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Twelve Monkeys

Twelve Monkeys

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Published by Jonathan Beltran

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Published by: Jonathan Beltran on Apr 07, 2013
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"Twelve Monkeys", by David Webb Peoples and Janet Peoples

TWELVE MONKEYS An original screenplay by David Peoples & Janet Peoples Inspired by LA JETEE, a Chris Marker Film

Production Draft June 27, 1994


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... Ssssst! COLE 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

MINUTES LATER (NIGHT) COLE'S light reveals abandoned vine-covered automobiles. ANGLE ON COLE. . An insect. There's nothing but aisle after aisle of moldering consumer goods. VICIOUS GROWLS. he shines his light all around the once elegant store.DAWN As COLE comes out of the store. it pads quickly down the street. COLE trudges along. then stands on its rear legs and ROARS. No people anywhere. the first rays of the sun hit the building. DOGSHIT! The only sound is COLE'S labored BREATHING. Then. Then. on the street.rising higher and higher into the brightening sky. COLE reaches down to the cracked floor and gets another specimen. It's a DOGFIGHT! EXT. COLE reaches carefully into the web and plucks the spider and puts it into one of his specimen tubes. a different SOUND. a YIP. DEPARTMENT STORE . something makes him turn.moonlight! A surreal image of abandoned buildings. SUBTERRANEAN PARKING GARAGE . trying to avoid the flashlight. COLE stops. Then. The only sounds are the WIND and COLE'S BREATHING. Something alive. staring wide-eyed. There's something across the street in the dark. squints into the light through his visor. rusted signs dangling. INT. More dogs. EXT. Below. Then. the animal blinks. COLE points his flashlight and reveals. EXT. raises its wings and lifts off. Moving to the nearest car. the BEAR sinks down onto all fours and. As he clumsily inserts it into a collection tube.NIGHT (FIRST LIGHT) A large COLE'S light reveals a spider web just inside the store. COLE takes the bug in his gloved hand. STREET .. Then. passing deserted buildings. More GRRRRS.. GRRRR! A dog. ANOTHER CITY STREET . DEPARTMENT STORE . SPIDER tries to hide from the light. COLE searches in the vines for something..NIGHT Using the flashlight to see.. INT.a BEAR! Startled by the light.NIGHT (FIRST LIGHT) A giant OWL. Finds it. perched on an overhead traffic light. windows broken.

COLE is seated on a stool while a MASKED TECHNICIAN in a less elaborate. looks out majestically over his world.ETERNAL NIGHT Ushered in by two guards. COLE looks around.. ENGINEERING OFFICE/FUTURE WORLD . INT. INT. maps. their personas lost in their windowed masks. pauses. a blackboard covered with elaborate. gerry-rigged computers held together with string. a LION patrols a ledge. SECOND UNDERGROUND DECONTAMINATION CHAMBER . sophisticated formulae. nearly opaque "window" of thick plastic in the rusty iron wall. COLE'S POV: wails hidden by old headlines.. powerful torrents gushing from nozzles in the wall.SHORTLY (ETERNAL NIGHT) Still naked. a dilapidated cardboard reconstruction of a city. It's a grim scene in a grim cement room with damp.. FIRST UNDERGROUND DECONTAMINATION CHAMBER . seated at a long conference . "WE DID IT!" COLE looks up. ancient tube amplifiers.ETERNAL NIGHT Stark naked and shivering.COLE'S POV: spray-painted on the wall a long time ago is a stenciled logo of twelve monkeys holding hands in a circle. less bulky decontamination outfit draws blood from COLE'S arm with an old-fashioned hypodermic needle.and. COLE glances toward a single. charts.. The TECHNICIAN slips the blood sample through a slot in the wall. TTTLES END INT. dripping walls. INT.ETERNAL NIGHT ROARING WATER. pummel the still-suited COLE. VAGUE FIGURES seem to lurk behind the translucent aperture. Over it is written. From an unseen source comes an AMPLIFIED VOICE.) Raise your arms above your head. studying him.. AMPLIFIED VOICE (o. articles. COLE'S POV: high up on a building across the street.s. TINY CHAMBER . 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. COLE lifts his arms and the FIGURES start scrubbing his armpits.surfaces heaped with cracked monitors. stacks of moldering books and tattered computer printouts. TINY and SCARFACE.. lasers lost in tangles of cable.

Headlines: "CLOCK TICKING! NO CURE YET!" SCARFACE Anti-social six -.table. SCARFACE He's got a history. Doctor. and a GEOLOGIST. COLE I went to the surface and I collected specimens like I was told. They just study him carefully. six SCIENTISTS: an ASTROPHYSICIST. Right now. The SCIENTISTS don't say anything. sir. Cole. ENGINEER I don't think he's going to hurt us. ENGINEER. outdated. You're not going to hurt us. MICROBIOLOGIST. sits down. . patched-together technologies. staring at COLE. COLE The GUARDS exchange a look. ASTROPHYSICIST We want you to tell us about last night. Thank you. MICROBIOLOGIST Why don't you sit down. James Cole. COLE goes to the empty chair at the conference table. Violence. TINY Cleared from quarantine. COLE'S eyes return to the walls. we want to know everything that you saw. Cole. BOTANIST. Mr. closing the door. MICROBIOLOGIST You two wait outside. are you Mr. No. COLE (worried) I mashed the spider.doing 25 to life. Mr. exit. shrug. didn't I? MICROBIOLOGIST We'll get to the spider later. ZOOLOGIST. They represent a "modern" science where brilliant new ideas interface with crude. Cole? COLE'S head turns quickly to the ENGINEER.

ASTROPHYSICIST'S VOICE (o.) us about the newspapers.s. SCIENTIST SAYS. But we HEAR their VOICES. the man who spoke? How old were you when you the surface? . MASON. Cole. "VIRUS MUTATING!" Another features a photo of an OLD MAN (DR.) Tell us in detail what you've seen in this room. stands at the blackboard sketching a detailed map of exactly where he was last night.s.) Close your eyes. ASTROPHYSICIST'S VOICE (o... One headline screams.. ASTPOPHYSICIST Where you collected sample #4.. COLE'S eyes drift across the newspaper clippings taped to the wall.) Tell us about the pictures on the wall.) Uh. starting to look very tired now.s.s.) How many of us are there? COLE'S VOICE (o. who we'll see again later on) and the words. BLACKNESS.. in this room? Uh. MICROBIOLOGIST'S VOICE (o.s. BOTANIST It's important to observe everything.s.. you mean the newspapers? Tell hear What just left A MONTAGE OF OVERLAPPING VOICES (o. COLE closes his eyes obediently. Startled. ENGINEER'S VOICE (o. "IT'S TOO LATE FOR CURE".) Six.. if you count me. COLE'S VOICE (o.seven. ENGINEERING OFFICE . Like COLE.) Uh.INT. COLE I think it was. COLE'S VOICE (o. what street was that? COLE Uh.s.s...I'm sure it was 2nd Street. Can you my voice? What do I look like? does he look like..AN HOUR LATER (ETERNAL NIGHT) COLE. WE SEE NOTHING. As the SCIENTISTS start to whisper animatedly among themselves.

INT. The SCIENTISTS react..s. others running. TERRIFIED TRAVELER Just exactly why did you volunteer? INT. As YOUNG COLE and his PARENTS turn to see what's going on.. whispering urgently among themselves. MICROBIOLOGIST (tapping a pencil on the table) I asked you. hitting the floor close by.The VOICES blur into a cacophony and FADE INTO the droning P. whose faces are out of view. his face averted. some diving to the floor. he's facing the SCIENTISTS. MR. COLE Uh. flanked by his PARENTS. SYSTEM at the airport. He told me COLE comes abruptly awake. "NOOOOOOOOO!" YOUNG COLE turns back toward the Security Check Point just as TRAVELERS scatter madly.A.. a WOMAN'S VOICE cries out.) Flight 784 now boarding at gate. A TERRIFIED TRAVELER. CONCOURSE/AIRPORT . a SHOUT. and asks. hurries past them.DAY THE DREAM AGAIN! But at an earlier moment. then comes awake with a start as . PONYTAIL WATCH IT! YOUNG COLE sees little more than the gaudy pants. bumping YOUNG COLE with a Chicago Hulls Sports Duffle Bag.. PONYTAIL. ENGINEERING OFFICE/FUTURE WORLD .. interrupts the monotonous airport routine. P. Suddenly. I volunteered. the duffle. looks up at YOUNG COLE with panicky eyes. a man we'll call MR. is watching a PLANE land through one of the big glass windows that lines the concourse leading to the departure gates. YOUNG COLE. and the man's ponytail flopping as he rushes towards the gates. why did you volunteer? COLE Well. SYSTEM (o.(ETERNAL NIGHT) Seated now. the guard woke me up.A. COLE starts to nod off again. Cole. Just then. I didn't hear the. followed by raised VOICES. ASTROPHYSICIST Wake up...

sir! COLE You're ASTROPHYSICIST We have a very advanced program. ENGINEER We appreciate you volunteering. MICROBIOLOGIST (tapping his pencil again) Definitely a mistake! COLE gives away nothing. a very good observer.an opportunity. Cole? Have it taken away? No.the ENGINEER speaks to him. He's in a box here... do you.. He stares at the tapping pencil..NIGHT He has no choices. Cole. . something very different. ART GALLERY . ASTROPHYSICIST For a man in your position.misfortunes with "unstable" types. We've had some. COLE Uh. INT.. Strong mentally. requires very skilled people. ENGINEER We want tough minded people. BOTANIST Not to volunteer could be a real mistake. COLE keeps his face impassive. ZOOLOGIST And possibly play an important role in returning the human race to the surface of the earth.. thank you. ENGINEER You don't want to jeopardize that reduction. ENGINEER You'll get a reduction in sentence. MICROBIOLOGIST An opportunity to reduce your sentence considerably. ASTROPHYSICIST To be determined by the proper authorities.

s. a light-haired woman of twentyeight." As the POET reads. we STUDY the audience. the glaring POET continues. FRANKI -. starts screaming about viruses. As she makes her way to an exit.so they get there and they ask the guy real nice for some kind of i. Tomorrow's Silence. alla that stuff... nor where. the gigabytes of ones and zeroes. Moves on: nor all your Piety nor Wit Shall lure it back to cancel half a Line. They figure he's stoned out of his mind. tiny and ruddy faced. embarrassed. the POET looks up from the text just as RAILLY. and he gets agitated. what day it is. soberly dressed. A POET. totally disoriented..A strikingly "real" world of bright colors. 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. and. CORRIDOR/POLICE STATION . doesn't know where he is. infinitesimally small." BEEP! BEEP! Scowling at the outrageous interruption. so they're gonna bring him. if we listen we can hear the solitary voice of that poet telling us.. Among them. mostly YUPPIE CULTURE JUNKIES or BOHEMIANS.d. "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. wearing glasses. Totally irrational.) "The Moving Finger writes. it's some kinda psychotic episode.. And it's her beeper that suddenly BEEPS.NIGHT DETECTIVE FRANKI leads RAILLY past crowded holding cells. shuts off the beeper and rises. we find words. POET "Yesterday This Day's Madness did prepare." INT. Nor all your Tears wash out a Word of it. BEEP! BEEP! POET'S VOICE (o. tinier even than science lurking in some vague electricity where. Extravagant paintings adorn the walls. Triumph or Despair: Drink! for you know not whence you came. RAILLY He's been tested for drugs? . byte-sized now. All they got was his name. tumbling. having writ. nor why: Drink! for you know not why you go. She's KATHRYN RAILLY.

. RAILLY'S POV THROUGH THE WINDOW: a MAN. Yeah. FRANKI I'll be right here. FRANKI Were you listening? We got two officers in the hospital. None of the James Coles on the computer match him. You believe that? FRANKI pauses. INT. his back to her. RAILLY That would explain the bruises.FRANKI Negative for drugs. The environment is intensely real. No license. indicating a tiny observation window of thick meshed glass in an otherwise solid door. Cole? RAILLY My name is Doctor Railly. and RAILLY looks through it. examining the wall of the padded cell with the distorted intensity of a "mental case". no prints. in strait-jacket and prison denims. . FRANKI (unlocking the door) James Cole. RAILLY'S POV THROUGH THE WINDOW: the MAN in the cell turns. it's clearly COLE.. The struggle. almost loud.. please. I guess.. Look at him! Still on his feet. FRANKI You want to go in? Examine him? Yes. ISOLATION CELL COLE stares at RAILLY. Nothing. No drugs.. plus the medic gave him enough stellazine to kill a horse. however slight. RAILLY You have him in restraints. You want me to go in with you? RAILLY (entering) No. But he took on five cops like he was dusted to the eyeballs.. very distinct. and yet she appears to him almost like a vision. thank you. he's in restraints. RAILLY You said he gave a name. In spite of the cuts and welts.just in case... Mr.each sound.vivid colors.. looks right at her. That's everything we got. no warrants..

I have to get out of here. James. I can't make the police let you go. I'm supposed to be getting information. You can't change anything. RAILLY What kind of information? COLE It won't help you. have a tough mind. . COLE Because I'm a good observer. COLE RAILLY Do you know why you're here. Listen. I don't have any identification.several officers? COLE They wanted identification. RAILLY I'm going to be completely honest. RAILLY (frowns. RAILLY Change what? I need to go. I'm not going to lie to you.. studies him) Have you been a patient at County? Have I seen you someplace? COLE No.. I wasn't trying to hurt them.but I do want to help you.I don't work for the police. Because I RAILLY I see. I work for the County -. My only concern is your well being -do you understand that? COLE I need to go now... And I want you to trust me. James? May I call you "James"? "James"! COLE Nobody ever calls me that.I'm a psychiatrist. You can't do anything about it. You don't remember assaulting a police officer. Can you do that. not possible.

James? It's so clean. Hiding? RAILLY COLE I love this air. James? A hospital? COLE I have to go. RAILLY You've been in an institution. This is wonderful air. James? COLE This is April. James? Or a Social Security card? No. COLE (sudden panic) .RAILLY You don't have a driver's license. Why not? COLE RAILLY Most people have some ID. right? RAILLY July. haven't you. RAILLY You're afraid of germs? COLE I have to go. RAILLY What's wonderful about the air. COLE No germs. A jail? RAILLY Prison? COLE Underground. COLE You wouldn't understand. RAILLY Why do you think there aren't any germs in the air.

Do you think you're living in the future? COLE (slightly confused) No.you fooled the shrink with your act. buddy. bound tightly by the strait-jacket. CITY STREET/MINI-VAN . POLICE STATION CORRIDOR .DAY A Mini-van.MORNING This is 1989. the kind of vehicle used to transport a half dozen . 1995 is the past. blinding him in a dazzling fury of white light. RAILLY 1995 is the future. heavy manacles on his ankles. POLICEMAN #2 swings the steel door open and sunlight overwhelms COLE. COLE Where are you taking me? POLICEMAN #1 South of France. POLICEMAN #2 Zip it. COLE. You're gonna love it. I want to make a telephone call. POLICEMAN #2 smirks as he unlocks a heavy steel door. James.July?! RAILLY Do you know what year it is? COLE What year is it? RAILLY What year do you think it is? 1995? COLE RAILLY You think it's July of 1995? That's the future. Then. EXT. INT. James. Fancy hotel. COLE looks stunned. is being escorted down the corridor by two surly POLICEMEN. but you don't fool us. COLE South of France?! I don't want to go to the South of France. scumbag -.

Yo! Jeffrey.prisoners. in K-Mart street clothes or ratty robes. JEFFREY MASON. As PALMER shuts off the water.AN HOUR LATER (MORNING) Fierce spray recalls the decontamination in the future. supervise. beckoning to a patient.. stare gloomily at the TV. BILLINGS Lemme see your head. His eyes go to the heavily-grilled windows where light pours in from outside. Jimbo.. to the TV. HOSPITAL/DAYROOM . BILLINGS hands COLE a towel and starts inspecting his scalp.HALF AN HOUR LATER (DAY) COLE stands in the doorway. Can't make no calls 'til the doctor says. where a CARTOON COMMERCIAL makes raucous noises. The Police Department logo is prominent on the side of the van beneath barred windows. BILLINGS What chew gotta do. BILLINGS Jeffrey. is take it easy. BILLINGS is at COLE'S side. pace. stunned by his first sight of the large room. Whyncha show James around? Tell him the TV rules. We all gonna get along fine if you just relax. see if you got any creepy crawlies. COLE It's very important. Huh? I'd . or just stare blankly. COUNTY HOSPITAL/SHOWERS . COLE gets the hint of menace in the message and submits to the lice inspection. BILLINGS (pulling Cole's head) Gotta work that out with a doctor. relax into things. show him the games an' stuff. okay? JEFFREY (with a sly look) How much you gonna pay me? be doing your job. This here is James. Jimbo. COLE I need to make a telephone call. a twenty year old white youth dressed in khakis and a plaid shirt. Jimbo. crawls through a busy street. Then. COLE stands stark naked under the shower while two muscular attendants. PATIENTS. only his eyes revealing his frustration. INT. PALMER and BILLINGS. or play cards. INT.

because of the economy. oozing into the ears of all those poor sane people. JEFFREY What'd they give you? Thorazine? How much? Learn your drugs -. my man. JEFFREY A telephone call? That's communication with the outside world! Doctor's discretion. That enough? I'll wire it to your account as usual. for all I know you're crazy as a loon. we're all pals. JEFFREY turns to COLE. Games vegitize you. (suddenly sly and confidential) In fact. (indicating the TV) There's the TV. If you play the games. they're the guards. very few of us here are actually mentally ill. But that's not why you're here. We are not productive anymore. JEFFREY Kid around. It's all right there. As BILLINGS walks away chuckling. you see? COLE nods and JEFFREY indicates card tables where PATIENTS are playing cards.know your doses.BILLINGS Five thousand dollars. Five thousand dollars. you're voluntarily taking a tranquilizer. Hey. We're prisoners. COLE sees a partially completed puzzle of the well-known painting. chess. infecting them! Whackos everywhere! A plague of madness. Commercials. COLE I need to make a telephone call. it could spread. Why you're here is because of the system. I'm not saying you're not mentally ill. okay? JEFFREY Okay. depicting a serene world of animals in harmony. That's enough. kid around. or working on jig saw puzzles. but it's all in good fun. they don't need us to make . checkers. Insanity oozing through telephone cables. It makes them feel good. THE PEACEABLE KINGDOM. I'll give him the Deluxe Mental Hospital Tour. Five thousand. Billings. JEFFREY Here's the games. if alla these nuts could just make phone calls.

... new cars. Jeffrey. Abruptly. 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. JEFFREY stifles his hysteria.. say "All My Children" or something. Jeffrey. 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. Okay. But COLE isn't listening. turn back time ha ha. I warned you. that's it. TERRY Okay. Why? Because they're not consuming on their own..things anymore. But if you don't buy a lot of stuff.. computerized blenders... AND. you're a good citizen. VOICEACTIVATED COMPUTERS. STEREO SYSTEMS WITH BRAIN IMPLANTED HEADPHONES. more and more people are being defined now as mentally ill. JEFFREY Seriously. But you have to tell her before the show is scheduled to be on.toilet paper.. you're gonna get a shot. buy a lot of stuff. . He's mesmerized by the TV. He couldn't quite grasp the idea that the Charge Nurse couldn't just make it be yesterday for him.. But as patients. electrically operated sexual devices. JEFFREY So if you want to watch a particular program. A woman orderly. completely calm now. What are we for then? We're consumers. (getting hysterical) SCREWDRIVERS WITH MINIATURE BUILT-IN RADAR DEVICES. There was this one guy who was always requesting shows that had already played. TERRY. you go to the Charge Nurse and tell her what day and time the show you want to see is on. you know what? You're mentally ill! That's a fact! If you don't buy things. they becone consumers of mental health care. it's all automated. takes a deep breath and continues. Be calm. TERRY Take it easy. turns from the feeble PATIENT she's helping.

