haha good one!

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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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