>>12 / Twelve Monkeys

12 / Twelve Monkeys. .

: 12 / Twelve Monkeys.

12 / Twelve Monkeys

COLE They're keeping an eye on me.

RAILLY Who's keeping an eye on you?

COLE The man...with the voice. I recognized him. He's from the present. He...

COLE breaks off, freezes as he sees...

there on a brick wall is a stencil of the DANCING MONKEYS

And further on, another red stencil!

EXT. VACANT LOT - MOMENTS LATER (DAY)

CRACKHEADS huddle against a building, sucking their pipes, oblivious to COLE pulling RAILLY past.

COLE scans the walls for messages in the confusion of graffiti.

RAILLY is considering her surroundings dubiously when, suddenly, COLE pulls her toward the mouth of a dark and forbidding alley.

RAILLY James, no -- we shouldn't be here!

COLE ignores her, yanking her after him into the alley.

INT. DARK ALLEY - DAY

Two TOM CATS face off, arching their backs and HISSING menacingly.

COLE avoids them as he pulls RAILLY into the gloom.

ANGLE ON RAILLY, seeing something alarming twenty yards ahead!

RAILLY'S POV: TWO THUGS, standing over a MAN, kicking him.

RAILLY tries to stop, but COLE, intent on the wall messages, doesn't notice the THUGS.

The TWO THUGS turn and spot COLE and RAILLY moving toward them.

These creeps have mean eyes, predator faces.

RAILLY digs her heels in, forcing COLE to stop.

RAILLY James! We have to go back. Those men...

Too late. While COLE turns and stares at her, uncomprehending, the TWO THUGS are approaching.

FIRST THUG Hey, buddy.

Startled, COLE turns to face them.

The SECOND THUG lunges for RAILLY'S purse, yanks it from her.

COLE reaches to grab it back, but...WHACK! The FIRST THUG smacks COLE hard across the face with something metallic.

Bloody-faced, dazed, COLE doesn't even have a chance to clear his head as the FIRST THUG shoves the hard object against COLE'S cheek. It's a cheap thirty-eight pistol.

RAILLY turns to run, gets two steps before the SECOND THUG knocks her roughly to the ground.

SECOND THUG Stick around, bitch.

Looming over her, the SECOND THUG starts to unzip his fly. RAILLY looks over to COLE, SEES...

COLE dropping to his knees, groveling at the FIRST THUG'S feet.

COLE Please! Please don't hurt me!

The FIRST THUG steps close, kicks COLE contemptuously, cocks his foot for a second kick when...

COLE uncoils, lunging, rising, his strong arms around the bigger man's calves, lifting him mightily, high off the ground.

The gun FIRES wildly as COLE staggers forward with the FIRST THUG in his arms and smashes the man into the brick wail behind him. The FIRST THUG goes down in a heap, dropping the pistol.

Zipping his fly hastily, the SECOND THUG turns to deal with COLE but COLE attacks him....rocking him again and again with savage blows that come one after another with lightning speed. The SECOND THUG staggers back, bloody and dazed as RAILLY watches, amazed.

Turning back to the FIRST THUG, COLE sees the MAN reaching for the dropped pistol.

COLE kicks him viciously in the jaw. The FIRST THUG'S head whips back. SNAP! He collapses against the brick wall.

COLE turns back to see the SECOND THUG retreating down the alley as fast as he can stagger.

RAILLY stares up at COLE. He looks very dangerous. He glances in her direction as he pockets the pistol.

COLE Are you hurt?

RAILLY Uh, no. Yes. I mean, just some scrapes...

As RAILLY gets to her feet, she sees COLE bend over the motionless THUG and quickly go through his pockets.

RAILLY Is he...alive?

COLE ignores the question as he pockets the man's wallet and a handful of bullets, then turns and snaps at RAILLY.

COLE Come an. We're running out of time. You can't help him.

As COLE yanks her roughly away, she looks back, sees the FIRST THUG'S sightless eyes, wide open...staring blankly.

RAILLY Oh, Jesus, James! You killed him!

COLE I did him a favor. Now come on.

COLE, pulling her again, sees more "12 MONKEYS" on the wall.

RAILLY You didn't have a gun before, did you?

COLE I've got one now.

EXT. SECOND AVE - DAY

The EVANGELIST, spotting COLE and RAILLY hurrying past him, points urgently at COLE.

EVANGELIST You! You! You're one of us, aren't you?

But COLE has stopped and is staring at...

A STOREFRONT OFFICE...its windows covered with posters. The sign over the office says, FREEDOM FOR ANIMALS ASSOCIATION.

INT. FAA STORE - MOMENTS LATER (DAY)

Earnest young activists, FALE, deathly pale, BEN, long haired, and TEDDY, muscular, are gathered around a counter collating leaflets that demand an END TO SPECIEISM. Behind them, a large poster proclaims, "ANIMALS HAVE SOULS, TOO". Just then, there's a tremendous CLAP OF THUNDER as the ACTIVISTS look up and see COLE and RAILLY enter.

COLE looks startled. It sounds like torrential RAIN POURING in here. Maintaining a tight grip on RAILLY'S wrist, he looks around frantically for an explanation for the tropical downpour.

Bookshelves line two walls. The front window is blanked cut with posters of Animal Rights demonstrations, newspaper clippings, photos of animal atrocities. The fourth wall features the counter where the three ACTIVISTS face COLE as a JUNGLE BIRD SCREAMS in the DOWNPOUR.

FALE Uh, can we help you?

COLE looks confused as the RAIN abates and an ELEPHANT trumpets an urgent warning.

FALE Excuse me. You looking for something in particular?

RAILLY It's all right, James -- it's just a tape.

COLE'S eyes follow her look. It's a tape recorder underneath a sign advertising, "THE TRUE MUSIC OF THE WORLD".

COLE I, uh, I'm looking for the, ah, the Army of the Twelve Monkeys.

FALE glances at BEN and TEDDY. "We have a problem!" the look says. MONKEYS start CHATTERING on the tape as TEDDY comes around the counter, bigger than COLE, physically imposing, menacing.

TEDDY We don't know anything about any "Army of the Twelve Monkeys", so why don't you and your friend disappear, okay?

COLE backs away, a firm grip on RAILLY, as a LION ROARS.

COLE I just need some information...

TEDDY Didn't you hear me? We're not...

TEDDY breaks off mid-sentence...freezes.

COLE is pointing a pistol at them. A TIGER SNARLS.

RAILLY James, no -- don't hurt them. (to the activists) Please, I'm a psychiatrist -- just do whatever he tells you to do. He's... upset -- disturbed. Please -- he's dangerous -- just cooperate.

MONKEYS CHATTER wildly as TEDDY backs up.

FALE What do you want -- money? We only have a few bucks.

COLE is suddenly very much in charge and self-confident again. A BABOON HOWLS with laughter.

COLE I told you what I want. (snaps at Railly) Lock the door!

RAILLY James, why don't we...?

COLE Lock it now!

RAILLY hurries to the door to lock it as BEN says to FALE,

BEN I told you that fuckhead Mason would get us into something like this.

FALE Shut up!

COLE Mason???

RAILLY Jeffrey Mason?

BEN Yeah, tucking, crazy Jeffrey Mason.

INT. FAA STORE BASEMENT - TWENTY MINUTES LATER (DAY)

The three ACTIVISTS are tied tightly together in the middle of the floor in this dimly-lit, windowless basement. They're very frightened, eager to cooperate.

FALE Then, Jeffrey becomes like this...big star -- the media latch on to him because he's picketing his own father, a "famous Nobel Prize winning virologist". You musta seen all that on TV.

COLE No, I don't watch TV.

COLE, the gun next to him, rummages through boxes of papers while RAILLY watches helplessly. Suddenly, COLE finds something he thinks he's seen before. He holds it up.

COLE Is this him -- Dr. Mason?

It's a photograph of DR. MALCOLM MASON, being escorted by a phalanx of riot cops through a mob of raging activists.

FALE That's him.

BEN (very frightened) What are you going to do with us?

COLE (stares at the photo, then) Tell me more about Jeffrey.

FALE (a helpless shrug to his cohorts) Jeffrey started getting bored with the shit we do...picketing, leafleting, letter-writing stuff. He said we were, "ineffectual liberal jerkoffs". He wanted to do guerrilla "actions" to "educate" the public.

COLE holds up a clipping showing horrified SENATORS standing on their desks as RATTLESNAKES slither along the Senate Floor.

FALE Yeah, that's when he let a hundred snakes loose in the Senate.

TEDDY But we weren't into that kind of stuff. It's counter productive, we told him.

FALE So he and eleven others split off and became this underground..."army"

COLE The Army of The Twelve Monkeys.

BEN They started planning a "Human Hunt".

TEDDY They bought stun guns and nets and bear traps. They were gonna go to Wall Street and trap lawyers and bankers...

BEN But they didn't do it. They didn't do any of it.

TEDDY Yeah, just like always, Mr. Big Shot sold his friends out!

COLE What's that mean?

FALE He goes on TV, gives a news conference, tells the whole world he just realized his daddy's experiments are vital for humanity and that the use of animals is absolutely necessary and that he, Jeffrey Mason, from now on, is going to personally supervise the labs to make sure all the little animals aren't going to suffer.

COLE (holding up a rolodex) What's this?

EXT. FREEWAY - AFTERNOON

In the crawling traffic, WE FIND a battered FORD covered with bumper stickers and painted slogans. "I BRAKE FOR ANIMALS"... "FREE THE ANIMALS"..."WOULD YOU LET A MINK WEAR YOUR SKIN?"

RAILLY (v.o.) You can't just barge in on a famous scientist. They'll have security guards, gates, alarm systems. It's insane, James.

INT. MOVING FORD/FREEWAY

A ROLODEX CARD with an address on "Outerbridge Road" for "Jeffrey Mason c/o Dr. Malcolm Mason" rests on a map spread across COLE'S lap. COLE is in the passenger seat, RAILLY'S at the wheel, maneuvering in heavy traffic.

RAILLY If those young men don't get loose, they could die in that basement.

COLE glances out the window, indicates the PEOPLE in passing cars...COMMUTERS, FAMILIES, TRUCKERS.

COLE All I see are dead people. Everywhere. What's three more?

RAILLY (a beat, carefully, a new tack) You know Dr. Mason's son, Jeffrey Mason, don't you, James? You met him in the County Hospital six years ago.

COLE is studying the map again.

COLE The guy was a total fruitcake.

RAILLY And he told you then his father was a famous virologist.

COLE is absorbed in the map, his finger tracing "Outerbridge Road".

COLE No -- he said his father was "God"!

EXT./INT. FORD/COUNTRY HIGHWAY - LATER (DAY)

The RADIO BLARES a country song as the Ford zips along an open highway. COLE has his head out the window, sucking air, loving the music, but his bliss is feverish now -- he's not well. As the SONG ends, he pulls his head inside. An ANNOUNCER'S VOICE intones over the RADIO...

RADIO ANNOUNCER (o.s.) This just in: police are widening their search for Dr. Kathryn Railly, prominent psychiatrist and author. Authorities confirm that Dr. Railly has been abducted by escaped mental patient, James Cole. The two are believed to be traveling in Railly's 1992 black Acura, license plate H-E-A-D-D-R.

RAILLY glances at him, sees he's in pain. She feels so badly for him. She wants to help him. She says, tenderly...

RAILLY This can't go on, James. You're not well. You're burning with fever.

COLE, refusing to succumb, instead, leans over to check the gas gauge.

COLE We need gas.

RAILLY I thought you didn't know how to drive.

COLE I said I was too young to drive. I didn't say I was stupid.

RAILLY What's the matter with your leg?

COLE I got shot. Look -- there's a gas station up ahead.

RAILLY Shot! Who shot you?

COLE It was some kind of...war. Never mind, you wouldn't believe me. Turn off here.

INT. PARKED FORD/GAS STATION - MINUTES LATER (AFTERNOON)

The GAS STATION ATTENDANT checks the oil while COLE and RAILLY remain in the car. She's pulling a gas card from her wallet.

COLE You were going to run out off gas on purpose, weren't you?