. DR. heh heh. MARILOU MARTIN. Now the geniuses cure you. sit around a beat-up conference table. preparing to subjugate barbarian hordes on Pluto. a somber-looking African American in a bathrobe. TJ WASHINGTON Don't mock me. I got "carried away".A. TJ WASHINGTON. Hallelujah! INT. COLE This is a place for crazy people! not crazy! I'm RAILLY. I am mentally divergent in that I am escaping certain unnamed realities that plague my life here. OWEN FLETCHER. Just then. Explaining the workings of. SYSTEM interrupts. who sits facing the doctors.. speaking forcefully. SYSTEM (v. startling COLE. Ogo is actually a construct of my psyche.. James Cole. taps COLE on the shoulder. hear.. . Jim -. my friend. smiling) Right! Right! Carried away.. (Some of the DOCTORS bear a strong resemblance to the SCIENTISTS OF THE FUTURE. James Cole! JEFFREY Staff! Whoo! Time for Staff. TJ WASHINGTON I don't really come from outer space. Cole. When I stop going there. P. part of an intellectual elite. JEFFREY This is TJ Washington. Are you also divergent. watching COLE.nevertheless. PSYCH WARD CONFERENCE ROOM . including RAILLY'S best friend.) RESIDENT #1 We don't use that term. with BILLINGS looming behind him. (to Cole) It's a condition of "mental divergence".MINUTES LATER (DAY) COLE is agitated. and their chief... Mr.JEFFREY (calming himself.. But even though it's a totally convincing reality in every way. I will be well.A. I find myself on another planet.) Report to Staff. breathe.he doesn't really come from outer space.o.the institution. four other PSYCHIATRIC RESIDENTS."crazy".I can feel. friend? The P. Ogo.

they're probably not active yet. Mr. . all over the place. Railly you thought it was. but COLE is just grabbing a pad and pencil..... These are all doctors here and we want to help you. apparently. Cole -. all of you -. RESIDENT #2 Are you going to save us. Of the world! Only about one percent survived. That makes sense! Okay. you've got some real nuts in here! Listen to me. FLETCHER restrains BILLINGS with a hand signal. How about right now? Do you know what year it is right now? COLE 1989. There's been a mistake.please. RAILLY James. Three billion.. got that? Almost the whole population. but. I guess you wouldn't. DOCTORS exchange knowing looks. COLE reaches out and BILLINGS lunges forward. DR. COLE (drawing) Do any of you know anything about the Army of the Twelve Monkeys? They paint this. three billion people died in 1995. I've been sent to the wrong place.. this is 1989. Look. stencil it. Suddenly. on buildings. COLE waves a sketch of the dancing monkey logo we saw earlier. (checking a file) 1995.I have to tell you something that's going to be difficult for you to understand. Cole. This is an old story. Listen to me. Cole? COLE .. COLE Hey. DR.COLE Well.last night you told Dr. CASEY COLE Right. FLETCHER Mr.. I'm not confused... I'm not going to hurt anybody. Mr. DR.

I don't belong here! What I need to do is make a telephone call to straighten everything out. But I'm not crazy. RAILLY Can you tell us the name of the prison you've come from? COLE doesn't answer. Listen. Cole...in the future! It disorients him.. He's staring at the tapping pencil. This has already happened. sees DR. This is the past. It's called. no. Cole? COLE No. Mr. I'm supposed to leave messages. who would straighten everything out? COLE Scientists." We're not in the present now. I'm a convict. Mr. You think I'm crazy. FLETCHER Who would you call. "voice mail". you belong in 1995 -. COLE'S seen that tapping before -.. DR. new tack) No! Look. I'm simply trying to get some information for people in the present so that someday. DR. Cole. They monitor it from the present. (sees their eyes) You don't believe me.. sure. Mr. FLETCHER tapping his pencil. They'll want to know they sent me to the wrong time. FLETCHER Does this bother you.. RESIDENT #2 "From the present. DR.Save you? How can I save you? It already happened! I can't save you. FLETCHER So you could talk to these scientists and they do what? Send you to the future? COLE No. is that it? . Cole? COLE (recovering. COLE stops. I can't talk to them. I'm supposed to report in to them.that's the present. DR. I. RESIDENT #3 Mr. but I'm as sane as anyone in this room. no. I have a quick temper.

COLE No, 1995 is the past, too. DR. FLETCHER These scientists, Mr. Cole? doctors like ourselves?

Look... Are they

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... Yes? MOTHER

(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. WATCH IT! MR. PONYTAIL It was

Was it JEFFREY wearing gaudy pants and a ponytail? definitely JEFFREY'S VOICE.

TRAVELERS dive for cover as a WOMAN'S VOICE cries out... NOOOOOOOOOO! but WOMAN'S VOICE

The TERRIFIED TRAVELER looks up at YOUNG COLE, makes eye contact, doesn't speak. FLETCHER! The TERRIFIED TRAVELER looks a lot like DR.

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! Everything goes white! Then, DAZZLING LIGHT.



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

.. I think. COLE pops the SPIDER in his mouth and swallows it as JEFFREY prattles on.like it was all okay...out of his fist.sick! He's trying to get doctors to wash their hands. you believe in germs. What is this guy. he can't help reacting to the word. "I don't believe in germs. right? 'Cause . right? Hey."germs"! As JEFFREY warms to his subject. right? That's very sane. hands it to me.. He picks it up.no sane person anyway. don't you? Get you out? COLE If you know how to escape. I never thought you were. No alternative. don't you? COLE I'm not crazy. I order a burger in this fast food joint. Along comes this doctor... Germs are just a plot they made up so they can sell you disinfectants and soap!" Now.. he's crazy.. JEFFREY "What about the germs?" I say.. "germs"! COLE Germs?! JEFFREY In the 18th century there was no such thing! Nobody'd ever imagined such a thing -.. COLE tries to figure out where to put the SPIDER.? JEFFREY Why don't I escape. I can help you. that's what you were going to ask me. He goes.that there are these teeny tiny invisible "bad things" called germs that get into your body and make you. why don't you.. He tries to convince people.. You want to escape. getting excited.crazy? Teeny tiny invisible whaddayou call 'em?.. The waiter drops it on the floor. You want me to. wipes it off. JEFFREY (cont.. other doctors mostly. JEFFREY Of course not.) So cut to the 20th century! Last week in fact..Semmelweiss. right before I got dragged into this hellhole...

Really sorry. COLE watches the ORDERLIES grab JEFFREY and haul him away. YES... Torture! monkeys JEFFREY'S VOICE (o. he'll have them transfer me to one of those classy joints where they treat you. COLE .properly. AND WHEN MY FATHER GETS UPSET. EATING THEM.. one eye bruised black... Got a little agitated.s.suddenly I felt LIKE BENDING THE FUCKING BARS BACK. restrained body. and assorted minions. staring at the shuddering LAB MONKEY on the TV screen.. INT. who will contact my father. see? I've sent out word. When he learns I'm in this kind of place. sitting. COLE What's that mean? JEFFREY I've managed to contact certain underlings. The thought of escaping crossed my mind and suddenly. writing intensely in a magazine with crayon. convulsing pathetically..) Experiments! We're all COLE locks up.. evil spirits. Wait til you morons find out who I am. THE GROUND SHAKES! MY FATHER IS GOD! I WORSHIP MY FATHER. My father's gonna be really upset.MORNING ANGLE ON TV SCREEN/A VIDEO IMAGE OF A LAB MONKEY. surrounded by dull-eyed PATIENTS in pajamas and ratty robes. secretaries of secretaries.I'd be crazy to escape! I'm all taken care of. ANGLE ON COLE. 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. WARD DAYROOM . a victim of shocks from the numerous wires attached to his tiny. AND LEAPING. JEFFREY You dumb assholes! I'm a mental patient! I'm supposed to act out. startled.. LIKE A GUEST! LIKE A PERSON! SHEETS! TOWELS! LIKE A BIG HOTEL WITH GREAT DRUGS FOR THE NUT CASE LUNATIC MANIAC DEVILS. RIPPING OFF THE GODDAMN WINDOW FRAMES AND.EATING THEM. JEFFREY Sorry. as JEFFREY.. takes the seat next to him. LEAPING.

COLE Look at those assholes. As COLE stares. reacting angrily. JEFFREY sees COLE'S magazine. showing a laboratory CAT turning in mad circles. (sudden whisper) I didn't say a word about "you know what". The video footage now shows LAB WORKERS watching the results of their experiments passively. extending a cup full of pills. eating its own tail. TV NEWS REPORTER (v..right now we have to focus on more immediate goals.) These video tapes were obtained by animal rights activists who worked underground as laboratory assistants for several months.They hurt you! JEFFREY Not as bad as what they're doing to kitty. A lawsuit? JEFFREY You going to sue them? Just then BILLINGS looms over COLE. JEFFREY What're you writing? You a reporter? COLE (shielding the magazine) It's private. turning) Wiping cut the human race! That's a great idea! But it's more of a long term thing -. they're asking for it! Maybe people deserved to be wiped out! JEFFREY (startled. ANGLE ON TV. COLE What are you talking about??? JEFFREY You know -. BILLINGS . ANGLE ON COLE. befuddled..your plan.o. while a NEWS REPORTER narrates. Authorities say there is little they can do until.

s.. bro. (groggy) What.try and get it together.) Let us guide you to the stocks and . TV AWNOUNCER (v.??? COLE A KEY! JEFFREY Wooooo.) Take a chance. showing a picture of the Marx Brothers. staring at the screen.. What. Gorgeous beaches. Sunshine. Monk! (big grin) Key! JEFFREY flashes his palm open for one quick moment. James -. COLE sees JEFFREY sliding into the next chair and smirking.) Monkey Business! Monk Key Business.Yo. they really dosed you. JEFFREY'S VOICE (o. INT.... a commercial playing: a beautiful couple romps in the surf in slow motion while an eager NARRATOR encourages. Focus! Focus! The plan! Remember? I did my part. "what". JEFFREY Get it? Monk .o.) We'll return to the Marx Brothers in "Monkey Business" following these messages.THIRTY MINUTES LATER (MORNING) ANGLE ON THE TV. NARRATOR (v. The Florida Keys! ANGLE ON COLE.??? COLE JEFFREY Not. seated in front of the TV along with other drugged PATIENTS.. very drugged.Key. babe! When! "When???" JEFFREY (pressing the key into Cole's hand) Now! VOICE/TV (o.. ANGLE ON THE TV. Major load! Listen up -.time to take your meds. DAY ROOM/HOSPITAL .o.s. Live the moment.

. COLE looks at the ward door. watching JEFFREY dance crazily. almost mimicking JEFFREY with an ad. ANGLE ON JEFFREY.o.BUY NOW. HEAVY WOMAN PATIENT I'M GETTING DIZZY. VOICE/TV (v. Just then.. YES. too. BUY! SELL! JEFFREY SEIZE THE OPPORTUNITY! ANGLE ON A HAND. Other PATIENTS are getting agitated. ANGLE ON COLE. TERRY.. using PATIENTS as a shield. . reacting to JEFFREY. ANGLE ON TV. very upset. calling for help. scattering it into a thousand pieces. across the ward. MAKE HIM STOP! HERE THEY COME! SKINNY MAN PATIENT 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. as JEFFREY cavorts around the room. flabbergasted.) A portfolio tailored to your specific needs and the needs of your loved ones. inserting the last piece into the PEACEABLE KINGDOM JIGSAW PUZZLE. YES. JEFFREY'S HAND sweeps the puzzle off the table. as JEFFREY avoids a lunge by BILLINGS and dances off.bonds that will enhance your portfolio. realizing through the haze of drugs that JEFFREY is sending a message to him. JEFFREY ENHANCE YOUR PORTFOLIO NOW! ANGLE ON BILLINGS.NOW! BUY NOW! STOCKS AND BONDS! NO MORE MONKEY BUSINESS -. lets go of the OLD MAN he's helping as another orderly. JEFFREY (leaping to his feet) YES -.. presses a beeper. ANGLE ON COLE. dumbfounded.a BULL and a BEAR and a computer screen showing stock prices fluctuating. dancing away while the PATIENT who just completed the puzzle stares.

What should he do? . ANGLE ON COLE. desperate tries the key again. close at hand. It won't turn. moving to the door.. COLE steps toward the elevators so his back is to the SECURITY MAN. PATIENT Place to go would be. It turns.. Edgar Hoover isn't really dead. INT. COLE. not understanding. managing to insert the key. hesitating. PATIENT J. But he doesn't know how to control this elevator.. startles COLE.Florida. speaking into his ear. being grabbed by the ORDERLIES. glancing nervously over his shoulder. COLE pauses. LAST CHANCE! JEFFREY LAST CHANCE! JEFFREY HEY -. as the other ORDERLY rushes to join the pursuit. CORRIDOR/COUNTY HOSPITAL Stepping through the door. He reaches it and tries to ANGLE ON LOCK. stares. He locks at the door. JEFFREY SEIZE THE MOMENT! GET RICH! TIME! GO FOR IT! NOW'S THE BILLINGS (missing a tackle) God damn you. unnerved. ANGLE ON JEFFREY. One locks the door with a key. ANGLE ON COLE. ANGLE ON COLE. don't notice COLE. Jeffrey.. A PATIENT.OW! ANGLE ON COLE. resists wildly as they struggle to overpower him. Be careful. A uniformed SECURITY MAN sitting at a near-by desk doesn't even lock up from the magazine he's reading. insert the key in the lock.COLE'S POV: the WARD DOOR opens and two husky ORDERLIES enter. he opens the door.blurring in and out of focus. COLE'S POV: ORDERLIES swarm over JEFFREY. COLE finds himself in an ante-room facing several elevators. Barely daring to breathe. one of many on a key ring attached to his belt. He looks down at the key in his hand. Then. The keys are lovely this tine of year. quit playing the fool. as the key keeps missing the hole.

9.s. They seem to expect him to exit. ELEVATOR/COUNTY HOSPITAL The elevator's empty. RAILLY'S OFFICE . sticks his head in the door waving a crayoned message on a page torn from a magazine. The numbers on the indicator over the door start to rise. CASEY "You are the most beautiful woman I have ever seen. As they enter the elevator. stunned! Just then.. CASEY This was in my box. waiting. INT. but I have a slight suspicion it wasn't meant for me.SCARFACE! ANGLE ON COLE. COLE freezes. Use one. the DOCTORS look back at COLE and frown. sneaks a glance over his shoulder. He looks exactly like the MENACING GUARD IN THE FUTURE..8. reading the scrawled words dramatically. 7. COLE hesitates. sunshine. COLE'S POV: the SECURITY MAN continues his reading. DR. CASEY. the elevator stops and the door opens.SECURITY MAN'S VOICE (o. one of the other residents.. You live in a beautiful world. You have freedom. is about to push it when the elevator springs to life..." (smiling) RAILLY .. Then. The door closes. But you don't know it. He's a big guy with reading glasses perched on his nose. air you can breathe. CASEY enters the room. Two DOCTORS and an AIDE stand in front of the door.MORNING She's slipping on her white RAILLY has just arrived for work. They look at him. isolating COLE in the elevator. an elevator door slides open.. COLE exits the elevator. DR. doctor's coat when.. COLE steps into it.) Two's not working today. INT. COLE finds the down button. DR. Avoiding eye contact.

The PATIENT lifts his head up and stares at COLE. A POSSE of SECURITY GUARDS is headed in his direction. turns to his right.Cole. excuse me. We have to know exactly what's there so we can. DR. Please. INT. COLE'S trapped. It's COLE! He stares at the PATIENT and the Cat Scanner. James Cole -. DR. The DOCTOR stops. DR. GOODINS Hey. BILLINGS. Took off. DR. CASEY "I would do anything to stay here.right? She reaches for the note but CASEY moves it out of her grasp. He attacks the nearest man.. He's upset. freezes.don't fight it. astonished. CASEY is handing her the note when another resident.DAY A PATIENT is being swallowed by a large tube. A beat. right? RAILLY and CASEY stare at him. GOODINS.. sticks his head in the door. Kathryn. DOCTOR Can I help you? COLE turns and rushes back out the door.. INT. while a DOCTOR in a white coat speaks reassuringly. help me.SHORTLY (DAY) . Eh. TECH ROOM/PSYCH WARD . DOCTOR Just relax -.. he was up on nine. CORRIDOR/COUNTY HOSPITAL COLE steps into the corridor. a CAT SCANNER. COLE turns to his left. James Cole is one of yours." RAILLY Poor man. INT. GOODINS He got out. but I must leave. as the door bursts open. X-RAY DEPARTMENT/BASEMENT . Four ORDERLIES are coming that way. Last seen.

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. No more drugs. COLE Please... You're very

RAILLY I have to do this, James. confused.


DR. FLETCHER faces RAILLY across the conference table. 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! do you want me to say? What else

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? Yes, sir. BILLINGS 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. NOOOOOOOOOO! The WOMAN'S VOICE calls out!


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... Well? Uh, what? ENGINEER He's drugged out of his mind! completely zoned out. He's ASTROPHYSICIST COLE

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,

sir.. FLETCHER! COLE blinks hard.. Cole? ZOOLOGIST Did you see it? Uh. It's a picture of a stenciled graffiti. so I guess it doesn't matter...and the MICROBIOLOGIST has his own face.a spider -. For one moment. the face belongs to DR. again. It was the wrong year anyway. But I still got you a specimen -.. confront POLICE in riot gear. COLE comes awake with a start. ENGINEER What about it. GEOLOGIST'S VOICE (o. except. blurrily. exchange knowing looks. COLE'S head slumps forward now. The SCIENTISTS stare incredulously.. Another slide CLICKS into place. COLE I.and everything goes dark.. no. huddle. ASTROPHYSICIST . Cole? Did you waste it on drugs? Women? COLE They forced me to take drugs.but I didn't have anyplace to put it. the MICROBIOLOGIST staring at COLE intently. then turn.ZOOLOGIST You're certain of that? GEOLOGIST (before Cole can answer) What did you do with your time.. BOTANIST Forced you! Why would someone force you to take drugs? COLE I got into trouble.the logo of The Army of the 12 Monkeys.. so I ate it.) ENGINEERING OFFICE . Youthful PROTESTERS. start whispering to one another. I got arrested.s.. a slide is being projected on a torn screen.ETERNAL NIGHT OF THE FUTURE The room is dark now. Cole! INT. Struggling to stay awake COLE sees. their placards featuring slogans and images of Animal Atrocities.

ETERNAL NIGHT COLE opens his eyes.DAY (THE DREAM) The BRUNETTE runs up the concourse. ASTROPHYSICIST You were sent to make very important observations! BOTANIST You could have made a real contribution. Uh. RASPY VOICE (o. CONCOURSE/AIRPORT .) Who's that? CELL .What about these people? any of these people? Did you see Zooming in. INT."Do you want another chance?" COLE stares at them. the expression of rage is clear. panning. sir. MICROBIOLOGIST The question is. In spite of the poor image..) Uh. Where is he? Silence as he examines the tiny cell. her back to YOUNG COLE. SHOUTING! Hey! INT. trying to figure out what they mean. Bare cement walls.. GEOLOGIST Helped to reclaim the planet.wait! The image pans back to a much enlarged blurry FACE among the PROTESTERS. MICRO3IOLOGIST (switching on the light) You were in a mental institution?! The SCIENTISTS MUTTER disapprovingly among themselves. COLE (o. as frightened PASSENGERS duck for cover. Same color and . no. Cole -. the SCIENTISTS emphasize the FACES of the PROTESTERS. ZOOLOGIST As well as reducing your sentence..s. I. I think so. The FACES are unfamiliar to COLE (though WE will recognize some of them later on). High ceiling. Him? ASTROPHYSICIST You saw that man? COLE In the mental hospital. and it seems to resemble a somewhat older JEFFREY MASON.s..

COLE Where are you? You can talk! Volunteer? RASPY VOICE (o.or "maybe" I'm in the Central Office spying on you for all those science bozos. down. RASPY VOICE (o. Ha Ha. No way to confirm anything.) Hey. Where'd they send you? Where are you? COLE RASPY VOICE (o. another "volunteer" like you -. huh...s. Means "maybe" I'm in the next cell.) 89! How was it? Good drugs? Lotsa pussy? Hey.. Bob.s.. Bob. "maybe"? supposed to mean? What's that RASPY VOICE (o.) Not talking. hey.. Maybe.. RASPY VOICE (o.Army of the Twelve Monkeys. Where'd they send you? COLE doesn't answer.size as the isolation room at the county hospital.. Or. Bobby boy? COLE My name's not "Bob". Bob? That's okay I can handle that.what's your name? COLE looks around frantically. RASPY VOICE (o. COLE What do you mean.) Another cell.. Bob. Up..) Maybe.) Wah'dja do.) Not a prob. "maybe" I'm not even here.s.s.where the virus was prior to mutation? COLE . you do the job? D'ju find out the "big info"?. COLE 1989. RASPY VOICE (o..s. Where is the VOICE coming from? Maybe from that tiny vent high in the wall.s. "Maybe" I'm just in your head. .s.

TRENCH/FRANCE . Muffled VOICES shout through gas masks. The gurney is being wheeled into a crudely welded steel tube. in FRENCH. Cole. SERGEANT (FRENCH.don't fight it.. THEN DIMUENDOS. RASPY VOICE (o.. MICROBIOLOGIST Just relax now -. ZOOLOGIST Good thinking about that spider. .. shouting in French. you idiot?! What? What?? COLE A horribly WOUNDED MAN is being COLE looks around desperately. then the chamber door is CLANGED shut. Try and do something like that again.. LAB . EXT. COLE'S POV: a last glimpse of anxious FACES. And SCREAMS. and your weapon.It was supposed to be 1995. We have to know exactly what's there so we can fix it.. Cole. naked. A HUM BUILDS. A SUDDEN HUGE EXPLOSION! THEN.. whispering. but this is World War I! Suddenly.ETERNAL NIGHT OF THE FUTURE COLE is strapped on a gurney. You're lucky you didn't end up in ancient Egypt! INT..s. sweating. ASTROPHYSICIST Keep your eyes open.) Science isn't an exact science with these clowns. COLE doesn't know it. 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. subtitled) Where's your mask?! And your clothes. THE BLACKNESS VIBRATES.DAY DRIZZLING RAIN. WE BEGIN TO HEAR BURSTS OF MACHINE GUN FIRE. a SERGEANT confronts him. SCIENTISTS hover near-by. Stay alert. COLE'S in a deep trench. reminiscent of the cat scanner in County Hospital. THE HUM REACHES A DEAFENING LEVEL. VOICES SHOUTING IN FRENCH. The walls of the gloomy chamber are damp. eyes wide with terror.. EVERYTHING IS BLACK. GEOLOGIST No mistakes this time.

his gas mask half off. COLLEGE CAMPUS . CAPTAIN (frowning. Please. subtitled) How'd you get here. Looking to his left.stretchered past them in the narrow trench. I gotta find 'em. COLE goes down. COLE sees the CAPTAIN lying beside him.don't understand.. It's his friend.. SHOTS RING OUT. Cole. GERMAN. EXT.. blood all over his torso.. Where am I? The CAPTAIN hurries over. God..s. AAK AAK AAK. 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. He's being carried past COLE now on a stretcher. the SERGEANT jams his bayonet into COLE'S ribs.. subtitled) German! Speak German! What are you doing here? VOICE (o. sees. Hit in the leg! SOLDIERS in gas masks rush past him like giant insects.. CAPTAIN (GERMAN. soldier? What's your rank? Where are your clothes? COLE I.) (pleading in English) I gotta find 'em. SERGEANT (FRENCH. snapping at COLE in German. subtitled) Captain! A Kraut! We got a Kraut! COLE I don't understand..NIGHT . JOSE. COLE is reaching for the mask when. dead from a chest wound. horribly wounded. JOSE! Cole! COLE JOSE Oh. A grenade EXPLODES. the Puerto Rican kid from the next cell in the "underground" time. Reacting to the foreign word. A SHELL HITS CLOSE BY WITH AN ENORMOUS EXPLOSION. Machine guns chatter close at hand. you gotta help me! COLE turns. SUDDENLY.

this plague/doomsday scenario is considerably more compelling when reality supports it in some form.) According to the accounts of local officials at that time. but then mysteriously escaped and was not heard of again. judged to be about forty years of age. that the end of the world was come. 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. six years older now. "During seasons of great pestilence. WE DISCOVER RAILLY. there are now technological horrors as well: besides radiation. the man raped a young woman of the village. We are on a placid campus looking at the dignified architecture of Breitrose Hall.) until we SETTLE ON.. RAILLY (cont. chemical warfare. this gentleman." Obviously. Dr. . DR. or AIDS. Spring 1995". standing at a lectern in a pool of light. Mackay wrote. as he is restrained by PEASANTS. Deranged and hysterical. RAILLY'S VOICE (o.s. appeared suddenly in the village of Wyle near Stonehenge in the West of England in April of 1162. On the screen is a slide of an engraving from the Middle Ages showing a MADMAN in apparent agony.) In 1841. WE SKIM the listings (Jon Else on The Nuclear Agony. KATHRYN RAILLY MADNESS AND APOCALYPTIC VISIONS MAY 17 INT. the man made dire prognostications about a pestilence which he predicted would wipe out humanity in approximately 8OO years. smallpox.Stunningly quiet. was taken into custody. etc. Using unfamiliar words and speaking in a strange accent. whether it's the Bubonic Plague. his mouth shaped to a scream. The projector ZOOMS slowly in on the agonized FACE of this MADMAN as we HEAR RAILLY'S VOICE lecturing. In addition to these "natural" contagions. Andrew Miksztal on Biological Ethics. AUDITORIUM/BREITROSE HALL . which first reared its ugly head in the deadly mustard gas attacks during the First World War. MOVING IN we FOCUS ON a large poster advertising "The Alexander Lectures. men have often believed the prophecies of crazed fanatics. consider our lurking fear of germ warfare and its close approximation..NIGHT A large screen dominates the auditorium stage.

o. a different old photograph of JOSE. a SERIES of SLIDES show images of WORLD WAR I SOLDIERS in gas masks. being carried by SOLDIERS through the trenches during an attack.. the young soldier disappeared from the hospital before more data could be gathered.) Cassandra. He claimed he had come from the future.. very ill. strapped to a stretcher. Further away.) -. the Puerto Rican kid. No doubt. gaunt. RAILLY'S friend.s.. Hence. The man.s. 1917. although physically unaffected by the gas. His name is DR. WAYNE CHANG. both listening attentively.a self-inflicted agony we call the "Cassandra Complex". etc. another MAN listens intently. A MAN with shoulder-length carrot-colored hair. during an assault. PETERS.. o. haunted.ON THE SCREEN. the agony of foreknowledge combined with impotence to do anything about it.. . RAILLY'S VOICE (cont. RAILLY'S VOICE (cant. JOSE appears to be ranting madly as the projector ZOOMS CLOSER on his face until the image approximates Munch's famous painting. we SCAN the AUDIENCE and DISCOVER MARILOU MARTIN. was condemned to know the future but to be disbelieved when she foretold it. a slide of an old deteriorated photograph shows JOSE. substituting for the agony of war. he was trying to carry on his mission to warn others. in death throes. and MARILOU'S HUSBAND. albeit in a regional dialect they didn't recognize. in Greek legend you will recall. was wounded by shrapnel and hospitalized behind the lines where Doctors discovered he had lost all comprehension of French but spoke English fluently.s.who.) Although seriously injured. This time he's in a military hospital.. RAILLY'S VOICE (cont. ON THE SCREEN. that he was looking for a pure germ that would ultimately wipe mankind off the face of the earth in the year. o. As RAILLY continues. was hysterical.) During such an attack in the French trenches in October. we have an account of this soldier. ON THE SCREEN. 1995! The AUDIENCE gives a nervous CHUCKLE.. RAILLY (cont.

DISHEVELED PROFESSOR Doctor Railly -. In this context. sea. DR. "Let's go shopping!" is the cry of the true lunatic? DR. Railly. MARILOU MARTIN and her husband. Dr. you have given your alarmists a bad name. and air. You're leaving? RAILLY MARILOU The reservation's at nine thirty -it's getting late. uncontrolled breeding habits. As the PROFESSOR babbles. THE DOOMSDAY SYNDROME... RECEPTION ROOM . isn't it obvious that "Chicken Little" represents the sane vision and that Homo Sapiens' motto.INT. PETERS has her ear. Apocalyptic Visions of the Mentally Ill by Dr. PETERS I think. RAILLY is seated at the table signing books but DR.. . MARILOU You were great. the pollution of land.please -. Surely there is very real and very convincing data that the planet cannot survive the excesses of the human race: proliferation of atomic devices.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. DISHEVELED PROFESSOR Doctor Railly -. Kathryn Railly Surrounded by enthusiastic members of the audience. checks her watch) I'll be there in twenty minutes. WAYNE CHANG. the rape of the environment.AN HOUR LATER (NIGHT) A stack of new books. PETERS smiles self-importantly at RAILLY as an elderly disheveled PROFESSOR elbows in front of him.this is very important! WAYNE CHANG (checking the professor) You sure you're gonna be all right? RAILLY (smiles.. appear and whisper.

cash and credit.s.NIGHT A full moon. ACURA/PARKING LOT Fighting to suppress the quaver in her voice.. She waves back as she hurries to her black ACURA. one of the last cars left in the lot. COLLEAGUES in a VOLVO pull out of the parking lot. I have a lot of MAN'S VOICE (o.. EXT.. unlocks her car door. MAN'S VOICE Get in! Unable to scream. You can. MAN'S VOICE I've got a gun.DISHEVELED PROFESSOR Dr. she's grabbed from behind in a choke-hold by a large shadowy MAN looming out of the darkness behind her. Start the car. as he opens the rear door and scrambles in behind her. RAILLY seems to be alone in the lot as she fishes keys from her purse. Glancing in the rear view mirror... I simply cannot understand your exclusion of the moon in relation to apocalyptic dementia. no other features. she holds out the keys to him. Half-turning in the seat. RAILLY freezes.. Here! RAILLY You can have the keys.. she writhes and kicks as he forces her into the front seat. RAILLY sees penetrating eyes peering out of the shadows. his face last in shadow. calling. PARKING LOT/BREITROSE HALL . speaking fiercely into her ear. The outside lights of Breitrose Hall go off. Suddenly. Railly. RAILLY says. RAILLY You can have my purse... . INT. starts to open it when.) He grabs her hair and yanks her head back hard.. "Congratulations" to RAILLY. terrified.

horrified) But that's. But I will. I think. then boldly switches on the dome light. hesitates. That's a serious crime... RAILLY whirls.. it's kidnapping.. but now his features are concealed by the map. . you could just take the car and.. I told you that. the Acura backs up. ACURA/PARKING LOT MAN NOW! The engine STARTS... RAILLY If you make me go with you. MAN I don't know how to drive! We went underground when I was nine.) I don't want to hurt you. Turn RAILLY obeys.. ACURA Steering fearfully.when I had no choice. where are we going' MAN I need you to drive me to Philadelphia.. torn clothing as he tries to read the map by the intermittent glow of passing street lights.. His face is lost in darkness but she glimpses ragged. MAN'S VOICE (o. Startled. Turn left. holding her breath fearfully for his reaction. sees him unfolding a tattered map. Relieved. RAILLY (startled. She glances in the mirror again. As she makes the turn.. she looks in the mirror again. I've hurt people before when.. He grunts appreciatively. INT. RAILLY glances in the rear view mirror. trying to get a better look at him. looks right at him. RAILLY Where.START THE CAR! EXT. here. If you let me go. then heads for the exit. When you come to the corner. that's more than 200 miles! MAN That's why I can't walk there. turn right.s. RAILLY hears him speak more calmly now.

.... 1989. I remember.. FREEWAY .I was desperate. (a beat. I know this isn't what you meant..s. EXT. ACURA/FREEWAY . the ones who killed everyone. Have you been.following me? COLE You told me you'd help me.NIGHT The Acura veers up the ramp and onto the freeway. Sorry about that.NIGHT RAILLY glances in the mirror.. RAILLY Cole! James Cole! You escaped from a locked room six years ago. but. remember? RAILLY Yes. . She says carefully.bum leg. no money.. Mr. Cole. dirty. But then I saw your book in a store window with a notice about your lecture.. It's COLE! Haggard.. 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. COMMERCIAL/RADIO (o. I checked out the Baltimore information. RAILLY turns the wheel sharply. it was nothing. It's Philadelphia. sleeping on the streets.He's lowered the map. unshaven. RAILLY I can't believe this is a coincidence. that's where they are. (sudden pride) I can read. background to an oozing baritone COMMERCIAL.. sign! COLE Six years for you. sees COLE settling back wearily against the seat. INT.) This is a personal message to you. then) Why do you want to go to Philadelphia? COLE It's the next step. Right here! There's the COLE is indicating a freeway entrance.. I probably smell bad. (pointing suddenly.

. COLE frowns as the SOUND of breaking SURF and crying GULLS fills the car. RAILLY assumes her professional tone. sees him stick his head out the window into the wind. Mr. RAILLY It's an advertisement.. eyes wide like a kid's. COLE You used to call me "James".. He did think it was for him. COLE (cynical laugh) Everybody's got a gun. He breaks off reacting to the RADIO MUSIC! FATS DOMINO singing "BLUEBERRY HILL"! COLE grins..NIGHT "BLUEBERRY HILL" BLARES as the Acura. concentrating on this personal message.. COLE Can you. FREEWAY/ACURA .s. do you. The sign says. mouth agape. COMMERCIAL/RADIO (cont. In this city. COLE'S head out the rear window. alert.can you make it louder? I love hearing twentieth century music! Hearing music and breathing air! As RAILLY cranks up the volume. EXT.you don't really have a gun..} The Florida Keys are waiting for you. It's confusing! He blurts out.. COLE frowns. listening intently.. "eating" the air hungrily.) Are you at the end of your rope? Are you dying to get away? COLE'S eyes narrow." . Cole. zips past a sign at 65 mph.COLE sits up.. but she's probably right.. o. COLE I've never seen the ocean! Observing his confusion in the mirror. mouth open. she watches the mirror incredulously. don't you? It's not really a special message to you. You do understand that. James. o. "PHILADELPHIA 233 MILES. RAILLY You'd prefer that? . COMMERCAIL/RADIO (cont.s.

RAILLY "If something really happens"..) Young Neuman apparently stepped into an abandoned well shaft and is lodged somewhere in the narrow 150 foot pipe. possibly alive. troubled now.... while she's trying to figure something out. James? COLE Something bad.s.. Playmates claim they heard him cry out faintly but since then there has been no contact with.. RAILLY Did something terrible happen to you when you were a child? Something so bad.. baby.INT. "SINCE I MET YOU.s. This just emergency cornfield old Ricky disappear ANNOUNCER/RADIO (o. COLE "Never cry wolf!" RAILLY What? COLE My father told me that. Is that all the music? I don't want to hear this stuff. ACURA/FREEWAY .something really happens..? COLE Ohhhh.. My whole life has changed. IVORY JOE/RADIO (o..) in from Fresno. COLE pulls his head back inside with a frown. .) "Since I met you.s. possibly seriously injured.like what. California: crews are converging on a where playmates of nine year Neuman say they saw him right before their eyes. an ANNOUNCER'S VOICE breaks in.. what can she do? Just then. that one! Can we hear that one? It's IVORY JOE HUNTER singing. ANNOUNCER/RADIO (cont. o." Then people won't believe you if..NIGHT RAILLY glances in the mirror at the nut in the rear seat with his head out the window. "Never cry wolf. RAILLY glances at him as she scans stations... BABY".

Remember him? The paranoid who pulled the Houdini back in '89. INT.. he's back and he's. The TV is on. glittering with a million stars and a lover's moon as IVORY JOE croons the achingly romantic lyrics. That's totally unlike her! OFFICER TWO (pulls out his notebook) Do you happen to know the make of her car? MARILOU MARTIN Um. The machine switches off.) "-. but he refused 'n I kept thinking... He seemed very agitated. All I need is you.. that cat's starving! She would never neglect her cat! EXT..Acura.this is Palmer from Psych Admitting. INT. baby. . Also.cuckoo..cause since I met you.my husband and I had gone ahead -. gulping air blissfully. RAILLY'S APARTMENT . COLE sticks his head out the window again." ANGLE ON COLE... just a few minutes ago.. eyes shining.s. EXT. it came to me. MOTEL ROOM 46 A commercial is just starting. A catfood jingle. MOTEL .. There was a guy here this afternoon looking for you. which has definitely seen better days.. IVORY JOE/RADIO (cont. ANSWERING MACHINE Dr. MARILOU MARTIN It's just as I told you -. It's Cole! James Cole.'92 Acura.and he's looking for you..MORNING Two POLICE OFFICERS and an anxious MARILOU MARTIN listen to an answering machine's message while a hungry CAT cries plaintively. Railly -. I thought you oughta know..she never showed. Then. We tried to keep him.. Well. o. I know this guy.MORNING The ACURA is parked outside room 46 of the HIGHWAYS & BYWAYS MOTEL. ACURA/FREEWAY COLE'S POV: the heavens. The POLICE OFFICERS exchange a look.Ecstatic. . wind in his hair.

I'm very uncomfortable.The sound of HEAVY BREATHING. And I seem to have become pretty important in yours. then goes into the bathroom. limps to the dresser. ANGLE ON COLE. in spite of the dark hair. Close at hand. frightened and helpless. his face still out of view.the only one. wincing.s.before everything happened. Your hair was different. FATHER'S VOICE (o. MOTEL ROOM 46 He stares. stepping around empty fast-food cartons. YOUNG COLE'S FATHER.. It's the same dream I always have -. and YOUNG COLE again glimpses the resemblance to RAILLY. RAILLY'S VOICE (o. the flashy earrings. and starts to shave.. RAILLY We dream about what's important in our lives. I'm a little kid in it. leaving the door open. What was the dream about? COLE About an airport. RAILLY And I was in it? What did I do? COLE . the make-up. it's important for your cat to have the nourishment necessary for healthy bones and a rich coat.) Son. CONCOURSE/AIRPORT . COLE'S instinct is to free her at once. but he controls his impulse. He looks away. INT. but I'm sure it was you.s. COLE You were in my dream just now. at the COLE comes awake with a start. beside him on the bed.) Please untie me. GUNSHOT! The mysterious BRUNETTE races past him toward the BLONDE MAN. says.DAY (THE DREAM) YOUNG COLE glimpses the BLONDE MAN staggering. CATFOOD COMMERCIAL on the TV. sound asleep. gets up. sprawled on one side of the double bed. BREATHING HEAVILY. and. disoriented. INT. He pulls a razor and shaving soap from a paper bag. COLE turns to RAILLY. her jacket arranged to restrain her like a strait-jacket. wounded. sweating.

And you were moaning. EXT. very strange. COLE re-enters the bedroom. COLE I'll be back in a minute.. California. It's RAILLY You're flushed. TV ANCHORMAN And in Fresno.what's happening. where an ANCHORMAN sits at a News Set. inserts coins tentatively. . No! Too late! RAILLY Don't leave me here like this! He shuts the door behind him. MOTEL CORRIDOR . Finished shaving. MOTEL ROOM ANGLE ON TV. pulling out money. ANGLE ON RAILLY.MORNING COLE puzzles over a junk food vending machine.. o. You're always very upset in the dream. but I never knew it was you before. He heads for the door. I think you're running a fever.You were very upset. ANGLE ON THE TV SCREEN. tears welling in her eyes. RAILLY It wasn't me before. It's become me now because of. COLE No.s. James. INT.. trying to get loose. the picture of RAILLY filling the screen. toweling his face. Please untie me. leaving her alone. I think it was always you.) The boy was playing ball with four other children when he literally disappeared off the face of the earth.crews continue to attempt to rescue nine year old Ricky Neuman.. What are you doing? COLE is rummaging through RAILLY'S wallet. TV ANCHORMAN (cont. twisting and struggling on the bed.

PAGE 52 MISSING ----------------------COLE Observations.. So that those of us who survived can go back to the surface of the earth... At first the papers will say it's some weird fever.secret army? COLE I just have to locate the virus in its original form before it mutates. They'll get it. RAILLY stares at COLE.s. a sad look in his eyes.) This report just in from Fresno. California. RADIO NEWSCASTER (o. I thought maybe they'd found us and arrested me or something.when you find this... COLE You won't think I'm crazy next month. suddenly alert. Naval sonar specialists who were flown to the site. COLE stares at the KIDS. People are going to start dying. RAILLY What will you do. I've told you about them.. So scientists can come back and study it and find a cure. FATHER.it's my assignment. COLE I thought it was about us..----------------------. The Army of The Twelve Monkeys. RAILLY and COLE both react to the radio. RAILLY What kind of clues? COLE A secret army.. RAILLY maintains a professional deadpan. That's why we have to get to Philadelphia. My notes.s. RADIO NEWSCASTER (o. They spread the virus. says nothing as they pass a pickup truck with a MOTHER.) We interrupt this program with a special bulletin. . and five KIDS in the back. some virus. I have to find them -. Clues? Clues. Then they'll begin to catch on.

. wearing a tattered bathrobe. INT.doesn't know if they're going to save him.Just a joke. decaying signs. RAILLY Does that disturb you. EXT. COLE.a hundred feet down -. 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. Left! COLE quickly checks the map as RAILLY stares. stands on a Skid Row corner WAVING a worn Bible as he rants at disinterested DERELICTS.. ACURA/SKID ROW STREET COLE is scrutinizing the crumbling walls.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.. MUSIC again. He's hiding in a barn. COLE . COLE RADIO NEWSCASTER (o." ANGLE ON RAILLY'S ACURA. turn left here.. Hey. RAILLY driving. RAILLY What do you mean -. down there alone in that pipe. James? Thinking about that little boy in the well? COLE When I was a kid I identified with that kid..DAY An elderly EVANGELIST with long stringy hair.) -. boarded-up store fronts.. COLE reaches over and changes stations. crawling down the street. A prank. WINOS.it's a hoax. then turns left. tattered posters.when you were a kid? COLE Nevermind.s. It's not real -. and her days shall not be prolonged. staring out the window. SKID ROW STREET/PHILADELPHIA . and BAG LADIES.an hour ago have been unable to determine the location of the boy in the 150 foot shaft. beside her. miserable "RESIDENTS".

I'm going to go crazy -. a raspy VOICE startles COLE. COLE pulls her up tight and threatens. then at COLE. he's insane. RAILLY stares at the wall. leering at him.s) You can't hide from them. I promise. COLE The Twelve Monkeys!!! (looks around) Somewhere. then turns and is looking all around when. Eden! Look at them! They donut know what they have. None of this is what you think it is. They don't see the sky. James. No question. They don't feel the air! COLE'S POV: a BMW speeds toward them. words. WAIT! STOP! EXT. he starts ripping down newly tacked-up posters announcing a Rap concert. sees a derelict. You do anything. speaking in a voice eerily like the RASPY VOICE from the next cell in the future. COLE whirls. passes. eat sun-grown food. . suddenly. RASPY VOICE (o.hurt people! RAILLY I'm not going to "do" anything. COLE pulls an astonished RAILLY to a wall covered with graffiti. Clueless.) And the ones who aren't hungry are so smug they haven't a clue. and crude pictures. We can just see TWELVE MONKEYS holding hands in a circle.s. staring triumphantly! He's found another partially obscured stencil of THE TWELVE MONKEYS! But just then. not listening. Then. Bob. But you need help. At the next alley entrance. LOUIE. If we could just see the sun. COLE touches a bit of red-stenciled graffiti hidden under gang insignias. Come on! He pulls her along the sidewalk. I'm warning you.. its radio BLARING! COLE (o. They're here. ACURA/SKID ROW On foot now..Where I come from we think of this as Eden. RAILLY stares at him. COLE stops abruptly. COLE Look. a hopeless tangle of symbols. ANGLE ON COLE. still keeping a firm grip on RAILLY'S arm.

oblivious to COLE pulling RAILLY past. Bob! Right? (sudden triumphant grin) But I fooled 'em.with the voice. sees COLE'S stunned reaction.we shouldn't be here! COLE ignores her. RAILLY Who's keeping an eye on you? COLE The man. COLE avoids them as he pulls RAILLY into the gloom. there on a brick wall is a stencil of the DANCING MONKEYS And further on. RAILLY James. RAILLY is considering her surroundings dubiously when. He. Anytime. NO TEETH' COLE grabs RAILLY and pulls her into the alley and down it..MOMENTS LATER (DAY) CRACKHEADS huddle against a building. COLE breaks off. He's from the present.. seeing something alarming twenty yards ahead! .. freezes as he sees. sir. Ha Ha! RAILLY looks from LOUIS to COLE. another red stencil! EXT. COLE They're keeping an eye on me..LOUIE No. (conspiratorially) They hear everything. LOUIE (touches his back jaw) In the tooth. Old Bob -. old buddy! He opens his mouth wide. VACANT LOT . They got that tracking device on you. sucking their pipes. DARK ALLEY . COLE scans the walls for messages in the confusion of graffiti.. ANGLE ON RAILLY. no -. INT. COLE pulls her toward the mouth of a dark and forbidding alley.don't even try.DAY Two TOM CATS face off. arching their backs and HISSING menacingly.. yanking her after him into the alley. I recognized him. They can find you anywhere. suddenly.

. COLE uncoils. kicks COLE contemptuously. The SECOND THUG lunges for RAILLY'S purse. James! RAILLY We have to go back.. Those men. Please! COLE Please don't hurt me! The FIRST THUG steps close. yanks it from her. intent on the wall messages.. RAILLY turns to run. forcing COLE to stop. Too late. bitch. kicking him. These creeps have mean eyes. COLE doesn't even have a chance to clear his head as the FIRST THUG shoves the hard object against COLE'S cheek. his strong arms around the bigger man's calves. Startled. RAILLY digs her heels in. FIRST THUG Hey. the SECOND THUG turns to deal with COLE . groveling at the FIRST THUG'S feet.. 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 TWO THUGS are approaching. the SECOND THUG starts to unzip his fly. SEES. RAILLY tries to stop.. dazed. The FIRST THUG goes down in a heap.RAILLY'S POV: TWO THUGS. The TWO THUGS turn and spot COLE and RAILLY moving toward them. rising. COLE turns to face them.. high off the ground. cocks his foot for a second kick when.. but. predator faces. dropping the pistol. SECOND THUG Stick around. Zipping his fly hastily. standing over a MAN.WHACK! The FIRST THUG smacks COLE hard across the face with something metallic. lifting him mightily. gets two steps before the SECOND THUG knocks her roughly to the ground. uncomprehending. COLE reaches to grab it back. doesn't notice the THUGS.. buddy. Looming over her. While COLE turns and stares at her. but COLE. It's a cheap thirty-eight pistol. Bloody-faced. COLE dropping to his knees. lunging. RAILLY looks over to COLE.

points urgently at COLE. amazed. COLE Are you hurt? Uh. then turns and snaps at RAILLY.. RAILLY I mean. As COLE yanks her roughly away. she looks back.. COLE. Yes. Turning back to the FIRST THUG.alive? RAILLY COLE ignores the question as he pockets the man's wallet and a handful of bullets. bloody and dazed as RAILLY watches. You can't help him. RAILLY Oh.but COLE attacks him. James! You killed him! COLE I did him a favor. did you? COLE I've got one now. just some scrapes. . He looks very dangerous. We're running out of time.. sees the FIRST THUG'S sightless eyes..DAY The EVANGELIST. wide open. COLE sees the MAN reaching for the dropped pistol. SECOND AVE . EXT. COLE kicks him viciously in the jaw. COLE Come an.staring blankly.. RAILLY You didn't have a gun before. COLE turns back to see the SECOND THUG retreating down the alley as fast as he can stagger. The FIRST THUG'S head whips back. sees more "12 MONKEYS" on the wall. Jesus. Is he.. pulling her again. no.rocking him again and again with savage blows that come one after another with lightning speed.. in her direction as he pockets the pistol. SNAP! He collapses against the brick wall. she sees COLE bend over the motionless THUG and quickly go through his pockets. The SECOND THUG staggers back. He glances As RAILLY gets to her feet.. spotting COLE and RAILLY hurrying past him. Now come on.. RAILLY stares up at COLE.

. over the office says. he looks around frantically for an explanation for the tropical downpour. I'm looking for the. photos of animal atrocities. COLE looks startled. Maintaining a tight grip on RAILLY'S wrist. a firm grip on RAILLY.You! You! EVANGELIST You're one of us. FALE. the Army of the Twelve Monkeys. FALE glances at BEN and TEDDY. newspaper clippings.its windows covered with posters. MONKEYS start CHATTERING on the tape as TEDDY comes around the counter. A STOREFRONT OFFICE. there's a tremendous CLAP OF THUNDER as the ACTIVISTS look up and see COLE and RAILLY enter. muscular. can we help you? COLE looks confused as the RAIN abates and an ELEPHANT trumpets an urgent warning. aren't you? But COLE has stopped and is staring at. uh. bigger than COLE. COLE I. okay? COLE backs away. . deathly pale.. and TEDDY. You looking for something in particular? RAILLY It's all right.MOMENTS LATER (DAY) The sign Earnest young activists. "We have a problem!" the look says. long haired. so why don't you and your friend disappear. are gathered around a counter collating leaflets that demand an END TO SPECIEISM. FALE Excuse me. INT. BEN.it's just a tape. Bookshelves line two walls. It's a tape recorder underneath a sign advertising.. menacing. James -. The front window is blanked cut with posters of Animal Rights demonstrations. a large poster proclaims. The fourth wall features the counter where the three ACTIVISTS face COLE as a JUNGLE BIRD SCREAMS in the DOWNPOUR. It sounds like torrential RAIN POURING in here.. Behind them. Just then. TOO". FALE Uh. as a LION ROARS. TEDDY We don't know anything about any "Army of the Twelve Monkeys". "ANIMALS HAVE SOULS. FAA STORE . "THE TRUE MUSIC OF THE WORLD". COLE'S eyes follow her look. FREEDOM FOR ANIMALS ASSOCIATION. physically imposing. ah.

BABOON HOWLS with laughter. TEDDY Didn't you hear me? We're not. COLE I told you what I want. Shut up! Mason??? Jeffrey Mason? RAILLY FALE COLE BEN Yeah.COLE I just need some information. I'm a psychiatrist -.. . why don't we.disturbed. FALE What do you want -. TEDDY breaks off mid-sentence. Please -. upset -. RAILLY James..freezes... A TIGER SNARLS..money? have a few bucks.he's dangerous -.just cooperate..just do whatever he tells you to do. He's. BEN I told you that fuckhead Mason would get us into something like this.don't hurt them. (snaps at Railly) Lock the door! RAILLY James.. no -. We only A COLE is suddenly very much in charge and self-confident again. MONKEYS CHATTER wildly as TEDDY backs up..? COLE Lock it now! RAILLY hurries to the door to lock it as BEN says to FALE.. COLE is pointing a pistol at them. crazy Jeffrey Mason. (to the activists) Please.. tucking.

big star -. letter-writing stuff. COLE finds something he thinks he's seen before. You musta seen all that on TV. . He holds it up. They're very frightened. Suddenly. COLE No. COLE. It's counter productive. Jeffrey becomes like this. COLE Is this him -. "ineffectual liberal jerkoffs".. I don't watch TV. COLE holds up a clipping showing horrified SENATORS standing on their desks as RATTLESNAKES slither along the Senate Floor. Mason? It's a photograph of DR. MALCOLM MASON. windowless basement. leafleting.INT.the media latch on to him because he's picketing his own father..TWENTY MINUTES LATER (DAY) The three ACTIVISTS are tied tightly together in the middle of the floor in this dimly-lit. that's when he let a hundred snakes loose in the Senate.. BEN (very frightened) What are you going to do with us? COLE (stares at the photo. a "famous Nobel Prize winning virologist". the gun next to him. FAA STORE BASEMENT . eager to cooperate. being escorted by a phalanx of riot cops through a mob of raging activists.Dr. TEDDY But we weren't into that kind of stuff.. FALE Then. rummages through boxes of papers while RAILLY watches helplessly. FALE (a helpless shrug to his cohorts) Jeffrey started getting bored with the shit we do. FALE That's him. then) Tell me more about Jeffrey.picketing. we told him. He said we were. FALE Yeah. He wanted to do guerrilla "actions" to "educate" the public.

Big Shot sold his friends out! COLE What's that mean? FALE He goes on TV. It's insane.. They'll have security guards. alarm systems. 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. BEN But they didn't do it. Malcolm Mason" rests on a map spread across COLE'S lap. MOVING FORD/FREEWAY A ROLODEX CARD with an address on "Outerbridge Road" for "Jeffrey Mason c/o Dr. James. Mr."WOULD YOU LET A MINK WEAR YOUR SKIN?" RAILLY (v. WE FIND a battered FORD covered with bumper stickers and painted slogans. Jeffrey Mason. "FREE THE ANIMALS".FALE So he and eleven others split off and became this underground. any of it. 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..AFTERNOON In the crawling traffic. gates. COLE is in the passenger seat. maneuvering in heavy traffic.. They didn't do TEDDY Yeah. from now on."army" COLE The Army of The Twelve Monkeys. INT. BEN They started planning a "Human Hunt".. just like always.. .. RAILLY'S at the wheel. "I BRAKE FOR ANIMALS". TEDDY They bought stun guns and nets and bear traps.o. They were gonna go to Wall Street and trap lawyers and bankers. gives a news conference.) You can't just barge in on a famous scientist. FREEWAY ...

FAMILIES. As the SONG ends.. RAILLY This can't go on.. COLE No -. She feels so badly for him.RAILLY If those young men don't get loose. carefully.. COLE is absorbed in the map. RAILLY (a beat. COLE has his head out the window. COLE glances out the window. RADIO ANNOUNCER (o. prominent psychiatrist and author. COLE The guy was a total fruitcake. license plate H-E-A-D-D-R. The two are believed to be traveling in Railly's 1992 black Acura. James? You met him in the County Hospital six years ago. sucking air. TRUCKERS. his finger tracing "Outerbridge Road". Jeffrey Mason. James Cole. sees he's in pain. Mason's son. a new tack) You know Dr. he pulls his head inside.LATER (DAY) The RADIO BLARES a country song as the Ford zips along an open highway. RAILLY glances at him. Authorities confirm that Dr. they could die in that basement. . COLE is studying the map again./INT. You're not well. What's three more? Everywhere. FORD/COUNTRY HIGHWAY .. COLE All I see are dead people.he said his father was "God"! EXT.. You're burning with fever.COMMUTERS.s. indicates the PEOPLE in passing cars. She wants to help him. Kathryn Railly. don't you. loving the music. tenderly. She says. but his bliss is feverish now -. Railly has been abducted by escaped mental patient.he's not well. An ANNOUNCER'S VOICE intones over the RADIO.) This just in: police are widening their search for Dr.. James. RAILLY And he told you then his father was a famous virologist.

We need gas. COLE (sees the credit card) That has your name on it. RAILLY starts opening the door. leans over to check the gas gauge.there's a gas station up ahead.. COLE I said I was too young to drive.COLE. instead. RAILLY puts the card back into her wallet and pulls out cash as the GAS STATION ATTENDANT slams the hood down.MINUTES LATER (AFTERNOON) The GAS STATION ATTENDANT checks the oil while COLE and RAILLY remain in the car. COLE You were going to run out off gas on purpose. PARKED FORD/GAS STATION . She's pulling a gas card from her wallet.. RAILLY What's the matter with your leg? COLE I got shot. Give him cash. didn't say I was stupid. COLE Where are you going? She looks him in the eye.but I'm not going to trick you. Look -. INT. RAILLY Alarmed. then indicates the tiny Convenience Store appended to the Gas Station. weren't you? RAILLY No. . Shot! RAILLY Who shot you? I COLE It was some kind of. refusing to succumb.war. I want you to turn yourself in. COLE tries to stop her. James -It'll go much better for you if you do -. Never mind. Turn off here. you wouldn't believe me. COLE RAILLY I thought you didn't know how to drive.

CLEARING/WOODS . his pants hanging on the car's open door.. . James. I have to get some things. where mining engineers continue their desperate attempt to sink a shaft parallel to the ant in which nine year old. Something I don't want to do. bandages. COLE. RAILLY looks like she can barely breathe.AN HOUR LATER (AFTERNOON) We HEAR the CAR The sun dazzles through the canopy of leaves. hesitant.let me help you. RAILLY puts an arm around him and helps him to his feet. . He reaches for his pants.. A beat. shuts his eyes) You smell so good. RAILLY wraps the bullet in some gauze and sticks it in her pocket while COLE continues staring up at the sky. COLE looks helpless. RAILLY finishes bandaging his thigh. I have to look at your leg.) Meanwhile in Fresno. RAILLY You shouldn't put your weight on it.You can come with me. She's in charge. Scissors. He's staring up at the sun and the sky.. RADIO but not the engine. I'm so sorry. I'm a doctor.. They don't move. COLE (leans closer. suddenly grim. RADIO ANNOUNCER (v. COLE tries to stand up. They're very close.o.for the moment. RAILLY Wait -. You need stitches and antibiotics. COLE I love seeing the sun. A beat. A beat. you know. COLE I have to do something now. The spell is broken. leans back on a large rock beside the Ford. then turns back to her. in his underwear.. RAILLY (trying to concentrate) You have to give yourself up.. EXT. Lucky for you it was near the surface. some alcohol or whiskey.

life is weird! A monkey and a sandwich.. But alas. SECOND AGENT (o.NIGHT A SECRET SERVICE AGENT ambles vigilantly among the rows of luxury cars parked beside the brightly-lit rural mansion. He doesn't see. FIRST AGENT You're making that up! ANGLE UNDER A PARKED MERCEDES. 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. He's COLE I have a mission. COLE rolls to the next car and under it. MASON Would that I could enjoy this opulent dinner and this excellent and stimulating company for itself. sudden fear in her eyes. MASON MANSION . under the Mercedes. Man. Encountering another AGENT. It's important. Desert has been served. he pauses. RAILLY steps back.) Probly give the sonafabitch a Nobel Prize! Quickly. Wonder who thought that one up.NIGHT A formal dinner for forty.. MALCOLM MASON rises to the enthusiastic applause of the GUESTS.RAILLY reacts.the pistol fell out of his pocket. . realizing she's going to die... steeled.s. with no sense of purpose. listening to the receding VOICES of the AGENTS. I am .horrified. FIRST AGENT They find him? Who?? That kid. MASON MANSION/DINING ROOM . FIRST AGENT (o. EXT... DR. cold now.) I shit you not. SECOND AGENT FIRST AGENT The one in the pipe. He looms over her. where COLE is hiding. INT.s. DR.

excuse the French. smirk) -. has science given us so much reason to fear the power we have at hand. Indeed. ANGLE ON DR. from Prometheus stealing fire from the Gods to the Cold War era of the Dr. AGENT #3 Normally if we caught a guy sneaking around like this with no I.and.... not even at Los Alamos when the scientists made bets on whether their first atomic bomb test would wipe out New Mexico. While GUESTS laugh at DR. ANGLE ON JEFFREY. reacting with irritation to the disturbance."burdened" with the sense that with all this excess of public attention and this cacophony of praise. INT.D.. ANGLE ON JEFFREY. MASON. JEFFREY MASON! DR. we'd bust his ass. DR. JEFFREY What are you talking about? What friend? I'm not expecting anyone.s. SECRET SERVICE AGENT #3 enters the room. there comes great responsibility. My father is making a major address. as AGENT #3 whispers in his ear. (smirk. scowling. MASON'S last remark. AGENT #3 spots who he's looking for.. grumbling loudly enough to disturb his father's audience. MASON (o. DR. Strangelove Terror. following the AGENT out of the dining room. looking for someone. MASON Current genetic engineering as well as my own work with viruses has presented us with powers as terrifying as any.) But never before. MASON (cont.) The dangers of science are a time worn threat. since you seem to have had . but this one said he knows you. I practically feel a soapbox growing under my feet whenever I stand for more than a few seconds. HALLWAY/MASON MANSION The conversation continues as JEFFREY and AGENT #3 enter the hall. JEFFREY This is ridiculous.

