Didn't you read the summeries? *NT*

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: I said no text! But since you just HAD to look here's the script for 12 Monkeys: : TWELVE MONKEYS : : An original screenplay by : David Peoples : & : Janet Peoples : Inspired by : : LA JETEE, a Chris Marker Film : Production Draft : June 27, 1994 : : NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS. : THEY HAVE BEEN REMOVED FOR THIS SOFT COPY. : : FADE IN: : INT. CONCOURSE/AIRPORT TERMINAL - DAY : 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: : :

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