RAILLY No. I want you to turn yourself in, James -- It'll go much better for you if you do -- but I'm not going to trick you.

COLE (sees the credit card) That has your name on it. Give him cash.

RAILLY puts the card back into her wallet and pulls out cash as the GAS STATION ATTENDANT slams the hood down.

RAILLY starts opening the door. Alarmed, COLE tries to stop her.

COLE Where are you going?

She looks him in the eye, then indicates the tiny Convenience Store appended to the Gas Station.

RAILLY You can come with me. I have to get some things. Scissors, bandages, some alcohol or whiskey. ... I have to look at your leg, James. I'm a doctor.

COLE looks helpless, hesitant. She's in charge...for the moment.

EXT. CLEARING/WOODS - AN HOUR LATER (AFTERNOON)

The sun dazzles through the canopy of leaves. We HEAR the CAR RADIO but not the engine.

RADIO ANNOUNCER (v.o.) Meanwhile in Fresno, where mining engineers continue their desperate attempt to sink a shaft parallel to the ant in which nine year old...

COLE, in his underwear, leans back on a large rock beside the Ford, his pants hanging on the car's open door. He's staring up at the sun and the sky. RAILLY finishes bandaging his thigh.

RAILLY You shouldn't put your weight on it. You need stitches and antibiotics. Lucky for you it was near the surface.

RAILLY wraps the bullet in some gauze and sticks it in her pocket while COLE continues staring up at the sky.

COLE I love seeing the sun.

A beat. COLE tries to stand up.

RAILLY Wait -- let me help you.

RAILLY puts an arm around him and helps him to his feet. A beat. They're very close. They don't move. RAILLY looks like she can barely breathe.

COLE (leans closer, shuts his eyes) You smell so good.

RAILLY (trying to concentrate) You have to give yourself up, you know.

A beat. The spell is broken. He reaches for his pants, then turns back to her, suddenly grim.

COLE I have to do something now. Something I don't want to do. I'm so sorry.

RAILLY reacts, sudden fear in her eyes. He looms over her. He's cold now, steeled.

COLE I have a mission. It's important.

RAILLY steps back...horrified, realizing she's going to die.

EXT. MASON MANSION - NIGHT

A SECRET SERVICE AGENT ambles vigilantly among the rows of luxury cars parked beside the brightly-lit rural mansion. Encountering another AGENT, he pauses.

FIRST AGENT They find him?

SECOND AGENT Who??

FIRST AGENT That kid. The one in the pipe.

SECOND AGENT You believe this? They're dropping a monkey down there with a miniature infra-red camera strapped on him and a roast beef sandwich wrapped in tinfoil.

FIRST AGENT You're making that up!

ANGLE UNDER A PARKED MERCEDES, where COLE is hiding, listening to the receding VOICES of the AGENTS.

SECOND AGENT (o.s.) I shit you not. ... Man, life is weird! A monkey and a sandwich. Wonder who thought that one up.

FIRST AGENT (o.s.) Probly give the sonafabitch a Nobel Prize!

Quickly, COLE rolls to the next car and under it. He doesn't see...the pistol fell out of his pocket, under the Mercedes.

INT. MASON MANSION/DINING ROOM - NIGHT

A formal dinner for forty. Desert has been served. DR. MALCOLM MASON rises to the enthusiastic applause of the GUESTS.

DR. MASON Would that I could enjoy this opulent dinner and this excellent and stimulating company for itself, with no sense of purpose. But alas, I am "burdened" with the sense that with all this excess of public attention and this cacophony of praise, there comes great responsibility. Indeed, I practically feel a soapbox growing under my feet whenever I stand for more than a few seconds.

While GUESTS laugh at DR. MASON'S last remark, SECRET SERVICE AGENT #3 enters the room, scowling, looking for someone.

DR. MASON (o.s.) The dangers of science are a time worn threat, from Prometheus stealing fire from the Gods to the Cold War era of the Dr. Strangelove Terror.

AGENT #3 spots who he's looking for. JEFFREY MASON!

DR. MASON (cont.) But never before, not even at Los Alamos when the scientists made bets on whether their first atomic bomb test would wipe out New Mexico, has science given us so much reason to fear the power we have at hand.

ANGLE ON JEFFREY, as AGENT #3 whispers in his ear.

JEFFREY What are you talking about? What friend? I'm not expecting anyone.

ANGLE ON DR. MASON, reacting with irritation to the disturbance.

DR. MASON Current genetic engineering as well as my own work with viruses has presented us with powers as terrifying as any...

ANGLE ON JEFFREY, following the AGENT out of the dining room, grumbling loudly enough to disturb his father's audience.

JEFFREY This is ridiculous. My father is making a major address.

INT. HALLWAY/MASON MANSION

The conversation continues as JEFFREY and AGENT #3 enter the hall.

AGENT #3 Normally if we caught a guy sneaking around like this with no I.D., we'd bust his ass, excuse the French, but this one said he knows you... (smirk, smirk) -- and, since you seem to have had some...uh...unusual...uh..."associates", we certainly didn't want to arrest one of your, uh, closest...pals.

INT. LIBRARY/MASON MANSION

COLE, smudged with dirt and car grease, sitting in the shadows in a wingback chair, looks up as JEFFREY and AGENT #3 enter the room. A FOURTH AGENT looms beside the wingback chair.

JEFFREY (dismissing Cole casually) Never saw him before in my life. Go ahead and shoot him or torture him or whatever it is you do.

COLE (rising) You do know me. You helped me once.

JEFFREY (turning to leave) That would be totally out of character. Helping people is against my principles. (to the Agents) See, he definitely doesn't know me. Now, I'm going to go back and listen to my father's very eloquent discourse on the perils of science WHILE YOU TORTURE THIS INTRUDER TO DEATH.

COLE I'm here about some monkeys.

Halfway out the door, JEFFREY freezes. A beat.

JEFFREY Excuse me -- what did you say?

COLE Monkeys. Twelve of them.

JEFFREY frowns, turns, considers COLE. Then, suddenly, JEFFREY rushes to COLE and embraces him.

JEFFREY Arnold...Arnold.

COLE is astonished. The AGENTS are, too.

JEFFREY (stepping back) My God, Arnie, what's happened to you? You look like shit

AGENT #3 (dubious) You know this man?

JEFFREY Of course I know him. What do you think -- I act like this to strangers? Listen -- you fellas are terrific. I thought you were pulling a number on me. What a terrible thing if you'd thrown old Arnie out. I owe you guys the big apologia! Mea culpa, fellas. (turning to Cole) Christ, Arnie, it's black tie! I mean, I said, "drop by," but, like, this is Dad's big "do"...vips, senators, secret service, and...and everything.

JEFFREY throws an arm around COLE'S shoulder and starts leading him toward the door as the two AGENTS exchange narrow-eyed looks.

AGENT #4 "Arnie?"

JEFFREY Arnold Pettibone. Old Arnie Pettibone. Used to be my best friend. Still is. What've you lost, Arnie -- forty pounds? No wonder I didn't know you. You hungry? Lots of dead cow, dead lamb, dead pig. Real killer feast we're putting on tonight.

The AGENTS watch JEFFREY lead the limping, disheveled COLE out.

AGENT #4 These people -- all of 'em -- are true weirdoes!

AGENT #3 (moving to the phone) I'm gonna call in a description of this "Pettibone" character. You go keep an eye on him. Make sure he doesn't do one of the guests with a fork.

INT. HALLWAY/MASON MANSION

GUESTS pouring from the dining room into the hall meet JEFFREY and a very disconcerted COLE.

JEFFREY Hey, nice ta see ya. Lookin' good! Hi, there. Yes, it has been a long time.

In the b.g., too far away to hear them, AGENT #4 trails JEFFREY and COLE as they maneuver through the GUESTS toward the grand staircase.

JEFFREY (whispers to Cole) County Hospital, right? 1989. The "Immaculate Escape" -- am I right? (smiling to guests) Why, thank you -- you look wonderful, too.

COLE Listen to me -- I can't do anything about what you're going to do. I can't change anything. I can't stop you. I just want some information...

JEFFREY We need to talk. Come on. Upstairs. (to a guest) I am a new person! I'm completely adjusted. Witness the tux. It's Armani. (whispers to Cole) Who chattered? Goines? Weller?

COLE I just need to have access to the pure virus, that's all! For the future!

JEFFREY studies COLE. COLE doesn't just talk crazy. He looks crazy!

JEFFREY Come on, follow me. You don't lock so good.

JEFFREY starts guiding COLE up the grand staircase as COLE, glancing back, spots AGENT #3 and AGENT #4, both keeping an eye on him now.

COLE I don't have time to go upstairs. The police are looking for me. I need to know where it is and exactly what it is.

JEFFREY (brightening suddenly) I get it! This is your old plan, right?

COLE Plan? What are you talking about?

JEFFREY Remember? We were in the dayroom, watching TV, and you were all upset about the...desecration of the planet. And you said to me, "Wouldn't it be great if there was a germ or a virus that could wipe out mankind and leave the plants and animals just as they are?" You do remember that, don't you?

COLE Bulishit! You're fucking with my head!

JEFFREY And that's when I told you my father was this famous virologist and you said, "Hey, he could make a germ and we could steal it!"

COLE (grabbing Jeffrey) Listen, you dumb fuck! The thing mutates We live underground! The world belongs to the fucking dogs and cats. We're like moles or worms. All we want to do is study the original...

AGENT #4'S VOICE Okay -- take it easy. We know who you are, Mr. Cole.

COLE feels a firm grip on his shoulder, turns and sees AGERT #4

AGENT #4 Let's go somewhere and talk this thing over. Okay? Just come with me...

JEFFREY You're right! Absolutely right. Me's a nut case, totally deranged. Delusional! Paranoid. HIS PROCESSOR'S ALL FUCKED UP, HIS INFORMATION TRAY IS JAMMED.

AGENT #4 is wishing JEFFREY would chill out even as the THIRD AGENT is climbing up the staircase to help.

COLE is like a trapped animal. He's being led down the staircase now with JEFFREY, right on his heels, yelling so EVERYONE can hear.

JEFFREY YOU KNOW WHAT IT IS, THE "ARMY OF THE TWELVE MONKEYS"? IT'S A COLLECTION OF NATURE KOOKS WHO RUN A STORE DOWNTOWN. SPACE-CASE DO-GOODERS SAVING RAIN FORESTS. I HAVE NOTHING TO DO WITH THOSE BOZOS ANYMORE. I QUIT BEING THE RICH KID FALL GUY FOR A BUNCH OF INEFFECTUAL BANANAS. SO MUCH FOR YOUR GRAND PLOT!

COLE stares back at JEFFREY as both AGENTS hustle COLE down the stairs. It sounds true! JEFFREY'S so confident.

AGENT #3 Take it easy, Mr. Mason, we've got him. Everything's...

JEFFREY MY FATHER HAS BEEN WARNING PEOPLE ABOUT THE DANGERS OF EXPERIMENTATION WITH VIRUSES AND DNA FOR YEARS. YOU'VE "PROCESSED" THAT INFORMATION THROUGH YOUR ADDLED PARANOID INFRA-STRUCTURE AND LO AND BEHOLD, I'M FRANKENSTEIN AND THE "ARMY OF THE TWELVE MONKEYS" BECOMES SOME SORT OF SINISTER REVOLUTIONARY CABAL. THIS MAN IS TOTALLY BATSHIT! YOU KNOW WHERE HE THINKS HE COMES FROM???

Suddenly, COLE, catching the AGENTS by surprise, wrenches free, shoves them aside, and stumbles down the rest of the staircase.

INT. FOYER/MASON MANSION

COLE heads for the front door, but there's an AGENT there! COLE turns and limps madly toward the dining room, pushing his way through the crowd of amazed GUESTS.

INT. DINING ROOM/MASON MANSION

SERVANTS, clearing the table, look up astonished as two AGENTS burst into the room.

AGENT #4 Did a man just come through here...limping?

INT. KITCHEN/MASON MANSION

COOKS stare, amazed, as two OTHER AGENTS burst into the kitchen and look about urgently.

INT. DEN/MASON MANSION

A large projection TV is on and a knot of GUESTS is gathered in front of it...watching the spooky VIDEO IMAGES.

TV REPORTER (v.o.) These pictures we are seeing are coming to us live from deep inside the pipe. You can just make out the metal wall behind those roots and I guess those must be spider webs.

MRS. McCANN, a guest, watching the TV, expresses concern...

MRS. McCANN Well, if you ask me, I think that monkey is going to eat the sandwich himself.

Just then, two AGENTS burst into the den.

The GUESTS turn from the TV, startled, stare open-mouthed, but the AGENTS have spotted an open window and are hurrying to it.

AGENTS POV OUT THE WINDOW: the rows of expensive parked CARS.

ON THE TV SCREEN, RAILLY'S photograph appears.

TV ANCHOR (v.o.) This just in: Police say that the body of a woman found strangled in the Knutson state Park could be kidnap victim, Dr. Kathryn Railly.

As the AGENTS run out of the room, a photo of RAILLY'S abandoned Acura comes up on the TV screen.

TV ANCHOR (v.o.) Earlier in the day, police located Railly's abandoned car not far from a building where three animal rights activists were found bound and gagged...

EXT. MASON MANSION - MINUTES LATER (NIGHT)

Pistols drawn, AGENTS move cautiously among the rows of parked luxury cars, checking inside and under the vehicles.

AN AGENT'S VOICE (o.s.) COME ON OUT, MR COLE -- WE'RE NOT GOING TO HURT YOU.

INT. PARKED GREEN JAGUAR

COLE, scrunched down on the floor next to the driver's seat, spots the key dangling from the ignition, then lifts his head slightly to study the shift mechanism, trying to figure it out.

EXT. PARKED CARS/MASON MANSION

AGENTS continue to move cautiously among the parked cars.

INT. PARKED GREEN JAGUAR

COLE eases himself into the driver's seat, tentatively slides the shift into "Drive", then turns the key. Nothing happens.

Panic. COLE studies the shift again.

EXT. PARKED CARS/MANSION

AGENT #5 approaches the row where the Jaguar is parked.

INT. PARKED GREEN JAGUAR

COLE slides the shift from D (Drive) to N (Neutral). He twists the key again. The engine ROARS...SEVEN THOUSAND RPM!

EXT. LAWN/MANSION

AGENT #5 whirls at the sound.

SMASH. The JAGUAR clips the Mercedes parked in front of it and accelerates right at him!

AGENT #5 dives aside just as the speeding JAGUAR whizzes past him, slams into a parked Cadillac, bounces off, grinds between two other parked vehicles with a fierce scream of tearing metal.

INT. MOVING JAGUAR

Caught between two cars, COLE can only lean on the gas pedal.

The JAGUAR comes free with a great SCCCREEEEECH...

COLE sees the driveway ahead in the moonlight. Steering madly, he plows through shrubs and gardens heading for the driveway.

EXT. MASON MANSION - NIGHT

Lights off, veering wildly, the JAGUAR reaches the driveway.

AGENTS are leaping into cars and a HELICOPTER is coming to life, its rotors whipping around.

INT. SPEEDING JAGUAR/OUTERHRIDGE ?OAD - NIGHT

COLE turns onto the road, careening crazily from one side to the other, unable to see ahead with no headlights.

COLE LIGHTS! LIGHTS!

He starts hitting switches. The wipers come on, the RADIO BLARES.

RADIO REPORTER'S VOICE/RADIO (o.s.) ---when they pulled the monkey out, it was still clutching the tinfoil wrapped sandwich.

Rounding a bend, an ONCOMING CAR heads straight at COLE.

COLE yanks the wheel as the OTHER CAR, horn BLARING, just misses him.

Recovering, COLE loses the road, speeds crazily along the shoulder.

INT. FLYING HELICOPTER - NIGHT

The PILOT, an agent, steers the chopper while the CO-PILOT pans a spotlight over the two lane road beneath them.

Just then, the PILOT sees headlights below.

PILOT There! He's showing lights.

INT. SPEEDING JAGUAR - NIGHT

COLE can see the road now in his headlights as the windshield wipers scrape frantically and the RADIO BLARES...

RADIO REPORTER'S VOICE/RADIO (o.s.) We don't know what to think. They didn't locate him and they don't know how much longer he can last, that's assuming the boy is still alive.

A spotlight hits the car and COLE hears the sound of the HELICOPTER as it lowers over him!

EXT. OUTERBRIDGE ROAD

The HELICOPTER maneuvers over the speeding JAGUAR.

INT. SPEEDING JAGUAR

COLE can see the underbelly of the HELICOPTER a few feet above his front windshield.

Desperate, he yanks the wheel hard, veering off the road.

COLE'S POV THROUGH THE WINDSHIELD: dense woods ahead.

EXT. HELICOPTER/WOODS

The chopper pulls up sharply, avoiding the trees, then levels out.

INT. HELICOPTER

The PILOT skims the top of the trees while the CO-PILOT rakes the forest below with his spotlight.

PILOT Goddamnit! Where is he?

The CO-PILOT gets a brief glimpse of headlights through the leaves.

CO-PILOT There! Over there.

PILOT Where? CO-PILOT Eight o'clock! He was right there.

The headlights are gone. Nothing but darkness below.

PILOT He musta turned his lights of if.

CO-PILOT Couldn't drive down there without lights. We just can't see 'em.

PILOT Maybe he's not driving!

EXT. WOODS - LATER (NIGHT)

A weather forecast BLARES from the radio of the steaming Jaguar, crumpled into a tree, the driver's door open.

A POLICE OFFICER, pistol drawn, approaches the car cautiously, as OTHER OFFICERS and AGENTS stay behind trees, weapons ready.

The POLICE OFFICER lunges forward, pointing his weapon into the Jaguar. He inspects the car, then turns and calls out... POLICE OFFICER He's not in here.

EXT. WOODS/CLEARING - NIGHT

Limping, bleeding from various cuts, COLE CRASHES through underbrush as he follows a stream through the woods.

Suddenly, he sees what he's looking for.

The FORD...barely visible in the moonlight, parked in the trees beside the stream. The car looks empty.

INT. TRUNK/FORD

Total blackness! The sound of keys in the lock.

Then, the trunk swings open and COLE stands in the moonlight, looking down

RAILLY is in the trunk, tears of rage and frustration in her eyes.

RAILLY You bastard! You total bastard!

EXT. FORD

COLE backs away, as RAILLY scrambles out of the trunk, swinging.

He slips, falls, and she starts kicking him as she rants hysterically.

RAILLY I could have died in there. If something had happened to you I would have died.

COLE is lying on the ground, looking up, his lip caked with blood.

COLE I...I...I'm really sorry.

Noticing his cuts and torn clothes, she stops kicking him.

RAILLY What have you done? Did you...kill someone?

COLE (getting to his feet) No! I...don't think so. I stole a car and they chased me. I hit a tree.

RAILLY See -- you can drive after all!

COLE Yeah, sort of, I guess. I...I'm sorry I locked you up. I thought...I thought... I think maybe I am crazy!

She looks at him. Breakthrough? Very calm now, the doctor.

RAILLY What made you think that?

COLE Jeffrey Mason said it was my idea about the virus. And suddenly, I wasn't sure. We talked when I was in the institution, and it was all...fuzzy. The drugs and stuff. (horrified) You think maybe I'm the one who wiped out the human race? It was my idea?

RAILLY Nobody is going to wipe out the human race. Not you or Jeffrey or anybody else. You've created something in your mind, James -- a substitute reality. In order to avoid something you don't want to face.

COLE I'm..."mentally divergent". I would love to believe that.

RAILLY It can be dealt with, but only if you want to. I can help you.

COLE reacts to the sound of VOICES in the woods, dogs BARKING.

COLE I need help all right. They're coming after me.

RAILLY First, it's important that you surrender to them instead of them catching you running. Okay?

COLE (brightening) It would be great if I'm crazy. If I'm wrong about everything...the world will be okay. I'll never have to live underground.

RAILLY Give me the gun.

COLE The gun! ... I lost it

RAILLY You're sure?

COLE (showing her) No gun! (looking up) Stars! Air! I can live here. Breathe!

RAILLY starts around to the front of the car.

RAILLY I'm going to attract their attention, let them know where we are, okay?

RAILLY gets in the driver's seat...and starts to HONK the horn.

RAILLY (calling out) They'll tell you to put your hands on top of your head. Do what they tell you. You're going to get better, James -- I know it!

ANGLE ON COLE, spotting something on the ground. An insect! He reaches down to grab it, but, instead, grins, grabs some grass, stands, and starts rubbing it happily all over his face. The HORN BLARES as COLE looks up at the sky.

ANGLE ON THE NIGHT SKY, the moon full, the sky rich with stars.

ANGLE ON COLE, tears of joy running down his face.

COLE I love this world!

ANGLE ON RAILLY, in the driver's seat, hearing near-by SHOUTS from the woods. The police are almost here. She gets out of the car, starts around toward COLE.

RAILLY Remember, I'm going to help you. I'll stay with you. I won't let them...

She breaks off mid-sentence...stares, stunned!

COLE is gone. Disappeared.

INT. POLICE STATION OFFICE - MORNING

RAILLY is being "debriefed" by POLICE OFFICERS and FBI AGENTS.

RAILLY Then I said something to him about cooperating and he said he would do that, so I got in the car and started honking the horn. When I got out, he was gone.

LIEUTENANT HALPERIN You lucked out. For a while we thought you were a body they found down state... mutilated.

A COP enters, hands a photo to LIEUTENANT HALPERIN who studies it.

RAILLY He wouldn't do something like that -- he...

LIEUTENANT RALPERIN (interrupts, hands her the photo) This the man he attacked?

RAILLY looks at the photo, an 8 x 10 of the FIRST THUG, slumped against the alley wall, obviously dead.

RAILLY I'd like to be clear about this. That man and the other one were..."severely" beating us. James Cole didn't start it. In fact -- he saved me!

LIEUTENANT RALPERIN Funny thing, Doctor, maybe you can explain it to me, you being a psychiatrist -- why do kidnap victims almost always try to tell us about the guys who grabbed 'em and try to make us understand how kind these bastards really were?

RAILLY (as if reciting) It's a normal reaction to a life- threatening situation. (suddenly animated) He's sick. He thinks he comes from the future. He's been living in a carefully constructed fantasy world and that world is starting to disintegrate. He needs help!

INT. AIRPORT CONCOURSE/THE DREAM

YOUNG COLE stares, eyes wide.

He sees the BRUNETTE, cradling the head of the BLONDE MAN as he sprawls on the concourse...

ASTROPHYSICIST'S VOICE (O.S.) Wake up! Wake up!

GEOLOGIST'S VOICE (O.S.) I think we gave him too much.

MICROBIOLOGIST'S VOICE (O.S.) WAKE UP, PRISONER!

INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT

COLE blinks awake. All he can see are blurry faces hovering over him, hammering him with questions.

ASTROPHYSICIST Come on, Cole, cooperate!

GEOLOGIST Spit it out... you went to the home of a famous virologist...

COLE (weakly) You...don't...exist! You're in my mind...

SCIENTISTS (IN RAPID SUCCESSION) What? What's that? What did he say? His brain's fried. Give him another shot! SPEAK UP, COLE. WHAT DID YOU DO NEXT?

INT. RAILLY'S APARTMENT - EVENING

The TV shows film of RAILLY leaving the police station.

TV REPORTER (v.o.) The kidnap victim seemed exhausted but apparently unharmed by her 30 hour ordeal as she left the police station in Philadelphia this morning. So far she has refused to make a public statement.

RAILLY'S friends, MARILOU and WAYNE, are watching the TV.

A door opens and KATHRYN RAILLY, wearing a robe, comes out of her bedroom. She still looks exhausted Followed by her cat, she enters the kitchen area and turns on the kettle as WAYNE hastily turns down the TV.

WAYNE Sorry.

RAILLY No -- I'm in a state of hyper- alertness. I can't sleep.

MARILOU Did you take the sedative?

RAILLY I hate those things. They mess my head up.

The old mug shot of COLE appears on the screen and RAILLY remotes the volume up.

TV REPORTER (v.o.) Along with the kidnapping of the Baltimore woman, James Cole is now also wanted in connection with the brutal slaying of Rodney Wiggins, an ex-convict from...

RAILLY goes to the window, pushes aside the drape, and sees...

HER POV: ACROSS THE STREET...A COP keeps watch.

RAILLY (o.s.) Do they really expect him to come here?

RAILLY returns to the kitchen area where MARILOU is getting the tea things out.

TV REPORTER on air And in Fresno, California...

RAILLY (glances sadly toward the TV) He's dead, isn't he -- that little boy?

WAYNE He's fine. It was just a "prank" he and his friends pulled.

CLOSE ON RAILLY'S FACE... SHOCKED.

ANGLE ON THE TV SCREEN, showing footage of a sheepish nine year old boy being led out of a barn by the police. The cops look grim.

TV REPORTER (v.o.) Authorities have so far been noncommittal about whether they will try to file charges against the families of the children involved in the hoax.

RAILLY stares at the TV, stunned.

INT. "HOSPITAL" ROOM - ETERNAL NIGHT

VOICES! SINGING! COLE blinks awake, looks around, confused, then stares in disbelief....

Crowded around COLE'S bed, the SCIENTISTS are concluding a ragged, out of tune, rendition of "BLUEBERRY HILL."

SCIENTISTS ---found my thrills on Blueberry Hill...

Seeing he's awake, SCIENTISTS break off the song and applaud.

SCIENTISTS Well done, James! Well done! Nice going! Congratulations! Good for you!

BOTANIST During your "interview," while you were..."under the influence," you told us you liked music!

COLE, confused, looks around, sees he's in a one-bed windowless room adorned with cheap reproductions of 19th and 20th century landscapes.

The BOTANIST responds to COLE'S obvious disbelief with a friendly smile and the others join in rapid fire, overlapping.

ZOOLOGIST This isn't the prison, James.

BOTANIST This is a hospital.

ASTROPHYSICIST But just until you recover your, uh,... equilibrium.

ENGINEER You're still a little... disoriented.

GEOLOGIST Stress! Time travel!

ASTROPHYSICIST You stood up very well, considering...

GEOLOGIST Superior work! Superior!

BOTANIST You connected the Army of the 12 Monkeys to a world famous virologist and his son...

MICROBIOLOGIST Others will take over now...

ZOOLOGIST We'll be back on the surface in a matter of months....

GEOLOGIST We'll retake the planet.

ASTROPHYSICIST We're very close! Because of you!

ENGINEER (unrolling a document) This is it, James...what you've been working for.

BOTANIST A full pardon!

MICROBIOLOGIST You'll be out of here in no time.

ASTROPHYSICIST Women will want to get to know you...

COLE I DON'T WANT YOUR "WOMEN," YOU BRAINLESS TWIT! I WANT TO BE WELL!

Unseen until now, two guards, TINY and SCARFACE, suddenly break through the ring of SCIENTISTS, push COLE down, and tighten the loose restraints, already in place, but unnoticed before.

ASTROPHYSICIST (sympathetically) Of course you want to be well, James. And you will be...soon.

COLE bursts into hysterical laughter.

COLE YOU DON'T EXIST, YOU SILLY BOZOS! YOU'RE NOT REAL! HA HA HA! PEOPLE DON'T TRAVEL IN TIME! YOU AREN'T HERE. MADE YOU UP! YOU CAN'T TRICK ME! YOU'RE IN MY MIND! I'M INSANE AND YOU'RE MY INSANITY!

INT. PSYCHIATRIST'S OFFICE - DAY

CLOSE ON KATHRYN RAILLY, insisting fiercely to someone,

RAILLY He not only used the word "prank" -- he said the boy was hiding in a barn.

RAILLY's talking to her former boss, DR. OWEN FLETCHER, psychiatrist sitting across from her in his office, tapping his pen.

DR. FLETCHER He kidnapped you, Kathryn. You saw him murder someone. You knew there was a real possibility he would kill you, too. You were under tremendous emotional stress.

RAILLY For God sakes, Owen, listen to me -- he knew about the boy in Fresno and he says three billion people are going to die!

DR. FLETCHER Kathryn, you know he can't possibly know that. You're a rational person. You're a trained psychiatrist. You know the difference between what's real and what's not.

RAILLY And what we believe is what's accepted as "truth" now, isn't it, Owen? Psychiatry -- it's the latest religion. And we're the priests -- we decide what's right and what's wrong --we decide who's crazy and who isn't. ... I'm in trouble, Owen. I'm losing my faith.

INT. "HOSPITAL" CELL - ETERNAL NIGHT

Alone in his "hospital" room, COLE struggles without success to free himself from his restraints.

RASPY VOICE (o.s.) You sure fucked up, Bob!

Startled, COLE freezes, then ignores the RASPY VOICE and continues his feverish struggle.

RASPY VOICE (o.s.) But I can understand you don't want your mistakes pointed out to you. I can relate to that, old Bob.

COLE looks around in spite of himself. Nothing to see but the walls and the landscape paintings.

RASPY VOICE (o.s.) Hey, I know what you're thinking. You're thinking I don't exist except in your head. I can see that point of view. But you could still talk to me, couldn't you? Carry on a decent conversation?

COLE (blurting) I saw you! In 1995! In the real world! You were a bum! You pulled out your teeth.

RASPY VOICE (o.s.) Why would I pull out my teeth, Bob? They don't like that. That's a no-no. And when did you say you saw me? In...1872?

COLE FUCK YOU!

RASPY VOICE (o.s.) Yelling won't get you what you want. You have to be smart to get what you want.

COLE Oh, yeah? What do I want?

RASPY VOICE (o.s.) You don't know what you want? Sure you do, Bob. You know what you want.

COLE, agitated, rocks back and forth. Then...

COLE Tell me. Tell me what I want.

RASPY VOICE (o.s.) To see the sky -- and the ocean -- to be topside -- breathe the air -- to be with her. ... Isn't that right? Isn't that what you want?

Completely shaken, COLE hesitates for a long moment. When he speaks, it comes out of him like air...a whisper.