."associates".. sitting in the shadows in a wingback chair. JEFFREY freezes.what did you say? Monkeys.uh. A beat.. considers COLE..pals..unusual.some. JEFFREY JEFFREY frowns. Helping people is against my principles. Arnie. JEFFREY Excuse me -. INT. JEFFREY Arnold. we certainly didn't want to arrest one of your. what's happened to you? You look like shit (dubious) AGENT #3 . looks up as JEFFREY and AGENT #3 enter the room. (to the Agents) See.. Halfway out the door. smudged with dirt and car grease. closest. rushes to COLE and embraces him. turns.. You helped me once.. LIBRARY/MASON MANSION COLE.. A FOURTH AGENT looms beside the wingback chair. COLE I'm here about some monkeys. COLE is astonished. Then. 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.uh. he definitely doesn't know me.. JEFFREY (turning to leave) That would be totally out of character. COLE Twelve of them.. The AGENTS are. COLE (rising) You do know me. uh. 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. JEFFREY (stepping back) My God. Now. suddenly.. too.Arnold.

dead pig. JEFFREY (whispers to Cole) . AGENT #4 These people -. Real killer feast we're putting on tonight. In the b. I owe you guys the big apologia! Mea culpa.g. it has been a long time. What do you think -. Yes.vips. JEFFREY Hey. this is Dad's big "do". What've you lost..and everything. Still is.I act like this to strangers? Listen -.You know this man? JEFFREY Of course I know him. dead lamb.are true weirdoes! AGENT #3 (moving to the phone) I'm gonna call in a description of this "Pettibone" character. (turning to Cole) Christ..all of 'em -. HALLWAY/MASON MANSION GUESTS pouring from the dining room into the hall meet JEFFREY and a very disconcerted COLE..forty pounds? No wonder I didn't know you. nice ta see ya. What a terrible thing if you'd thrown old Arnie out. secret service. I thought you were pulling a number on me.. Old Arnie Pettibone.. You hungry? Lots of dead cow. INT. "Arnie?" AGENT #4 JEFFREY Arnold Pettibone. Used to be my best friend. and. JEFFREY throws an arm around COLE'S shoulder and starts leading him toward the door as the two AGENTS exchange narrow-eyed looks. senators. it's black tie! I mean. fellas. You go keep an eye on him. Arnie -. I said. there. Make sure he doesn't do one of the guests with a fork. AGENT #4 trails JEFFREY and COLE as they maneuver through the GUESTS toward the grand staircase." but. like. Arnie. The AGENTS watch JEFFREY lead the limping. disheveled COLE out.you fellas are terrific. "drop by. too far away to hear them. Lookin' good! Hi.

The "Immaculate Escape" -. I need to know where it is and exactly what it is. too. right? Plan? COLE What are you talking about? JEFFREY Remember? We were in the dayroom. glancing back. JEFFREY starts guiding COLE up the grand staircase as COLE. Witness the tux. And you said to me.County Hospital. spots AGENT #3 and AGENT #4.. I can't stop you. JEFFREY (brightening suddenly) I get it! This is your old plan. I just want some information.I can't do anything about what you're going to do. crazy! COLE doesn't just talk crazy. watching TV.. that's all! For the future! JEFFREY studies COLE.. and you were all upset about the. right? 1989. JEFFREY We need to talk. Upstairs. (whispers to Cole) Who chattered? Goines? Weller? COLE I just need to have access to the pure virus.am I right? (smiling to guests) Why. COLE I don't have time to go upstairs. follow me. I can't change anything. Come on. You don't lock so good. The police are looking for me. (to a guest) I am a new person! I'm completely adjusted. It's Armani. don't you? Bulishit! COLE You're fucking with my head! .. both keeping an eye on him now. "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. thank you -.desecration of the planet. He looks JEFFREY Come on.you look wonderful. COLE Listen to me -.

take it easy. YOU'VE . you dumb fuck! The thing mutates We live underground! The world belongs to the fucking dogs and cats. It sounds true! JEFFREY'S so confident. he could make a germ and we could steal it!" COLE (grabbing Jeffrey) Listen.. HIS PROCESSOR'S ALL FUCKED UP.. right on his heels. Mr. 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.. SPACE-CASE DO-GOODERS SAVING RAIN FORESTS. SO MUCH FOR YOUR GRAND PLOT! COLE stares back at JEFFREY as both AGENTS hustle COLE down the stairs. Cole. Me's a nut case. Mr. Okay? Just come with me. turns and sees AGERT #4 AGENT #4 Let's go somewhere and talk this thing over. He's being led down the staircase now with JEFFREY. We know who you are. AGENT #3 Take it easy. JEFFREY MY FATHER HAS BEEN WARNING PEOPLE ABOUT THE DANGERS OF EXPERIMENTATION WITH VIRUSES AND DNA FOR YEARS. I QUIT BEING THE RICH KID FALL GUY FOR A BUNCH OF INEFFECTUAL BANANAS. we've got him. AGENT #4'S VOICE Okay -. Delusional! Paranoid. COLE feels a firm grip on his shoulder. JEFFREY YOU KNOW WHAT IT IS. JEFFREY You're right! Absolutely right. Mason. totally deranged. THE "ARMY OF THE TWELVE MONKEYS"? IT'S A COLLECTION OF NATURE KOOKS WHO RUN A STORE DOWNTOWN. COLE is like a trapped animal. All we want to do is study the original. I HAVE NOTHING TO DO WITH THOSE BOZOS ANYMORE.. We're like moles or worms. yelling so EVERYONE can hear.. Everything's. "Hey.JEFFREY And that's when I told you my father was this famous virologist and you said..

wrenches free. catching the AGENTS by surprise. DEN/MASON MANSION A large projection TV is on and a knot of GUESTS is gathered in front of it. . stare open-mouthed. ON THE TV SCREEN. COLE. as two OTHER AGENTS burst into the kitchen and look about urgently.. THIS MAN IS TOTALLY BATSHIT! YOU KNOW WHERE HE THINKS HE COMES FROM??? Suddenly. expresses concern. INT. startled. look up astonished as two AGENTS burst into the room. MRS. TV REPORTER (v. I'M FRANKENSTEIN AND THE "ARMY OF THE TWELVE MONKEYS" BECOMES SOME SORT OF SINISTER REVOLUTIONARY CABAL. AGENTS POV OUT THE WINDOW: the rows of expensive parked CARS.limping? INT. INT. if you ask me. McCANN. but the AGENTS have spotted an open window and are hurrying to it. watching the TV. I think that monkey is going to eat the sandwich himself. two AGENTS burst into the den.watching the spooky VIDEO IMAGES. pushing his way through the crowd of amazed GUESTS. AGENT #4 Did a man just come through here. shoves them aside. Just then. RAILLY'S photograph appears. McCANN Well.o. The GUESTS turn from the TV. DINING ROOM/MASON MANSION SERVANTS. FOYER/MASON MANSION COLE heads for the front door."PROCESSED" THAT INFORMATION THROUGH YOUR ADDLED PARANOID INFRA-STRUCTURE AND LO AND BEHOLD.. MRS.. clearing the table.) These pictures we are seeing are coming to us live from deep inside the pipe. KITCHEN/MASON MANSION COOKS stare.. amazed. but there's an AGENT there! COLE turns and limps madly toward the dining room. a guest. and stumbles down the rest of the staircase.. You can just make out the metal wall behind those roots and I guess those must be spider webs.. INT.

then lifts his head slightly to study the shift mechanism. Kathryn Railly. EXT. INT.s. PARKED CARS/MASON MANSION AGENTS continue to move cautiously among the parked cars.WE'RE NOT GOING TO HURT YOU. SMASH. TV ANCHOR (v. The engine ROARS. checking inside and under the vehicles. AGENTS move cautiously among the rows of parked luxury cars. trying to figure it out. As the AGENTS run out of the room.o. MASON MANSION . Nothing happens. He twists the key again.TV ANCHOR (v. Panic.) This just in: Police say that the body of a woman found strangled in the Knutson state Park could be kidnap victim.MINUTES LATER (NIGHT) Pistols drawn. LAWN/MANSION AGENT #5 whirls at the sound.. PARKED GREEN JAGUAR COLE slides the shift from D (Drive) to N (Neutral). PARKED GREEN JAGUAR COLE eases himself into the driver's seat. COLE studies the shift again. Dr..) Earlier in the day. a photo of RAILLY'S abandoned Acura comes up on the TV screen. MR COLE -.) COME ON OUT.. PARKED CARS/MANSION AGENT #5 approaches the row where the Jaguar is parked. EXT.o. scrunched down on the floor next to the driver's seat. spots the key dangling from the ignition. INT. INT.. EXT. 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 .SEVEN THOUSAND RPM! EXT. PARKED GREEN JAGUAR COLE. AN AGENT'S VOICE (o. tentatively slides the shift into "Drive". police located Railly's abandoned car not far from a building where three animal rights activists were found bound and gagged. then turns the key.

PILOT He's showing lights. veering wildly. FLYING HELICOPTER . SPEEDING JAGUAR . the PILOT sees headlights below. The JAGUAR comes free with a great SCCCREEEEECH. MASON MANSION . MOVING JAGUAR Caught between two cars. Recovering. COLE sees the driveway ahead in the moonlight. COLE yanks the wheel as the OTHER CAR. careening crazily from one side to the other. EXT. the JAGUAR reaches the driveway. AGENTS are leaping into cars and a HELICOPTER is coming to life.s. LIGHTS! COLE LIGHTS! The wipers come on. just misses him. Just then. Rounding a bend. he plows through shrubs and gardens heading for the driveway. COLE loses the road. There! INT. SPEEDING JAGUAR/OUTERHRIDGE ?OAD . unable to see ahead with no headlights. INT. its rotors whipping around. Steering madly.NIGHT COLE turns onto the road. grinds between two other parked vehicles with a fierce scream of tearing metal. INT.) .. speeds crazily along the shoulder. steers the chopper while the CO-PILOT pans a spotlight over the two lane road beneath them.NIGHT The PILOT. RADIO REPORTER'S VOICE/RADIO (o. INT.. an ONCOMING CAR heads straight at COLE.. RADIO REPORTER'S VOICE/RADIO (o. an agent.s. He starts hitting switches. COLE can only lean on the gas pedal. slams into a parked Cadillac. bounces off.NIGHT Lights off.) ---when they pulled the monkey out.. it was still clutching the tinfoil wrapped sandwich.NIGHT COLE can see the road now in his headlights as the windshield wipers scrape frantically and the RADIO BLARES. the RADIO BLARES. horn BLARING.him.

he yanks the wheel hard. There! Where? Eight o'clock! The headlights are gone. veering off the road. Goddamnit! PILOT Where is he? The CO-PILOT gets a brief glimpse of headlights through the leaves. INT. INT. that's assuming the boy is still alive. WOODS . CO-PILOT Couldn't drive down there without lights. A spotlight hits the car and COLE hears the sound of the HELICOPTER as it lowers over him! EXT. avoiding the trees. PILOT Maybe he's not driving! EXT. CO-PILOT Over there. PILOT He musta turned his lights of if. Nothing but darkness below.We don't know what to think. COLE'S POV THROUGH THE WINDSHIELD: EXT. SPEEDING JAGUAR COLE can see the underbelly of the HELICOPTER a few feet above his front windshield. then levels out. The chopper pulls up sharply. They didn't locate him and they don't know how much longer he can last. HELICOPTER The PILOT skims the top of the trees while the CO-PILOT rakes the forest below with his spotlight. We just can't see 'em. OUTERBRIDGE ROAD The HELICOPTER maneuvers over the speeding JAGUAR. HELICOPTER/WOODS dense woods ahead.LATER (NIGHT) . PILOT CO-PILOT He was right there. Desperate.

. Suddenly. INT.A weather forecast BLARES from the radio of the steaming Jaguar. weapons ready. bleeding from various cuts. Noticing his cuts and torn clothes. then turns and calls out. the driver's door open. The car looks empty.I'm really sorry. WOODS/CLEARING .. approaches the car cautiously. He slips.. The POLICE OFFICER lunges forward. TRUNK/FORD The sound of keys in the lock. she stops kicking him... swinging.. looking down RAILLY is in the trunk. COLE is lying on the ground. he sees what he's looking for. RAILLY I could have died in there. He inspects the car. POLICE OFFICER He's not in here. and she starts kicking him as she rants hysterically. falls. as RAILLY scrambles out of the trunk. as OTHER OFFICERS and AGENTS stay behind trees. pistol drawn.. Total blackness! Then. his lip caked with blood.NIGHT Limping. A POLICE OFFICER.I. If something had happened to you I would have died..barely visible in the moonlight. pointing his weapon into the Jaguar. looking up.. tears of rage and frustration in her eyes. RAILLY What have you done? Did you. FORD RAILLY You total bastard! COLE backs away.kill someone? COLE (getting to his feet) . parked in the trees beside the stream. You bastard! EXT. The FORD. COLE CRASHES through underbrush as he follows a stream through the woods.. EXT. the trunk swings open and COLE stands in the moonlight. crumpled into a tree. COLE I.

We talked when I was in the institution. sort of.I'm sorry I locked you up. COLE reacts to the sound of VOICES in the woods. I hit a tree. Okay? COLE (brightening) It would be great if I'm crazy... it's important that you surrender to them instead of them catching you running. Not you or Jeffrey or anybody else. I can help you. dogs BARKING. (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.a substitute reality. love to believe that. James -... COLE I'm. They're coming RAILLY First.. I wasn't sure.. I think maybe I am crazy! She looks at him.. RAILLY What made you think that? COLE Jeffrey Mason said it was my idea about the virus. And suddenly. and it was all. Breakthrough? Very calm now. In order to avoid something you don't want to face. The drugs and stuff. I stole a car and they chased me. I guess.you can drive after all! COLE Yeah. You've created something in your mind. RAILLY See -.No! I.I thought.fuzzy. COLE I need help all right. If I'm wrong about everything.don't think so..the world will be .... the doctor."mentally divergent". I would RAILLY It can be dealt with. after me. but only if you want to.... I thought. I.

hearing near-by SHOUTS from the woods. instead. She breaks off mid-sentence. You're going to get better. in the driver's seat.and starts to HONK the horn..I know it! ANGLE ON COLE.... stands.MORNING . Disappeared. stunned! COLE is gone. COLE I love this world! ANGLE ON RAILLY. I'll stay with you. James -. I lost it RAILLY You're sure? COLE (showing her) No gun! (looking up) Stars! Air! I can live here. starts around toward COLE. tears of joy running down his face. ANGLE ON COLE. okay? RAILLY gets in the driver's seat. POLICE STATION OFFICE . the sky rich with stars.okay. RAILLY (calling out) They'll tell you to put your hands on top of your head...stares. Do what they tell you. grins. spotting something on the ground.. RAILLY Remember. ANGLE ON THE NIGHT SKY. I'm going to help you.. the moon full. RAILLY Give me the gun. I'll never have to live underground. let them know where we are. She gets out of the car. grabs some grass. The HORN BLARES as COLE looks up at the sky. and starts rubbing it happily all over his face. but. I won't let them. An insect! He reaches down to grab it. Breathe! RAILLY starts around to the front of the car. INT. RAILLY I'm going to attract their attention. COLE The gun! . The police are almost here.

He thinks he comes from the future. 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 lifethreatening situation. He needs help! INT. mutilated.. RAILLY I'd like to be clear about this.he. hands a photo to LIEUTENANT HALPERIN who studies it. maybe you can explain it to me. Doctor. That man and the other one were. slumped against the alley wall. obviously dead.. an 8 x 10 of the FIRST THUG.RAILLY is being "debriefed" by POLICE OFFICERS and FBI AGENTS. When I got out. (suddenly animated) He's sick... James Cole didn't start it. hands her the photo) This the man he attacked? RAILLY looks at the photo. He sees the BRUNETTE."severely" beating us.. In fact -. RAILLY Then I said something to him about cooperating and he said he would do that. For a while we thought you were a body they found down state. he was gone. A COP enters. LIEUTENANT HALPERIN You lucked out.. eyes wide.. cradling the head of the BLONDE MAN as he sprawls on the concourse. AIRPORT CONCOURSE/THE DREAM YOUNG COLE stares. He's been living in a carefully constructed fantasy world and that world is starting to disintegrate. LIEUTENANT RALPERIN (interrupts. so I got in the car and started honking the horn. . RAILLY He wouldn't do something like that -.he saved me! LIEUTENANT RALPERIN Funny thing.

A door opens and KATHRYN RAILLY. WHAT DID YOU DO NEXT? INT. She still looks exhausted Followed by her cat.ASTROPHYSICIST'S VOICE (O.. hammering him with questions. . you went to the home of a famous virologist.. I can't sleep. SCIENTISTS' CHAMBER . ASTROPHYSICIST Come on.I'm in a state of hyperalertness.) Wake up! Wake up! GEOLOGIST'S VOICE (O.ETERNAL NIGHT COLE blinks awake.) I think we gave him too much..) WAKE UP.. WAYNE Sorry. All he can see are blurry faces hovering over him. You're in SCIENTISTS (IN RAPID SUCCESSION) What? What's that? What did he say? His brain's fried. Give him another shot! SPEAK UP.exist! my mind. COLE (weakly) You.. MARILOU and WAYNE. RAILLY No -.) The kidnap victim seemed exhausted but apparently unharmed by her 30 hour ordeal as she left the police station in Philadelphia this morning.don't.EVENING The TV shows film of RAILLY leaving the police station. RAILLY'S friends. wearing a robe. comes out of her bedroom. are watching the TV. PRISONER! INT. COLE.S. RAILLY'S APARTMENT .S...S. she enters the kitchen area and turns on the kettle as WAYNE hastily turns down the TV. Cole.o. MICROBIOLOGIST'S VOICE (O. So far she has refused to make a public statement... cooperate! GEOLOGIST Spit it out. TV REPORTER (v..

.. RAILLY (glances sadly toward the TV) He's dead.MARILOU Did you take the sedative? RAILLY I hate those things. James Cole is now also wanted in connection with the brutal slaying of Rodney Wiggins. TV REPORTER (v. RAILLY goes to the window. CLOSE ON RAILLY'S FACE. the SCIENTISTS are concluding a ragged. an ex-convict from. isn't he -.. Crowded around COLE'S bed. "HOSPITAL" ROOM . then stares in disbelief. rendition of "BLUEBERRY HILL..) Along with the kidnapping of the Baltimore woman. confused. It was just a "prank" he and his friends pulled... looks around." . TV REPORTER on air And in Fresno... RAILLY (o.. pushes aside the drape.. TV REPORTER (v. ANGLE ON THE TV SCREEN. The cops look grim.o. showing footage of a sheepish nine year old boy being led out of a barn by the police. and sees.ETERNAL NIGHT VOICES! SINGING! COLE blinks awake.o. They mess my head up. The old mug shot of COLE appears on the screen and RAILLY remotes the volume up. SHOCKED.s.) Do they really expect him to come here? RAILLY returns to the kitchen area where MARILOU is getting the tea things out.A COP keeps watch... California.) Authorities have so far been noncommittal about whether they will try to file charges against the families of the children involved in the hoax. INT.. out of tune. RAILLY stares at the TV.that little boy? WAYNE He's fine. stunned. HER POV: ACROSS THE STREET.

MICROBIOLOGIST Others will take over now. ASTROPHYSICIST But just until you recover your. SCIENTISTS Well done..SCIENTISTS ---found my thrills on Blueberry Hill." while you were... looks around.. ZOOLOGIST This isn't the prison. confused. SCIENTISTS break off the song and applaud... disoriented.. James! Well done! Nice going! Congratulations! Good for you! BOTANIST During your "interview. equilibrium... BOTANIST This is a hospital..." you told us you liked music! COLE. ZOOLOGIST We'll be back on the surface in a matter of months. Stress! GEOLOGIST Time travel! ASTROPHYSICIST You stood up very well. James. The BOTANIST responds to COLE'S obvious disbelief with a friendly smile and the others join in rapid fire... overlapping.. sees he's in a one-bed windowless room adorned with cheap reproductions of 19th and 20th century landscapes. GEOLOGIST . uh.. ENGINEER You're still a little."under the influence.. Superior work! GEOLOGIST Superior! BOTANIST You connected the Army of the 12 Monkeys to a world famous virologist and his son. Seeing he's awake.. considering..

