERS, fifty yards up the concourse, glancing back. + + ANGLE ON COLE, pulling his pistol. + + ANGLE ON THE SECOND SECURITY OFFICER. + + FIRST SECURITY OFFICER + HE'S GOT A GUN! + + ANGLE ON THE FIRST DETECTIVE, raising his pistol at COLE. + + FIRST DETECTIVE + STOP OR I'LL SHOOT! + + ANGLE ON COLE, gun in hand, sprinting along the concourse toward + DR. PETERS as frightened TRAVELERS SCREAM and dive for cover. + + ANGLE ON YOUNG COLE, standing at a concourse window, watching a + plane land, flanked by his parents whose faces we don't see. + + IT'S SUDDENLY AS IF THE DREAM IS HAPPENING IN REAL LIFE!!! THE + SAME MOKENTS INTERSPERSED WITH "NEW" MOMENTS FROM THE POV OF + YOUNG COLE who, hearing the commotion, turns just as DR. PETERS + hurries by. DR. PETERS bumps into YOUNG COLE and reacts by + pulling his Bulls bag close to his body and calling... + + DR. PETERS + WATCH IT! + + ANGLE ON YOUNG COLE, wide eyed, watching... + + YOUNG COLE'S POV: a BLONDE MAN. dashing up the concourse, his + moustache slipping over his lip, a pistol in his hand. + + YOUNG COLE'S POV: the FIRST DETECTIVE aims, looking for a clear + shot in the crowded passageway. + + YOUNG COLE'S POV: a BRUNETTE in flashy clothes, gaudy earrings, + high heels, and sun glasses SCREAMS... + + BRUNETTE (RAILLY) + N0OOOOO0O!!!!!! + + YOUNG COLE'S POV: the FIRST DETECTIVE, firing! CRACK! + + YOUNG COLE'S POV: the BLONDE MAN, shuddering, staggering, +falling. + + ANGLE ON YOUNG COLE, stunned, as his PARENTS try to shield him. + + MOTHER'S VOICE (o.s.) + My God! They shot that man! + + Mesmerized, YOUNG COLE watches the BRUNETTE rush to the BLONDE + MAN, kneel beside him, minister to his bloody wound. + + YOUNG COLE'S POV: the BLONDE MAN, fatalistically reaching up + and tenderly touching the BRUNETTE'S cheek, touching her tears. + (WE'VE SEEN THIS EXACT IMAGE IN COLE'S DREAM, A POWERFUL MOMENT, + UNFOLDING UNNATURALLY SLOWLY, OPENING LIKE A FLOWER.) + + ANGLE ON YOUNG COLE, not able to hear their words, but he can see + emotion as the BLONDE MAN tries to tell the sobbing BRUNETTE +something. + + YOUNG COLE'S POV: PARAMEDICS, breaking the spell, pushing the + BRUNETTE aside as they crouch beside the BLONDE MAN. + + FATHER'S VOICE (o.s.) + Come along, son, this is no place for us. + + ANGLE ON YOUNG COLE, as his FATHER'S ARM drapes over his shoulder, + steering him. YOUNG COLE turns to look back as he's led away. + + YOUNG COLE'S POV: the PARAMEDICS, exchanging glances, shrugging + helplessly. It's too late. The BLONDE MAN is dead. + + YOUNG COLE sees the BRUNETTE, her face streaked with tears, + suddenly turn and look around, scanning the crowd, searching for + something. POLICE OFFICERS approach her, say something to her. + Even as she responds, her eyes continue to scan the concourse. + + ANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS + (whose faces remain out of view). He can't help sneaking another + look back. + + YOUNG COLE'S POV: POLICE, handcuffing a distracted, unresisting + RAILLY. Even now, she continues to look around almost +frantically. + + Suddenly, her gaze falls on YOUNG COLE and she reacts...she's + found what she's looking for! + + ANGLE ON YOUNG COLE, reacting to the intensity of her look. + + ANGLE ON RAILLY, her eyes speaking to the boy across the crowded + concourse. + + ANGLE ON YOUNG COLE, overwhelmed by the look. + + FATHER'S VOICE (o.s.) + Hurry up, son. + + With a last lingering look toward the mysterious BRUNETTE, YOUNG + COLE turns away, tears welling in his eyes. WE MOVE IN...CLOSE... + CLOSE...CLOSER...on his eyes. WE WANT TO KNOW WHAT THE TEAR +MEANS, + BUT THERE IS NO WAY TO TELL. WE DON'T KNOW WHAT HE IS THINKING, + BUT WE KNOW VERY WELL WHAT HE WILL REMEMBER! + + MOTHER'S VOICE (o.s.) + Pretend it was just a bad dream, Jimmy. + + INT. 747 CABIN - DAY + + DR. PETERS closes the door to the overhead luggage rack + containing his Chicago Bulls bag and takes his seat. Next to + him, a FELLOW TRAVELER, unseen, says... + + FELLOW TRAVELER'S VOICE (o.s.) + It's obscene, all the violence, all the + lunacy. Shootings even at airports now. + You might say...we're the next endangered + species...human beings! + + CLOSE ON DR. PETERS, smiling affably, turning to his neighbor. + + DR. PETERS + I think you're right. sir. I think + you've hit the nail on the head. + + DR. PETERS' POV: the FELLOW TRAVELER, a silver haired gentleman + in a business suit, offering his hand congenially. DR. PETERS + doesn't know who this man is, but we do. It's the ASTROPHYSICIST! + + ASTROPHYSICIST + Jones is my name. I'm in insurance. + + EXT. PARKING LOT/AIRPORT + + As YOUNG COLE'S PARENTS (seen only as sleeves and torsos) usher + YOUNG COLE into their station wagon, the boy hesitates, looks + back, watches a 747 climb into the sky. + + FADE OUT: