"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

FADE IN: INT. CONCOURSE/AIRPORT TERMINAL - BAY

CLOSE ON A FACE. A nine year old boy, YOUNG COLE, his eyes wide with wonder. watching something intently. We HEAR the sounds of the P.A. SYSTEM droning Flight Information mingled with the sounds of urgent SHOUTS, running FEET, EXCLAMATIONS. YOUNG COLE'S POV: twenty yards away, a BLONDE MAN is sprawled on the floor, blood oozing from his gaudy Hawaiian shirt. A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S view, rushes to the injured man, kneels beside him, ministering to his wound. ANGLE ON YOUNG COLE, flanked by his PARENTS, their faces out of view, as they steer him away. FATHER'S VOICE (o.s.) Come on, Son --this is no place for us.

YOUNG COLE resists momentarily, mesmerized by the drama. YOUNG COLE'S POV: intermittently visible through a confusion of FIGURES rushing through the foreground, the BLONDE MAN reaching up and touching the cheek of the kneeling BRUNETTE in a gesture of enormous tenderness, a gesture of farewell, while the P.A. SYSTEM continues its monotonous monotone... P.A. SYSTEM Flight 784 for San Francisco is now ready for boarding at inmate number 66578, Greely. INT. PRISON DORMITORY/FUTURE - ETERNAL NIGHT PRISON P.A. SYSTEM --number 5429, Garcia -- number 87645, Cole... COLE, late thirties, dark hair, comes awake in a bunk cage, one of many stacked four high along both sides of a long dim corridor. He blinks in the near dark, shaken, disoriented. Then, as he "recovers" from his very vivid dream, WE GET OUR FIRST LOOK AT HIS ENVIRONMENT...A WINDOWLESS UNDERGROUND WORLD OF ETERNAL NIGHT SOMETIME IN THE FUTURE...AN ALMOST COLORLESS "REALITY" OF BLURRED EDGES AND ECHOEY SOUNDS, MUCH MORE "DREAMLIKE" THAN HIS DREAM. Flashlights glare. In the half-light, COLE sees spooky figures, GUARDS, moving among the locked bunk/cages. COLE turns and whispers to the occupant of the next cage, JOSE... 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

INT.

DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT

COLE'S eyes blink awake, blinded by a flashlight. He's lying in one of thirty beds in a darkened ward. Disoriented. Which world is this? The room is full of BREATHING, SNORING, occasional MOANS. He can barely discern the shadowy figures of an ORDERLY and a NURSE, making their rounds, checking each bed. His eyes adjusting to the darkness, COLE watches them exit. He turns and sees a patch of moonlight coming in a barred window. With a quick glance at the sleeping PATIENTS, he slips out of bed, makes his way stealthily to the window, peers out. COLE'S POV: the moon, glowing in the sky, illuminating a single tree. Under the tree, in silhouette, a COUPLE embraces, kisses. ANGLE ON COLE, looking out the window, absorbed. VOICE (o.s.) It won't work. You can't open it. Alarmed, COLE turns, sees JEFFREY in the next bed. JEFFREY You think you can remove the grill but you can't. It's welded. COLE checks the grill anyway. JEFFREY See? I toldja. And all the doors are locked, too. They're protecting the people on the outside from us. But the people outside are as crazy as us. COLE has become preoccupied with a small SPIDER creeping along the window sill. He's staring at it when he's distracted by a sudden SOUND. Grabbing the SPIDER, COLE scrambles back into bed just as the door opens and an ORDERLY probes the dark room with the blade of his flashlight. ANGLE ON COLE, in bed, feigning sleep. The flashlight clicks off and COLE hears the door close. For a long moment the ward is silent except for BREATHING, SNORES, occasional MOANS. Then, COLE hears JEFFREY'S hoarse whisper, picking up right where he left off. JEFFREY You know what "crazy" is? "crazy" is "majority rules". Take germs for example. Although COLE is preoccupied with the SPIDER struggling to get

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

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

They hurt you! JEFFREY Not as bad as what they're doing to kitty. 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 -. (sudden whisper) I didn't say a word about "you know what". As COLE stares.o. extending a cup full of pills. they're asking for it! Maybe people deserved to be wiped out! JEFFREY (startled. reacting angrily. TV NEWS REPORTER (v. COLE What are you talking about??? JEFFREY You know -. COLE Look at those assholes. ANGLE ON COLE.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.. eating its own tail. A lawsuit? JEFFREY You going to sue them? Just then BILLINGS looms over COLE. Authorities say there is little they can do until. The video footage now shows LAB WORKERS watching the results of their experiments passively. showing a laboratory CAT turning in mad circles. BILLINGS . while a NEWS REPORTER narrates. befuddled.your plan. ANGLE ON TV. JEFFREY sees COLE'S magazine.

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

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

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

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

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

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.

RAILLY pushes the needle into COLE'S skin. INT. CONFERENCE ROOM/PSYCH WARD - LATER (DAY) DR.

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!

WOMAN'S VOICE

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,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

COLE is astonished. A beat."associates". COLE I'm here about some monkeys.. looks up as JEFFREY and AGENT #3 enter the room.what did you say? Monkeys.. Halfway out the door.. The AGENTS are. (to the Agents) See. LIBRARY/MASON MANSION COLE.pals. You helped me once. JEFFREY (stepping back) My God. turns. considers COLE.. Now. JEFFREY JEFFREY frowns. JEFFREY Excuse me -.. too.some.Arnold. Then. JEFFREY (dismissing Cole casually) Never saw him before in my life. suddenly.uh. Go ahead and shoot him or torture him or whatever it is you do. Helping people is against my principles. he definitely doesn't know me.. INT. uh.. 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. closest.. smudged with dirt and car grease..unusual. JEFFREY Arnold.uh. JEFFREY freezes. COLE Twelve of them. rushes to COLE and embraces him. what's happened to you? You look like shit (dubious) AGENT #3 . Arnie.... sitting in the shadows in a wingback chair. we certainly didn't want to arrest one of your. JEFFREY (turning to leave) That would be totally out of character. A FOURTH AGENT looms beside the wingback chair. COLE (rising) You do know me.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

and BEN peeks out the small opening between posters at the front window. POV THROUGH SLIT: of the store! a glimpse of RAILLY. 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. THIS IS IMPORTANT. RAILLY stares at the PUNKS. they all crowd around BEN to get a look. FAA STORE FALE watches JEFFREY go over a check list while KWESKIN. spray painting the front TEDDY BEN I can't see it. INT. JEFFREY You get the bolt cutters? One dozen. Then. FALE (spinning around) Your psychiatrist? Did you just say. RAILLY spots two TEZNAGE PUNKS surreptitiously "tagging" their way along the street with cans of spray paint. except for JEFFREY. Don't tell me anything. "your psychiatrist"? JEFFREY What's it say? . JEFFREY (erupting) WHY DON'T WE FORGET MY GODDAMN PSYCHIATRIST AND DEAL WITH THE TASK AT HAND. looking toward 3EN.But just then. who's peeking outside. and TEDDY organize materials. BEN Do you know what she's doing? Everybody freezes. SANDY. KWESKIN They're in the van.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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