You saw him murder someone. FLETCHER He kidnapped you. RAILLY He not only used the word "prank" -. too. You . And you will be. ASTROPHYSICIST Women will want to get to know you... but unnoticed before. Kathryn.he said the boy was hiding in a barn. RAILLY's talking to her former boss.DAY CLOSE ON KATHRYN RAILLY. You knew there was a real possibility he would kill you. MADE YOU UP! YOU CAN'T TRICK ME! YOU'RE IN MY MIND! I'M INSANE AND YOU'RE MY INSANITY! INT. push COLE down.. COLE YOU DON'T EXIST. PSYCHIATRIST'S OFFICE . DR.. insisting fiercely to someone. BOTANIST A full pardon! MICROBIOLOGIST You'll be out of here in no time. YOU SILLY BOZOS! YOU'RE NOT REAL! HA HA HA! PEOPLE DON'T TRAVEL IN TIME! YOU AREN'T HERE.. already in place.soon.what you've been working for. ASTROPHYSICIST We're very close! Because of you! ENGINEER (unrolling a document) This is it. suddenly break through the ring of SCIENTISTS.We'll retake the planet. two guards. TINY and SCARFACE. DR. COLE I DON'T WANT YOUR "WOMEN. James. OWEN FLETCHER." YOU BRAINLESS TWIT! I WANT TO BE WELL! Unseen until now. James. psychiatrist sitting across from her in his office. tapping his pen.. ASTROPHYSICIST (sympathetically) Of course you want to be well. COLE bursts into hysterical laughter. and tighten the loose restraints.

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. walls and the landscape paintings. Nothing to see but the

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. Oh, yeah? COLE 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. Tell me. Then...

COLE 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. speaks, it comes out of him like air...a whisper. COLE More...than...anything. INT. RAILLY'S BEDROOM - MORNING When he

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, You found him? RAILLY 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...!!! No! RAILLY

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

ASTROPHYSICIST You can't trick us.. COLE Well. It BIOLOGIST And why would you want to? It'll be dangerously close to the end. DR. sir. you said it yourselves. The SCIENTISTS start to confer openly among themselves GEOLOGIST He'd have to bone up. I don't think the human mind was built to exist in two different. INT.. MASON speaks angrily into a phone. the latest clues. sir. MICROBIOLOGIST But you know what's real now? COLE Yes. Among ourselves.. ASTROPHYSICIST (to Cole.. Cole.. wouldn't work. ." It's stressful. whose features we don't see. You don't know what's real and what's not.."behavior"."dimensions. whatever you call it.." Cole... overlooking a hi-tech lab below where WORKERS in white "space suits" work methodically.. catch up to our research. His male ASSISTANT. a little hurt) You said we weren't "real. you know.He really is the most qualified.. MASON'S OFFICE . I understand. COLE There'd be no point. ASTROPHYSICIST We're going to think about it.. GEOLOGIST But all that.. DR.. ZOOLOGIST He's proved to be a quick study. it gets you confused. The ASTROPHYSICIST fixes COLE with a sharp. penetrating look. stops writing a formula on a blackboard and listens...DAY Standing in front of a wall of glass in his office. We'll get back to you.

DR. Railly. then. (breaks off. Mason on the phone. Thank you for your concern. but if it will put you at ease. RAILLY'S APARTMENT/STUDY RAILLY. We see Dr. then) I don't know anything about "Monkey armies"...) Dr. RAILLY Please. MASON hangs up angrily and glares.. (listens. It's DR.. trying to stay calm.. DR. PETERS.s. in fact it's distressingly unprofessional for someone 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.) I attended a lecture once. MASON You have reason to believe that my son may be planning to do what?!!! INT.. MASON (into the phone) I'm afraid this doesn't seem very professional to me. Railly you didn't have to be insane to think the world was coming to an end. and to telephone a parent to express opinions that would be inappropriate.Apocalyptic visions. MASON'S ASSISTANT (o.DR. MASON'S OFFICE Dr. MASON The psychiatrist who was kidnapped that man who broke into my house. Dr.) It would be doubly inappropriate to discuss matters of security with you. listens. seems to have been suddenly struck the most preposterous notion about by She by Jeffrey. Mason on the phone. the redhaired man who insisted to Dr. "Kathryn" Railly???? DR. . Doctor. MASON'S ASSISTANT (o. Mason's ASSISTANT now. If my son ever was involved in.. DR.s. INT. DR. neither my son nor any other unauthorized person has access to any potentially dangerous organisms in this laboratory. DR. I know it sounds insane but. Nothing whatsoever.. is talking to Dr.

Meaning. BOTANIST . not listening. SCIENTISTS' CHAMBER .? COLE It was released in Philadelphia. then Peking. PETERS (cont..ETERNAL NIGHT COLE is facing the BOTANIST who's using a pointer to indicate various fading photos and newspaper clippings tacked on the wall. Bangkok. Kinshasa. Karachi. that BOTANIST again our current if the symptoms were in Philadelphia on June makes us know that. then to New Orleans. MASON is lost in thought. INT. I think we should review our security procedures."disease"? But DR... then Peking. BOTANIST And your only goal is.DR. Kinshasa. Let's consider information -first detected 28.? With a quick glance at the panel of SCIENTISTS staring at him from behind the long table. BOTANIST And it appeared sequentially after that in.. Bangkok.. we can't ever be careful enough.. Karachi. Rio de Janeiro. Rio de Janeiro.??? COLE To find out where the virus is so a qualified scientist can travel back into the past and study the original virus..) Has she succumbed to her own theoretical. Rome.. DR. probably on June 14. New Orleans.??? BOTANIST COLE That the virus was taken from Philadelphia to San Francisco. Rome... COLE San Francisco. 1995. COLE replies like a good pupil. perhaps upgrade them. 1995. MASON Given the nature of our work.

I NEED TO TALK TO YOU.) This is from a magazine printed in late September. FAA STORE JEFFREY. but you're gonna get us in deep shit! .??? COLE Uh. TEDDY. but what came of that is not known. BEN. EXT. 1995. INT..So that. COLE glances nervously at the suspicious SCIENTISTS as the BOTANIST switches on a slide projector and projects. Mason. Images of MONKEYS covered with electrodes. were questioned. It's RAILLY. that's what she's doing.. unnamed.. FALE It's the kidnap woman -. FAA STOREFRONT .DAY LOUD BANGING! The storefront window.the one who was with the guy who tied us up. SANDY and KWESKIN. BEN What's she doing? FALE She's drawing attention to us. BABY SEALS being viciously clubbed. wait motionless beside a heap of cardboard cartons as FALE peeks out the front window through a slit between posters. 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. RAILLY IS ANYBODY IN THERE? HELLO? IS SOMEONE IN THERE? IF YOU'RE IN THERE. completely covered with posters. certain people.. COLE stares at the picture. so that a vaccine can be developed that will. quivers violently. DOGS jammed into tiny cages quiver as somebody beats on the window.. I don't know what you're up to this time. . and two of JEFFREY'S youthful cohorts. But it is a clue you should pursue.s. a magazine photo of wall graffiti: "ATTENTION!!! WATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? POLICE ARE 3 BILLION DIE?" BOTANIST (o. He says. uh.. allow mankind to reclaim the surface of the earth.

who's James? The man.. shakes the doorknob. then hammers on the door. Do 'em on people. Do you understand me? Uh.. Listen. LOUIS Uh. seemingly mad. He mustn't get caught.. "I'm outta here!" . he spoke to you. yeah..? Takin' pictures. the PLAINCLOTHES COP slouched at the wheel. LOUIS gives her a look that says. Several weeks ago. I need to talk to James. RAILLY He was with me. whine. What about walkie talkies? We used to have walkie talkies. LOUIE Not just on them. ANGLE ON AN OLD CHEVY.. parked across the street. sure. LOUIE That's what they do -.. EXT. the raspy-voiced toothless derelict. too -. He said you were from the future. FAA STOREFRONT From littered doorways. KNOW YOU'RE IN THERE! RASPY VOICE (o. Feed 'em chemicals 'n take pictures of 'em. sees LOUIE. pretending to read a newspaper. RAILLY Have you seen James Cole? LOUIE They're watchin' you. RAILLY I SAW YOU! I SAW SOMEONE MOVING. I know.watching him.s) Secret experiments! RAILLY whirls. RAILLY follows his look. whine.down at the shelters. but he has to be careful how he contacts me.secret weird stuff! You! RAILLY I know you! I But LOUIE is studying the pictures of the tortured animals now. RAILLY The police. DERELICTS sneak peeks at RAILLY as she.JEFFREY Whine.

"your psychiatrist"? JEFFREY What's it say? . except for JEFFREY. RAILLY stares at the PUNKS. THIS IS IMPORTANT. looking toward 3EN. Then. SANDY. RAILLY spots two TEZNAGE PUNKS surreptitiously "tagging" their way along the street with cans of spray paint. JEFFREY You get the bolt cutters? One dozen. spray painting the front TEDDY BEN I can't see it. FALE (spinning around) Your psychiatrist? Did you just say. and TEDDY organize materials. FALE One dozen bolt cutters! Whadda you gonna do with one dozen bolt cutters? JEFFREY (grins) You really want to know? No! Hey! FALE Absolutely not. and BEN peeks out the small opening between posters at the front window. INT. BEN Do you know what she's doing? Everybody freezes. FAA STORE FALE watches JEFFREY go over a check list while KWESKIN. they all crowd around BEN to get a look. Don't tell me anything.But just then. who's peeking outside. POV THROUGH SLIT: of the store! a glimpse of RAILLY. JEFFREY (erupting) WHY DON'T WE FORGET MY GODDAMN PSYCHIATRIST AND DEAL WITH THE TASK AT HAND. KWESKIN They're in the van.

... FAA STOREFRONT/SECOND AVENUE ANGLE ON SLACK PLAINCLOTHES COP. COLE (turning... red-faced.your.. what about flashlights? How many flashlights.. a NATIVE AMERICAN with tormented eyes and a mangled ear. whips around at the sound of his VOICE. inching closer. ANGLZ ON STREET TYPES. I want to get well. I'm not crazy any more! I mean. white haired. It's COLE! He pushes toward her... bloated. looking) No. He shakes his head wearily. They include. psychiatrist? And now she's spraypainting our building? EXT. RAILLY James! That's a policeman. but I know it now and I want you to help me. a WHITE MAN. watching RAILLY with amazement. ANGLE on RAILLY.. mentally divergent. I am crazy. an AFRICAN AMERICAN with one eye. reacting at the sight of RAILLY. RAILLY James! With a quick glance toward the PLAINCLOTHES COP... the TEENAGED PUNKS. If he sees you... an IRISH DRUNK. across the street in the CHEVY.put your hands down and listen .. RAILLY takes urgent charge of the situation.was.... amazed. joining the knot of ONLOOKERS. desperately pulling COLE'S hands off his head as she tries to block the COP'S view of COLE.? FALE That woman is. Where is he? (placing his hands on his head) Don't worry -. actually.it's all okay now. I want to turn myself in. too. Kathryn! COLE RAILLY stops spraying. RAILLY James -. shabbily dressed... watching RAILLY spray painting. Pretend you don't know me...Ex-psychiatrist! Now.

and now who knows what she's painted out there on our wall? JEFFREY . ANGLE ON RAILLY. grabs COLE and tries to pull him along.but COLE isn't moving. come on! RAILLY We have to get out of here! COLE looks from the wall to the can rolling on the sidewalk. RAILLY James. He's staring at the front of the FAA Store with disbelief! James.before. a guy in a Chevy is chasing her and some other guy I can't see. almost colliding with a passing car. trust me.. no problem. a certifiable lunatic who told his former psychiatrist all his plans for God knows what whacko irresponsible schemes. it's probably just another kidnapping featuring Jeffrey's shrink. pardon me. in the picture! COLE I've seen that. checking the mug shot of COLE on his clipboard. COLE lets her drag him along the sidewalk. BRAKES SQUEAL and a HORN BLARES. Things have changed! ANGLE ON THE PLAINCLOTHES COP. past ONLOOKERS. making a sudden. She looks crazier than he does. 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. FALE Hey. ANGLE ON THE CHEVY. BEN Wow. make that ex-shrink. INT. peeking out. Very confused. We have to run. then reaching for his radio mike.. We're in terrible trouble.to me. But RAILLY'S total attention is on their dilemma. FAA STORE .. urgent u-turn. reacting to the drama. reacting to the COP speaking into his mike: she tosses the spray paint can aside.DAY ANGLE ON BEN.. (indicating Jeffrey to the others) This is your leader.

JEFFREY (cont. Then. JEFFREY exits. everything about me was entered into a computer where they created a model of my mind. studied thoroughly. JEFFREY Now I have to get going -.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. x-rayed. 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. you pathetically ineffectual and pusillanimous "pretend-friend-toanimals"?! I'll tell you why: because when I had anything to do with her six years ago. say ten years. using the computer model. I was interrogated. Make sure you have everything. I'm outta here. . Is he serious? Is he crazy? Doesn't matter -. So you see.you know that. which they then filtered through a probability matrix to determine everything I was going to do in that period. my brain was studied exhaustively in the guise of mental health. While I was institutionalized. She knows everything I'm ever going to do before I know it myself. You guys check all this stuff out and load up the van. at the strutting JEFFREY. jabs him with a finger) You think I told her about the Army of the 12 Monkeys? Impossible! Know why. mesmerized. there was no such thing -.do my part.WHO CARES WHAT PSYCHIATRISTS WRITE ON WALLS? (moves to Fale. The others stare at the door. adopting a supercilious smile and a patronizing tone.he's charismatic. How about that? JEFFREY smiles smugly into FALE'S flabbergasted face. FALE He's seriously crazy -. They all stare. they generated every thought I could possibly have in the next. JEFFREY Here's my theory on that.) Then.

I.. go someplace else. But she's not listening. James! RAILLY Come on. RAILLY An hour?! DESK CLERK You want quarter hours.. A confused COLE emerges from the opposite end of the dumpster. bits of lettuce in his hair. I. HER POV: the POLICE CAR passes from view. stares across the counter suspiciously at RAILLY and COLE. emerging from the refuse.. DAILY.. DESK CLERK Twenty five bucks an hour..EXT. THE GLOBE. INT. an old alkie who hates trouble but finds it often. Trash stirs in the dumpster and RAILLY'S eyes peer up out of the torn cardboard boxes.I've seen them before. Deal? . COLE I don't understand what we're doing. treat me? Cure me? Kathryn.dreamed them. RAILLY (climbing out of the dumpster) We're avoiding the police until I can. COLE (climbing out after her) You mean. hissing. GLOBE HOTEL/LOBBY .. rotting food. pulls out her last bills) Here's ninety eight. the PLAINCLOTHES COP'S eyes searching everywhere. The unmarked CHEVY crawls slowly past the alley.. ANGLE ON RAILLY. SKID ROW ALLEY . RAILLY (catches on. For the night.. RAILLY'S POV: across the street is a run-down skid row hotel.MINUTES LATER The DESK CLERK. ROOMS WEEKLY. and styrofoam litter.talk to you..DAY An overflowing dumpster squats near the mouth of an alley. She's peeking out the alley entrance. those words on the wall -.

DESK CLERK Forty four. Did you run through the woods? COLE I don't know -. RAILLY You disappeared! One minute you were there. not really. gets a key.. Just like that? RAILLY You were in prison? COLE No... How did you know that was just a hoax? It was? COLE I didn't. speaks into the phone. he RAILLY turns. watching RAILLY and COLE climb stairs..you were standing there looking at the moon...The DESK CLERK squints warily at this turn of events. the next minute you were gone. he picks up the phone. As they disappear from view. GLOBE HOTEL ROOM 44 . It's. Then..you were eating grass. turns back and hands it to her.. RAILLY The boy in the well.. RAILLY Okay. Like you said..prison again. ANGLE ON THE DESK CLERK. turns. Elevator's busted. 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. You know if Wallace has a new girl? Sort of a rookie type? Blonde? INT. Fourth floor.. turn right. RAILLY .I don't remember. then what? COLE I thought I was in.MINUTES LATER (DAY) COLE sits on the lumpy bed in the dingy room.it's in my mind. punches a number.know. watching RAILLY pace back and forth like a mad woman. DESK CLERK Tommy? This is Charlie at the Globe.. COLE follows.

I can stay here. COLE Well. I can't. I know they're not real. With you.James. that we can't change what's going to happen.that I created a world -.you said you could explain everything... RAILLY IT WASN'T A TV SHOW! IT WAS REAL! COLE looks at her. the photo of JOSE in WWI with a fuzzy image of COLE on the edge of the frame. I want this to be the present. RAILLY What does this mean to you? COLE . She's really upset.soon.. COLE I think I saw a TV show like that when I was a kid. that I'm one of the three billion people who are going to die.. moves close to her. James! How did it get there? COLE You said I had delusions -.become a whole person. It's the uncropped picture from her book.. . RAILLY You had a bullet from World War One in your leg. In this time. I want to become.. RAILLY pulls a photo from her purse. RAILLY Well.I'm trying to.. I can get better.. Where a boy. it's all in my head.. Listen. COLE stands..I had a dream about. shows it to COLE.. you were right.. I imagine all that stuff. . I just worked on them in my head and I got back here. I want the future to be unknown. maybe that kid saw the same TV show and copied it..something like that.. make them do what I want.... I'm mentally ill.. COLE I want to be here. I mean. you said he was hiding in the barn. I can trick them. I can't believe that everything we do or say has already happened.

RAILLY reaches a hand up to COLE for assistance. turns to Railly) Is this real -. honey. whose eye is already swelling. insolently. but WALLACE is now holding a knife WALLACE What're you -. She flies back against the wall and onto the floor as WALLACE spins around to COLE who is stepping toward him.some kind of tough guy? You wanna be a hero? You gonna try and mess with me? Come on.. WALLACE Now that's a smart boy.. the flimsy lock not holding. bitch! COLE (confused.. I think we have a little misunderstanding here. WALLACE. JAMES -.. A beat.or is this one of my delusions? RAILLY This is definitely real: (to Wallace) Excuse me. But you.you had a phone number! You tried to call and. but. kicked violently. COLE and RAILLY are too stunned to say anything as WALLACE looks them over coldly..do you remember. COLE puts his hands up placatingly as he backs around WALLACE and moves to RAILLY.. straddles his chest. swings it around.RAILLY (sudden hopeful idea!) James. then advances on RAILLY. retrieves the near-by knife. WALLACE smashes RAILLY in the face. WHAM! The door flies open. and presses it sharply against WALLACE'S neck.. you think you can go 'round me and peddle your fancy ass in this part of town. A wiry biker-type with jail house tattoos and mean eyes.DON'T! RAILLY . WALLACE This is my territory.six years ago.. he grabs her purse instead... A menacing figure stands in the doorway. 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. you bet your life we got what I would call a major goddamn misunderstandin'. SMASHES WALLACE in the face with it...

man.if you cut me. WALLACE reaches into his pocket and produces a thick roll of bills.. You put me in a closet. bug-eyed. slam the door behind them. RAILLY turns just in time to see COLE shove WALLACE into the bathroom. no! INT. Don't do it... WALLACE (eyes bulging) You. . keeping the knife close. yanks him to his teeth while RAILLY hurries to the window and looks out... WALLACE You two are crazy. But get his money first.. RAILLY (gets up. I got friends. James. follow him in.) They're killing him! Call the cops.I. and LOCK it. what are you doing? WALLACE cowers back against the shower stall..COLE hesitates. RAILLY turns toward the door and glimpses a FACE disappearing. which RAILLY grabs. looks around) Put him in the closet.heard.her. then hears SHOUTS from the hallway. man -. COLE moves off Wallace and. WALLACE I have friends.. A shadow.. COLE (amazed) You want me to rob him? RAILLY I.. SHOUTS (o. they're gonna be really pissed.. HER POV: A fire escape leads down into an alley. James..s.. BATHROOM RAILLY'S VOICE (from the other room) (rattling the door knob) James. reacting to something we don't see! RAILLY . WALLACE breaks off.. Being very careful not to move his neck.We need cash.

(holds up two bloody molars) That's how they find us. eye contact) I don't want them to find me. GLOBE MOTEL ROOM 44 RAILLY is pounding on the bathroom door now as. tears welling in her eyes... (a beat. I don't want to go back. ROOM 44/GLOBE HOTEL In between nervous glances toward the door. 4TH FLOOR HALLWAY/GLOBE HOTEL POLICE OFFICERS. it opens and COLE steps out. lips trembling. In case I'm not crazy.are you doing??? INT.. make a cautious entrance onto the 4th floor. the knife in his right hand. and it's looking like it does)! Risking his life to be with her! For this brief time! She's overwhelmed.the. RAILLY's astonishment turns to emotion as it dawns on her the choice he's made. James.. INT. But just then.. INT. Given up the future (if it exists. INT..DAY COLE and RAILLY clatter down the fire-escape. RAILLY Oh. suddenly.WALLACE What. EXT. guns drawn. Ever. STAIRWELL/GLOBE HOTEL COPS' boots THUNDER up the stairwell. RAILLY supervises as COLE obediently blocks the bathroom door with the bureau. Seedy HOTEL RESIDENTS point to Room 44. dripping with blood. Did you kill him? COLE shakes his head "no" as blood oozes from his mouth.. By our teeth. COLE Just. the SOUNDS of SHOUTS and feet THUNDERING up the stairs snap her back to reality. then cower back into their doorways. Push it tight! RAILLY WALLACE'S VOICE (from the bathroom) NO PROBLEM! I'LL JUST STAY IN HERE! DON'T WORRY ABOUT ME.. COLE in the lead. GLOBE HOTEL FIRE ESCAPE/ALLEY . .fuck. led by the PLAINCLOTHES COP. my God..just in case.

RAILLY looks furtively left and right. COLE watches her hurry to a pay phone twenty yards away. He holds her in his arms for a moment. their FACES looming frighteningly close.. pistol extended in both hands. COLE on her heels. It's a long distance to the ground. the tall downtown buildings. He pans the gun around the empty room. he puts her down. COLE jumps down. reluctantly. HIS POV: the open window. as RAILLY ushers him into the recessed entrance to a store. I'm going to try that phone number. . PLAINCLOTHES COP POLICE! THROW YOUR WEAPONS OUT AND COME OUTTA THERE! No response. BUS STOP/DOWNTOWN . As he steps to the sidewalk. towering toward the sky.They come to the end of the metal stairway. They start running down the alley. COLE'S POV: a building. The UNIFORMED OFFICERS are backing him up. GLOBE HOTEL ROOM 44 The PLAINCLOTHES COP charges into the room in a crouch. Their eyes meet. his back to the wall alongside the open doorway to Room 44. She's hidden her bruised eye behind sun glasses. GLOBE HOTEL FOURTH FLOOR . RAILLY Wait here. shaken. he's holding a bloody handkerchief to his mouth. weapons drawn. his view of her made intermittent by PEDESTRIANS streaming past him. INT. reaches up to her.the blood on the floor. His eyes go up. She lets herself down to him. A building with a ledge.DAY The PLAINCLOTHES COP has his pistol out. Among them. Then. Let's hope it's nothing! Dazed by his experience and the flow of SHOPPERS. COLE is overwhelmed by the bustling city. turns. The same ledge the lion prowled in the future!!! ANGLE ON COLE.LATE AFTERNOON A city bus disgorges a stream of PASSENGERS at a stop in the toney downtown shopping district. INT.. 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.

She glances back and sees the phone booth . COLE You. shoves a dollar into his hand. mistaking him for a panhandler. insane! We're crazy! We're COLE doesn't know how to respond. COLE stares at the dollar. as a BUSINESSMAN.. you left them a message? RAILLY (impishly) I couldn't resist. COLE is struck with horror as he realizes the truth! He starts to recite.you leave a message telling them when you want your carpet cleaned. It's just a Carpet Cleaning Company. The police are watching me.. RAILLY James! James! It's okay. he faces the angry jaws of a BEAR only inches away size Recovering from a jolt of terror." Now she's stunned. Wait'll they hear this nutty woman telling them. he looks back at RAILLY. then turns to say something to the retreating BUSINESSMAN.. They have voice mail -. but a PASSERBY gives them a look.. LAUGHING.. Turning. No people from the future.A BUSINESSMAN jostles COLE. I can't do anything more. RAILLY. RAILLY It's a Carpet Cleaning Company. I was so relieved. speaking earnestly into ANGLE ON COLE. COLE'S POV: the phone..they better watch out for the Army of the Twelve Monkeys. ebullient.. COLE realizes the BEAR is a lifetoy in the display window. Confused. eyes sparkling with happiness. Looking at her laughing face. Relieved. well out of earshot. forcing him back against the display window... COLE A Carpet Cleaning Company? RAILLY (laughing) No superiors! No scientists.. COLE "The Army of the Twelve Monkeys -they're the ones who are going to do it. but just then he sees RAILLY rushing toward him. startled.

RAILLY Come on. ANGLE ON RAILLY. he reaches for his radio.. (turning) Anything else? But COLE'S not here. turning again to the CLERK. They played it for me. whose sun glasses don't really hide her bruised eye. And this. I didn't recognize your voice. 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. you couldn't have heard me. ANGLE ON COLE. The CLERK stares at the huge roll of bills! RAILLY .distorted. ANGLE ON RAILLY. Noticing something. spotting the CRUISER.6:00 PM RAILLY. staring out the window of a POLICE CRUISER as it inches along in the bumper to bumper traffic. It was a bad recording. RAILLY'S eyes fill with horror as she grasps the meaning. remembering another department store. CLERK Shall I put this on your account. dark and full of moldering merchandise..I'll pay cash... RAILLY You.twenty yards away. RAILLY He's a short distance away. Ma'am? RAILLY (producing Wallace's roll of bills) No -.. grabbing COLE. COLE'S POV: aisle after aisle of eager shoppers and a bounty of brand new consumer goods. COLE They got your message. INT. pulling him into the CROWD.. RAILLY I guess that's it. DEPARTMENT STORE/MEN'S DEPARTMENT . ANGLE ON A UNIFORMED COP. Kathryn.staring.

"If you guys get nailed -. squirming GARBAGE BAG. INT. you know Fale! He's like. . that's Stage One. 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. with a PEST CONTROL logo on its side. INT. JEFFREY Okay. replicated his brain while he was in the nut house. ICHIOKA. all wearing black.grinning. the VAN.NIGHT Surrounded by stripped and abandoned vehicles. like. The van occupants react with murmurs of "Awwwwwright" and "Far out". PARKED PEST CONTROL VAN The VAN is packed with SIX ACTIVISTS. a signal.. SANDY and KWESKIN among them. and BRUHNS. Some of them have climbing gear. In Stage Two.. Then. all sorts of paraphernalia. KWESKIN is telling his story. then they help maneuver the writhing bag into the van.and I'm sure you will -I never saw you before in nay life!" LAUGHTER from all of them. Let's do it! EXT. lugging a huge. POPE quickly slides the door open. KWESKIN So then he goes into this incredible riff about how his shrink. Three other activists. VAN/FREEWAY JEFFREY The PEST CONTROL VAN lumbers up a ramp and onto the freeway. please? EXT. is parked on a trash-littered street beside the massive pillars of a towering freeway. It's JEFFREY. tool belts. JEFFREY and the other three scramble in. Monkey Four is over here. PEST CONTROL VAN . rhythmic series of RAPS on the side door. too..What floor are the wigs on. Turned it into a computer. Then. WELLER And Fale believed it? KWESKIN Oh. there's a sharp. stagger out of the darkness behind JEFFREY.. GOINES.

DR.torture me. I JEFFREY puts his finger to his lips. but cruelty is his specialty.. DR. go ahead -. ICHIOKA So why should we be like him? Shrugging cheerfully. This he hadn't expected. JEFFREY Want the full effect? Grinning wickedly. That woman -your psychiatrist -.A loud GROAN from the bag distracts the others. JEFFREY . JEFFREY rips the tape from his father's mouth. DR. it's cruel leaving him like that.virus? DR. just in case.. I don't have access to the virus.she told me. Jeffrey. I took steps to make sure you couldn't do it. Jeffrey. GOINES What's the harm in opening the bag? His eyes are taped. You're out of your mind. MASON Jeffrey? I know it's you. She knew you were going to try this. MASON. JEFFREY Ah. recognize your voice. But.. but you can't extract anything of use to yourself. Jeffrey. MASON I didn't believe her -. JEFFREY raises his eyebrows.it seemed too crazy even for you. MASON (spins his head toward Jeffrey) She knew about it. JEFFREY tears open the garbage bag revealing DR. The ACTIVISTS are all exchanging puzzled looks. MASON JEFFREY??? . So. I know all about your insane plan. SANDY Yeah. JEFFREY What. duct tape covering his eyes and mouth. trussed up.. silencing everyone. I took myself out of the loop! I don't have the code any more. Very well.

saying with profound melancholy.WHAT FUCKING VIRUS HAVE YOU COME UP WITH. JEFFREY THIS IS A FUCKING EXPERIMENT! YOU'RE OUR HELPLESS LITTLE TEST ANIMAL. what exactly are you going to do? I don't have to tell you I'm afraid. "DISCOVERY OF AMERICA". JEFFREY You "develop" viruses and you're calling me insane? Typical. It's DAYTIME in Muir Woods. (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. giant redwoods looming skyward. We're watching Hitchcock's VERTIGO. MADELINE pointing. ANGLE ON THE AUDIENCE. GOT THAT? NOW -. you sick fuck. What does this virus attack? Don't tell me. DADDY. YOU DEMENTED FUCKING MANIAC? INT.BATTLE OF HASTINGS". ANGLE ON THE THEATER AUDIENCE. MOVIE SCREEN/THEATER . ANGLE ON THE SCREEN.What virus are we talking about. MASON You're insane. MADELINE (up on the screen) Somewhere in here I was born. SCOTTY (up on the screen) Here's a cross section of one of the old trees that's been cut down. MASON Please tell me. Dad? DR. "1066 . Jeffrey. it doesn't matter.NIGHT Spooky BERNARD HERRMAN MUSIC. empty seats dimly visible in the flickering light.I die. SCOTTY (JAMES STEWART) AND MADELINE (KIM NOVAK) walk toward a display of a cross cut section of a redwood tree. a shadowy COUPLE near the back of the . and "1930 TREE CUT DOWN". And here -. a few shadowy MOVIEGOERS scattered here and there. Jeffrey. "BIRTH OF CHRIST". "MAGNA CARTA SIGNED". You don't notice. They look at the lines of the tree marked with cards that say. There's only a moment for you.

don't talk.. 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. When I was a kid. RAILLY If we can't change anything. but I don't remember this part. adjusting it. but we recognize their VOICES RAILLY Here. She's pulling something from a shopping bag at her feet. The theater is briefly illuminated by a very bright scene on the screen.. COLE I think I've seen this movie before. Forgive me. psychiatrists don't cry. Here. a MOVIE PATRON makes a SSSSHHHHH shound.. There are tears in her eyes. RAILLY (fussing with his upper lip) Shh -.theater. Funny.because it's already happened. then we ought to at least smell the flowers. let me help you. So we can appreciate what we have while we have it. like the past. it seems to be different because you're different -. COLE (moving his head to see the film) I have seen it. WE CAN'T REALLY SEE THEM.it can't change -. Flowers! COLE What flowers? From the darkness..but everytime you see it.. placing it on COLE'S head. Hold still.. . The movie never changes -. COLE They discomfit COLE. 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. RAILLY (whispering) It's an expression. it's like what's happening to us.you notice different things. It was on TV.

NIGHT Under the full moon. METAL ON METAL.) What are you doing to me? Where are we? Jeffrey. plaintive. Upset. Then. RAILLY You said you'd never seen the ocean. frightened. EXT. URGENT WHISPERS off screen. If there are still baseball games and traffic jams. DR. please. PANTHERS' PEN/ZOO . RAILLY In a few weeks. the OCEAN behind them.) Forget the tape. then. back and forth. put the tape back on his mouth! The GORILLA bellows angrily. EXT. it will have started or it won't.s..s. SHHHHHHH SHADOWY MOVIEGOER COLE (whispers) Where can we hide for a few weeks? ANGLE ON THE SCREEN.we'll be so happy.NIGHT CLOSE ON A GORILLA. CLANK. Maybe you're wrong. uttering ominous guttural SNARLS. LION'S PEN/ZOO . The monkey's louder than he is. angry. PANTHERS pace back and forth. SANDY'S VOICE (o. DR.s. a true nightmare vision. GRUNTS of effort. Stalking back and forth. MASON'S VOICE. METAL ON METAL. where SCOTTY and MADELINE are in the foreground. beating his chest. armed robberies and boring TV shows -. CLANK.. RUSTLING SOUNDS.. Only now are we aware that the GORILLA is in an outdoor zoo pen with phony rocks.. You gonna tape the monkey's mouth? EXT. Maybe we're both crazy.But maybe I'm wrong. we'll be glad to turn ourselves in to the police. MASON'S VOICE (o. Huge. JEFFREY'S VOICE (o.) For God's sake. GORILLA'S PEN/ZOO . by moonlight.

He panics. MOVIE THEATER AUDITORIUM CLOSE ON COLE. the man from COLE'S DREAM. The Brunette is RAILLY. it's a pleasure to watch her nice body undulate in the tight dress. COCKATOOS and other EXOTIC BIRDS careen madly in their cages. both sides of him. INT. COLE I mean in my dream -. PANNING OFF the poster... I RAILLY Well. he comes awake with a start. she reveals heavy make-up. and sun glasses. EXT. you look pretty different. didn't recognize you. Turning. ANGLE ON COLE. looking around. The Blonde Man is COLE! He's confused. the sharp metallic CLINKING of metal on metal. He's alone.I didn't realize . just hanging up the lobby pay phone. THEATER LOBBY Empty seats on A lobby poster boasts "Classics 24 Hours A Day" and "Hitchcock Festival". overwhelmed by screeching BIRDS in an attic in Hitchcock's THE BIRDS.The KING OF BEASTS gives a deep. fierce ROAR. as the SOUNDS of SCREAMING BIRDS continue. BRUNETTE We're booked on a 9:30 flight to Key West. no longer the frazzled professional. WE DISCOVER a BRUNETTE in a tight dress. Suddenly. A PANDEMONIUM of WINGS RUSTLING. revealed now by her disguise as a sexy babe. then a cacophonous CRESCENDO of frenzied SCREECHING as PARROTS. Just then. passing a SNORING USHER. too. AVIARIES/ZOO From the darkness. gaudy costume jewelry. the MUTTER of HUMAN VOICES. the auditorium doors burst open and a BLONDE MAN in a Hawaiian shirt appears. unseen ELEPHANTS TRUMPET their response. orienting himself. TIPPI HEDRIN. COLE You were in my dream just now.sees the movie filling his field of vision. COLE Kathryn?! INT. HIS POV: the MOVIE SCREEN. stunned at the sight of the BRUNETTE. The BLONDE MAN stops. She's the BRUNETTE in COLE'S DREAM! Crossing the lobby toward the auditorium. dozing fitfully. except this man's moustache is fixed firmly on his upper lip. dead to the world in an old velvet chair.

plastic trash barrels. lumbering toward us along the promenade..I thought you were gone. INT. EXT. Then.DAWN Deserted in the first light of dawn. he's more a shadowy vision than reality. to and through an unlocked. unmarked door. High up. SUBURBS .DAWN The rising sun flares behind the towering silhouette of an unfinished building.like this. Four stories below.. I feel I've always known you.. a MONKEY his head around a girder. Tearing at each other's clothes.. an AFRICAN BULL ELEPHANT appears. COLE responds to her passion as they move deeper into the room. EXT. other MONKEYS are climbing. SHOPPING MALL .. friends? . Suddenly. Their eyes lock. its walls covered with old movie posters.. deserted in the early morning light. the stores face each other across a broad promenade with blank staring windows. RAILLY (studies him seriously) I remember you.it was you. gently maneuvering him with her.DAWN The red rim of the rising sun is just becoming visible beyond the silhouetted roofs of an upper middle-class suburban neighborhood. STORAGE ROOM/MOVIE THEATER RAILLY and COLE are in a dimly lit cluttered storage room. past the sleeping USHER. INT. The early light is so vague that when a huge SIBERIAN TIGER pads across a neatly-trimmed lawn.I woke up and I. Did we really see him at all? EXT. She kisses him hungrily amid the brooms. Then. I feel I've known you before. WOMAN CABBlE What time's your flight. other janitorial items.EARLY MORNING A fiftyish WOMAN CABBIE with white hair and a Southern twang is at the wheel of the cab. Nothing happens. then closing it behind them. CONSTRUCTION SITE . TAXICAB/CITY STREETS . raising his trunk to TRUMPET triumphantly to the other ELEPHANTS trotting into view behind him. turning the corner. they collapse on a rolled theater curtain among stacks of ancient theater seats. she backs up. For a long moment.

stunned. Flabbergasted. plenty a time. COLE. honey. gotta take inta account your Army-of-the-Twelve-Monkeys factor. RAILLY That's what they were up to! animals! Freeing COLE On the walls -. okay. Scientist's own kid was one a the ones did it! RAILLY and COLE stare at the cabbie. RAILLY Nine thirty Might be tight. looks to his companion. 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. RAILLY. WOMAN CABBIE RAILLY (startled.In the back seat. Then they locked up this big shot scientist in one of the cages. WOMAN CABBIE On your normal mornin'. in the blonde wig and moustache. What? RAILLY What did you say? WOMAN CABBIE Twelve Monkeys. RAILLY'S eyes suddenly fill with hope. Guess you folks didn't turn on your radio this morning. checks her watch) Tight? My watch says 7:30. WOMAN CABBIE Bunch a weirdoes let all the animals outta the zoo last night. COLE and RAILLY exchange a quick look. but today. the sexy babe in sun glasses and heavy make-up.they meant the animals when they said. .." WOMAN CABBIE You can hear it on the radio all the stations. WOMAN CABBlE Now they got animals all over the place. "We did it..

reacting to the P...A.. RAILLY Maybe it's going to be okay. P. INT..) Can these fools seriously believe that releasing a captive animal into an urban environment is being compassionate to the animal? It's mindlessly cruel. ANGLE ON COLE..As the WOMAN CAEBIE switches on the RADIO.. .A.g. entering the terminal. Maybe it's.s. RAILLY Airports all look the same. COLE I know this place! . sleek and magnificent against the cityscape. REVEAL a DETECTIVE. stopping. RIGHTS ACTIVIST/RADIO (o.A.Flight 531 for Chicago is now ready for boarding at Gate Seventeen. COLE'S POV: two CHEETAHS. 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.MORNING CLOSY ON copies of the mug shot of COLE and a photo of RAILLY while the airport P. almost as indefensible as holding the animal in captivity in the first place.) In the meantime. RAILLY and COLE are watching FLAMINGOS cross the sky against a backdrop of skyscrapers in silhouette. reacting) James! Your moustache! It's slipping. This is my dream. SYSTEM -. DETECTIVE Tell your people if they spot either one of them. SYSTEM DRONES in the b. RA:LLY points and COLE follows her look. TICKET COUNTER/AIRPORT TERMINAL .s. ANGLE ON RAILLY AND COLE. (turning. giving the flyers to the uniformed SUPERVISOR at one end of the ticket counter... thirty yards away. streaking past the cab at ninety mph! ANNOUNCER/RADIO (o. not to try and apprehend then. They should notify us and. seeing the bustling airport lobby.

they're going to send us someplace. ANGLE ON RAILLY. Coming to a decision. RAILLY glances around nervously. considers it. (placing the tube in his hand) Use this. But you. I think you were here. talking earnestly.as a kid.. as COLE walks past on his way to the Men's Room. if we're identified. he reaches into his pocket. their eyes scanning the faces of TRAVELERS. RAILLY They may be looking for us. RAILLY'S POV: two UNIFORMED POLICEMEN.DAY BUSINESS TRAVELERS huddle over pay phones.. hand to moustache) Right! You're right. starts clip clopping toward the ticket counter.before. too. He's looking around. Seeing an unoccupied phone. TELEPHONES/LOBBY . I was actually here! I remember now. COLE It's not just my dream. mesmerized. then heads for the Men's Room as RAILLY.looked just like you look now.. in the Gift Shop. pulls out some change. COLE hesitates... in sun glasses. gaudy outfit. nods. I have to fix this. RAILLY (getting desperate) James. INT. strolling through the lobby. COLE follows her look.but not to Key West! COLE (snaps out of it. INT...before everybody started dying. James.. TZCKET COUNTER/TERMINAL . About a week or two before.. high heels. pulling a small tube from her purse.. You can fix it in the Men's Room.. RAILLY (indicating a sign) I'll get the tickets and meet you. her ass attracting admiring glances. My parents brought me to meet my uncle.But COLE isn't listening.. COLE (confounded) I was here.

. catches a few stares. but in clear view of the TICKET AGENT who has just finished serving a PORTLY GENTLEMAN.CLOSE ON the flyer of COLE and RAILLY taped under the counter. very intense. It was a mistake' Someone else did it. cash. hidden from the customers. INT. The Army of The Twelve Monkeys are just dumb kids playing revolutionaries. he heads for the Men's Room. ANGLE ON RAILLY. TICKET AGENT Don't see a lot of this. PAY PHONES/TERMINAL RAILLY I have reservations for COLE is speaking into the phone very low. happy life. TICKET COUNTER . I'm not coming back! COLE hangs up the phone. Mrs. If you do. you're lucky -you're gonna live a long. looking nothing like the Railly on the flyer. Simmons.a long story. The GENTLEMAN walks away. stepping up to the counter. catches a BUSINESSMAN at the next phone looking away quickly. Good luck.. Judy Simmons. It was someone else! COLE looks around nervously. Averting his face. I don't know whether you're there or not. RAILLY It's. . I did what you wanted.they didn't do it. COLE touches his loose moustache as he averts his face and speaks into the phone in an urgent whisper. Have a nice flight. Key West. INT. TICKET AGENT (smiles. hands over the tickets) They'll begin boarding in about twenty minutes. Maybe you just clean carpets. smiling. looks around.DAY The TICKET AGENT is counting out a stack of bills. COLE Listen.forget about the Army of The Twelve Monkeys -. But if you other guys exist and you're picking this up -. COLE I've done my job. very private...

s. we've seen this outfit before. lingers at a sink.. didn't have to do that. RAILLY fumbles the tickets while trying to put them in her purse and they flutter to the floor. A toilet FLUSHES in the "occupied" stall. TICKET COUNTER .you don't belong here. Bob? COLE whirls. then takes the tube of adhesive from his pocket. WE SEE the long line of waiting TRAVELERS from the waist down.DAY . RASPY VOICE (o. It's not permitted to let you stay.Turning to go. It's none of my business. head down.. puts some goop under the loose edge of his moustache and presses it firmly against his face as he leans close to the mirror. looks for the source of the VOICE.A. and defiant. COLE'S answer is loud COLE This is the present. gives COLE a quizzical look. This guy couldn't be "THE VOICE"! And there are no feet showing under the other stalls. Quickly. chief.in COLE'S dream.. Nothing! Until he spots shoes peeking from dropped trousers indicating an occupied stall. COLE looks dismayed. DRONES as CCLE. washing and rewashing his hands while another TRAVELER finishes drying his hands. gives COLE a wary look and a wide berth as he heads for a sink. MEN'S ROOM/AIRPORT . As she kneels to retrieve them.s. Did he imagine it? INT. COLE glances around. COLE I'm staying here! You got that? can't stop me! You PLUMP MAN (high pitched voice) Anything you say. WE SEE a familiar Chicago Bulls Sports Bag resting on the floor beside sneakers and gaudy baggy pants. PONYTAIL! INT.DAY The P. I RASPY VOICE (o.) Point of fact -.on MR. This is not the future.) Got yourself a prob. checks the seemingly empty Men's Room.. It must be him! COLE Leave me alone! I made a report. This is right now! A PLUMP BUSINESSMAN emerges from the "occupied" stall. This is not the past. then leaves.

.. Raiders jacket. take this. Before he gets more than a few steps. Karachi. PONYTAIL (o. Me? Are You were pardon! back and JOSE you kiddin? You're the one! a hero.The Chicago Bulls bag! It's on the counter in front of the TICKET AGENT who's reviewing a stack of tickets in awe. .. and mirrored sun glasses Jo.A. Kinshasa. MR. COLE resists! COLE What for? Are you crazy? Frustrated. Bangkok.) You gotta be crazy. someone suddenly grabs his shoulder from behind. keeping his head down. man. TERMINAL LOBBY COLE emerges from the Men's Room. INT. Then. Rome. that was nuts! Here. The phone call. FAMILIAR VOICE (o.. San Francisco. paranoid. he starts walking toward the Gift Shop. man. JOSE conceals the gun but keeps a grip on COLE'S arm. He glances around nervously. man. Peking! That's some trip you're taking.s.Jose???? COLE JOSE Pulling out the tooth. sir. All in one week! Business. shaken. man! COLE whirls. New Orleans.s.) TICKET AGENT (handing over the tickets) Have a good one. TICKET AGENT Woooo-eeee. They gave you a And whadda you do? You come fuck with your teeth! Wow! COLE How did you find me? JOSE The phone call. Rio de Janeiro. a sideways baseball cap. JOSE tries to slip COLE a 9mm pistol. What? Astonished. sir. finds himself facing a Puerto Rican youth in an L.

Further down are two more photos.DR. He sets a newspaper on the counter and searches for change.. RAILLY checks her watch again. that phone call. MASON being released from the cage and another photo of a GORILLA perched atop a parked car. DR. PONYTAIL pauses for a moment. gaudy earrings. PONYTAIL. seen from behind.DAY RAILLY takes a travel book on Key West from a rack... System DRONES flight info as RAILLY checks her watch and frowns. It's getting late and where's Cole? She turns. PONYTAIL.COLE The call I just made? Five minutes ago? JOSE Hey. RAILLY doesn't recognize the man. take it. RAILLY frowns. MR. "weird" war we were in.ever since I got back from that.the man who attended RAILLY's lecture! Smiling. turns to go and RAILLY looks up and sees his face. MASON in his lab. The paper features a banner headline. the tight skirt. though it is not visible to us.. considering the babe in the shades. PETERS steps around RAILLY and exits the Gift Shop. There's someone else in the picture. Still puzzled. includes it with several magazines she's holding.. is at the cash register already. thirty years ago! Yes. but we do! He's DR. CLOSE ON THE SHOT OF DR. RAILLY'S POV: the front page shows a photo of three frightened GIRAFFES in freeway gridlock under a headline proclaiming. MR. You remember that? (pressing the pistol on Cole) Here. "TERRORISTS CREATE CHAOS". 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. Stepping in line behind MR. considers it. MASON in his lab."PROMINENT SCIENTIST FOUND LOCKED IN GORILLA CAGE" over a photo of DR. Does she know this man? MR. MASON in the gorilla cage and a file photo of DR. heads for the cash register to make her purchases.. PETERS. Then. She doesn't notice MR. GIFT SHOP/TERMINAL ..A. five minutes ago. having paid."ANIMALS SET FREE" and a sub head. MASON'S ASSISTANT. and high heels... I been in training for this a couple a months now -. DR. It's a man wearing a lab coat and a PONYTAIL! . PONYTAIL. man! You could still be a hero if you'd cooperate! INT. PONYTAZL enter the Gift Shop behind her! The P.. Startled.

reacting. Cole. too stunned to speak. okay? COLE accepts the gun this time.DAY In the confusion of TRAVELERS streaming in different directions. resigned now. Garcia. GIFT SHOP . (then. RECEPTION ROOM/BREITROSE HALL . is it? JOSE Hey. 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. LOBBY . JOSE I got no choice. PETERS Isn't it obvious that "Chicken Little" represents the sane vision and that Homo Sapiens' motto.DAY RAILLY. .. These are my orders.. I got orders. stares in the direction PETERS/PONYTAIL went. man. COLE It's about obeying. my God! RAILLY P. man. They've got him. Oh. PETERS.ANGLE ON RAILLY. Just take it. "If Cole don't obey this time. don't be an asshole. you gotta shoot his girlfriend!" COLE stops in his tracks. stunned. blurting it out) Look. "Let's go shopping!" is the cry of the true lunatic? INT. about doing what you're told. COLE This part isn't about the virus. suddenly remembering! MEMORY FLASHBACK! INT. blown away. DR.NIGHT RAILLY looks up from the book she's signing and sees DR.A SYSTEM -. INT. COLE hurries toward the Gift Shop while JOSE struggles to keep up.flight 764 for San Francisco is now ready for boarding at Gate 36. JOSE Coma on.

Remember that.JOSE They gave you a pardon. PETERS Me? Oh. If he's there. coming through the magnetic arch. RAILLY Maybe we can stop him. . and they continue along the concourse. it has to be him. comparing their faces to photos of COLE and RAILLY. actually do something.DAY A young boy of nine passes through the magnetic arch grinning. sir. JOSE. want? COLE Who am I supposed to shoot? Whatdaya Just then. showing the X-RAY IMAGE of a sports bag moving along the conveyer belt. I think I know who it is! I saw him! It's Dr. of course. COLE I love you. watching the x-ray monitor. Kathryn. ANGLE ON A SECURITY OFFICER. SECURITY OFFICER Excuse me. yes. RAILLY James! Thank God! I thought you'd disappeared. My samples. steps back into the crowd as RAILLY grabs COLE and pulls him toward the Security Check Points. having heard this. PETERS. Listen. man. ANGLE ON THE SECURITY OFFICER. I have the appropriate papers. RAILLY rushes up to COLE. who are only visible from their chests down. She doesn't hear him or see the look of doom in his eyes. reacting. DR. The bag contains some strange objects. ANGLE ON THE MONITOR. An apocalypse nut! The next flight to San Francisco leaves from Gate 38. Mason's assistant. Would you mind letting me have a look at the contents of your bag? ANGLE ON DR. INT. not even noticing JOSE. YOUNG COLE! Exactly as he appears in the dream! He joins his PARENTS. reacting. Maybe we can SECURITY CHECK POINT/TERMINAL . WE LINGER and DISCOVER two DETECTIVES watching TRAVELERS as they pass through the magnetic arch and retrieve their bags from the X-ray machine.

PETERS unpacks his Bulls bag. RAILLY Oh. pulling a closed glass tube out of the metal cylinder. sir. PETERS produces a sheaf of official papers while the SECURITY OFFICER examines one of the tubes. God. END OF LINE/SECURITY CHECK POINT RAILLY AND COLE arrive at the very long suddenly stalled line of TRAVELERS waiting to pass through security. ANGLE ON THE TWO DETECTIVES. PETERS Here! You see? Biological! Check the papers -. It's empty! SECURITY OFFICER Indeed. it looks empty! But I assure you. SECURITY OFFICER I'm going to have to ask you to open this. PETERS Well. trying to explain something to a SECOND SECURITY OFFICER. arguing with the SECOND . I have a permit. we don't have time for this. but the SECURITY OFFICER turns toward the NOISE.INT. SECURITY OFFICER'S POV: RAILLY. PETERS pays no attention. where DR. ANGLE ON RAILLY. DR. it looks like a sealed clear glass tube with nothing in it. DR. DR. DR. DR. I have the paperwork right here.it's all proper. ANGLE ON DR. pulls out six metal cylinders along with a change of clothes and a Walkman. DR. ANGLE ON THE SECURITY CHECK POINT. DR. There's a SOUND of VOICES RAISED behind them. nearby. at the end of the line. PETERS Biological samples. turning it over in his hands. then) Of course. PETERS takes the metal cylinder and starts opening it. showing interest in the commotion. it's not. PETERS Open it? (blinks stupidly. PETERS. oblivious to the fuss. to be sure. yes.

the FIRST DETECTIVE frowns. ANGLE ON RAILLY. PETERS grins suddenly.} JUST A MOMENT. SECOND SECURITY OFFICER Who are you calling a "moron"? COLE Get your hands off her! The SECOND SECURITY OFFICER stiffens for trouble. and smiles as he hands the papers back to the scientist. PETERS. PETERS It doesn't even have an odor. ANGLE ON DR. reaches up to touch it. ready to get involved. sees what DR. Here you go. then COLE looks away. producing the glass tubes from the other metal cylinders as the SECURITY OFFICER examines the papers. hurrying away. DR. For half a second their eyes meet.SECURITY OFFICER. sir. Thanks for your cooperation. PETERS snatches up all the tubes and cylinders and shoves them back into his gym bag. OR. Hastily. The SECURITY OFFICER glances up. raging as the SECOND SECURITY OFFICER jabs her with his finger. and waves it under the SECURITY OFFICER'S nose! DR. A beat. special about you? What's so ANGLE ON DR. PETERS is doing. ANGLE ON THE DETECTIVES.this is very urgent! SECOND SECURITY OFFICER You'll have to get in line. PETERS Also invisible to the naked eye. SECURITY OFFICER That's not necessary. . Have a good flight.s. TRAVELER We're all in a hurry. You see! DR. Suddenly. PETERS. watching the fuss. lady. ma'am. opens one of the glass tubes. FIRST DETECTIVE9S POV: COLE'S moustache is slipping. HOLD IT! SECURITY OFFICER'S VOICE (o. COLE senses it. catches the DETECTIVE'S look. RAILLY Please listen to me -.

DR. dressed like a "businessman"! COLE a cold look. COLE I said. walking faster. RAILLY (o. SOMEBODY -. RAILLY looks alarmed at that. seeing MR. knocking him off balance. please.) PLEASE. . ANGLE ON COLE. PETERS hurries back for his underpants.STOP HIM! ANGLE ON DETECTIVES. PETERS freezes. frightened. PONYTAIL. She's not a criminal. then sprints toward the magnetic arch and through it. PETERS.. spotting something behind the DETECTIVES! COLE'S POV: SCARFACE. suddenly spotting DR. has the photos in his hand. get your hands off her.DR. ANGLE ON COLE. ashen. reaching RAILLY and COLE. ANGLE ON RAZZLY. THE MAN FROM HIS DREAM! ANGLE ON DR. The FIRST DETECTIVE ANGLE OW DR. bagging his jockey shorts.a psychiatrist. turns. PETERS. glancing back. following RAILLY'S look. She's a doctor. ANGLE ON THE DETECTIVES. PETERS! RAILLY THERE HE IS! HE'S CARRYING A DEADLY VIRUS! STOP HIM! ANGLE ON COLE. He gives A beat. Would you step over here. coming this way. FIRST DETECTIVE (raising his badge) Police Officers. PETERS. The ALARM goes off!!!! The FIRST SECURITY OFFICER tries to stop COLE. but COLE knocks him aside like a rag doll.. trying to keep his head turned away as he confronts the SECURITY OFFICER. He waves them at DR.s. COLE lunges at the SECOND DETECTIVE. then starting hastily down the windowed concourse toward the gates. The SECURITY OFFICER is retrieving a pair of jockey shorts from the floor beside the search table.

and sun glasses SCREAMS. kneel beside him. shuddering.. 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. PETERS hurries by. a pistol in his hand. YOUNG COLE'S POV: the FIRST DETECTIVE aims.. looking for a clear shot in the crowded passageway.. My God! MOTHER'S VOICE (o. falling. raising his pistol at COLE. fifty yards up the concourse. turns just as DR. YOUNG COLE watches the BRUNETTE rush to the BLONDE MAN.) They shot that man! Mesmerized.ANGLE ON DR. standing at a concourse window. YOUNG COLE'S POV: a BLONDE MAN.. fatalistically reaching up . sprinting along the concourse toward DR. WATCH IT! DR. ANGLE ON THE SECOND SECURITY OFFICER. YOUNG COLE'S POV: a BRUNETTE in flashy clothes. ANGLE ON YOUNG COLE.s. YOUNG COLE'S POV: the BLONDE MAN. pulling his pistol. firing! the BLONDE MAN.. watching. PETERS. PETERS as frightened TRAVELERS SCREAM and dive for cover. N0OOOOO0O!!!!!! YOUNG COLE'S POV: YOUNG COLE'S POV: BRUNETTE (RAILLY) CRACK! the FIRST DETECTIVE. gaudy earrings. hearing the commotion. flanked by his parents whose faces we don't see. DR. stunned. wide eyed. PETERS ANGLE ON YOUNG COLE. ANGLE ON YOUNG COLE. glancing back. watching a plane land.. PETERS bumps into YOUNG COLE and reacts by pulling his Bulls bag close to his body and calling. ANGLE ON COLE. gun in hand. staggering. dashing up the concourse. as his PARENTS try to shield him. high heels. his moustache slipping over his lip. FIRST DETECTIVE STOP OR I'LL SHOOT! ANGLE ON COLE. HE'S GOT A GUN! FIRST SECURITY OFFICER ANGLE ON THE FIRST DETECTIVE. minister to his bloody wound.

747 CABIN . YOUNG COLE'S POV: the PARAMEDICS. exchanging glances.) ANGLE ON YOUNG COLE. WE WANT TO KNOW WHAT THE TEAR MEANS.. handcuffing a distracted. son.she's found what she's looking for! ANGLE ON YOUNG COLE... Even now. her eyes continue to scan the concourse.s.) Come along. With a last lingering look toward the mysterious BRUNETTE. OPENING LIKE A FLOWER. YOUNG COLE turns to look back as he's led away. The BLONDE MAN is dead. WE DON'T KNOW WHAT HE IS THINKING.s. tears welling in his eyes. YOUNG COLE sees the BRUNETTE. It's too late. searching for something. as his FATHER'S ARM drapes over his shoulder. not able to hear their words.on his eyes. breaking the spell. YOUNG COLE'S POV: POLICE. but he can see emotion as the BLONDE MAN tries to tell the sobbing BRUNETTE something.DAY DR. unresisting RAILLY. Jimmy. He can't help sneaking another look back. (WE'VE SEEN THIS EXACT IMAGE IN COLE'S DREAM. POLICE OFFICERS approach her. her eyes speaking to the boy across the crowded concourse. scanning the crowd.) Pretend it was just a bad dream. A POWERFUL MOMENT. CLOSE.. ANGLE ON YOUNG COLE. ANGLE ON YOUNG COLE.. FATHER'S VOICE (o. her gaze falls on YOUNG COLE and she reacts. pushing the BRUNETTE aside as they crouch beside the BLONDE MAN. she continues to look around almost frantically. PETERS closes the door to the overhead luggage rack . being hurried toward the lobby by his PARENTS (whose faces remain out of view). say something to her.. WE MOVE IN...s.CLOSER. suddenly turn and look around. YOUNG COLE'S POV: PARAMEDICS. Suddenly. BUT WE KNOW VERY WELL WHAT HE WILL REMEMBER! MOTHER'S VOICE (o. ANGLE ON YOUNG COLE. reacting to the intensity of her look.) Hurry up. Even as she responds. overwhelmed by the look. INT. steering him..and tenderly touching the BRUNETTE'S cheek. shrugging helplessly. UNFOLDING UNNATURALLY SLOWLY. ANGLE ON RAILLY. touching her tears. FATHER'S VOICE (o.CLOSE. YOUNG COLE turns away.. son. her face streaked with tears. BUT THERE IS NO WAY TO TELL. this is no place for us.

. a FELLOW TRAVELER. him. a silver haired gentleman in a business suit. PARKING LOT/AIRPORT As YOUNG COLE'S PARENTS (seen only as sleeves and torsos) usher YOUNG COLE into their station wagon. the boy hesitates. DR. PETERS I think you're right. EXT. I think you've hit the nail on the head. sir. DR. Shootings even at airports now. watches a 747 climb into the sky.. I'm in insurance. turning to his neighbor. offering his hand congenially. DR. but we do.containing his Chicago Bulls bag and takes his seat.s. unseen.. Next to FELLOW TRAVELER'S VOICE (o. smiling affably. all the violence. all the lunacy. says..) It's obscene. You might say. PETERS. PETERS' POV: the FELLOW TRAVELER. It's the ASTROPHYSICIST! ASTROPHYSICIST Jones is my name.. FADE OUT: . looks back. PETERS doesn't know who this man is.we're the next endangered species..human beings! CLOSE ON DR.

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