COLE More...than...anything.

INT. RAILLY'S BEDROOM - MORNING

RAILLY'S in bed, asleep, having a very bad dream. Suddenly, the bedside phone RINGS. Her eyes snap open. A beat to orient herself. RING. She reaches for the phone.

INTERCUT LIEUTENANT HALPERIN'S OFFICE/RAILLY'S BEDROOM

CLOSE ON HALPERIN, at his desk, talking into the phone.

LIEUTENANT HALPERIN Dr. Railly? Jim Halperin, Philly P.D.. Sorry to call so early but...

CLOSE ON RAILLY, eager, concerned. into the phone,

RAILLY You found him? Is he all right?

CLOSE ON HALPEPIN, noting her reaction with raised eyebrows giving an "I told you so" look to the BLACK PLAINCLOTHES cop across his desk, then continuing into the phone,

LIEUTENANT HALPERIN Au contraire, Doctor. No sign of your good friend, the kidnapper. However, the plot thickens. I have a ballistic report on my desk that says the bullet you claim you removed from Mr. Cole's thigh is an antique...and all indications are it was fired...sometime prior to 1920.

ANGLE ON RAILLY, reacting, stunned.

ANGLE ON HALPERIN, continuing soberly now,

LIEUTENANT RALPERIN So what I was thinking was, maybe if I sent a detective down there to talk with you, you could maybe revise or amplify on the circumstances.... Hello? Hello? Dr. Railly?

HALPERIN considers the dead phone, glances at the COP again.

INT. RAILLY'S BEDROOM/STUDY

Her hand still on the receiver, RAILLY looks shocked. Then, she hurries into her study and starts frantically pulling neatly arranged piles of papers and books from a bookcase until she finds a copy of her book. She leafs through it hurriedly, locates the picture of the Puerto Rican KID (JOSE) in WWI.

Peering closely, she tries to see everything in the picture. Then, she turns and reaches for a research folder of old photographs and rummages through it until she finds...!!!

RAILLY No!

It's an uncropped shot of JOSE being carried on the stretcher in the trenches. And there in the corner with no helmet, no gas mask, and just a bit of bare shoulder showing...it's COLE!!!

INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT

Clean shaven, clear eyed, COLE sits before the frowning SCIENTISTS.

ASTROPHYSICIST The food, the sky, the certain, uh, sexual temptations -- you haven't become "addicted" have you, Cole? To that "dying" world'

COLE No, sir! I just want to do my part. To get us back on top...in charge of the planet. And I have the experience, I know who the people are...

BIOLOGIST He really is the most qualified...

GEOLOGIST But all that..."behavior"...

ASTROPHYSICIST (to Cole, a little hurt) You said we weren't "real," Cole...

COLE Well, sir, I don't think the human mind was built to exist in two different... whatever you call it..."dimensions." It's stressful, you said it yourselves, it gets you confused. You don't know what's real and what's not.

MICROBIOLOGIST But you know what's real now?

COLE Yes, sir.

The SCIENTISTS start to confer openly among themselves

GEOLOGIST He'd have to bone up, catch up to our research, the latest clues...

ZOOLOGIST He's proved to be a quick study...

The ASTROPHYSICIST fixes COLE with a sharp, penetrating look.

ASTROPHYSICIST You can't trick us, you know. It wouldn't work.

BIOLOGIST And why would you want to? It'll be dangerously close to the end.

COLE I understand. There'd be no point.

ASTROPHYSICIST We're going to think about it, Cole. Among ourselves. We'll get back to you.

INT. DR. MASON'S OFFICE - DAY

Standing in front of a wall of glass in his office, overlooking a hi-tech lab below where WORKERS in white "space suits" work methodically, DR. MASON speaks angrily into a phone. His male ASSISTANT, whose features we don't see, stops writing a formula on a blackboard and listens.

DR. MASON You have reason to believe that my son may be planning to do what?!!!

INT. RAILLY'S APARTMENT/STUDY

RAILLY, trying to stay calm, is talking to Dr. Mason on the phone.

RAILLY Please, I know it sounds insane but...

INT. DR. MASON'S OFFICE

Dr. Mason on the phone.

DR. MASON (into the phone) I'm afraid this doesn't seem very professional to me, in fact it's distressingly unprofessional for some- one who treated my son briefly (if indeed you actually are who you say you are) to take a sudden unsolicited interest in his mental health six years later, and to telephone a parent to express opinions that would be inappropriate... (breaks off, listens, then) I don't know anything about "Monkey armies", Doctor. Nothing whatsoever. If my son ever was involved in... (listens, then,) It would be doubly inappropriate to discuss matters of security with you, Dr. Railly, but if it will put you at ease, neither my son nor any other unauthorized person has access to any potentially dangerous organisms in this laboratory. Thank you for your concern.

DR. MASON hangs up angrily and glares.

DR. MASON'S ASSISTANT (o.s.) Dr. "Kathryn" Railly????

DR. MASON The psychiatrist who was kidnapped by that man who broke into my house. She seems to have been suddenly struck by the most preposterous notion about Jeffrey.

DR. MASON'S ASSISTANT (o.s.) I attended a lecture once...Apocalyptic visions.

We see Dr. Mason's ASSISTANT now. It's DR. PETERS, the red- haired man who insisted to Dr. Railly you didn't have to be insane to think the world was coming to an end.

DR. PETERS (cont.) Has she succumbed to her own theoretical..."disease"?

But DR. MASON is lost in thought, not listening.

DR. MASON Given the nature of our work, we can't ever be careful enough. I think we should review our security procedures, perhaps upgrade them.

INT. SCIENTISTS' CHAMBER - ETERNAL NIGHT

COLE is facing the BOTANIST who's using a pointer to indicate various fading photos and newspaper clippings tacked on the wall.

BOTANIST Let's consider again our current information -- if the symptoms were first detected in Philadelphia on June 28, 1995, that makes us know that...?

COLE It was released in Philadelphia, probably on June 14, 1995.

BOTANIST And it appeared sequentially after that in...?

With a quick glance at the panel of SCIENTISTS staring at him from behind the long table, COLE replies like a good pupil,

COLE San Francisco, New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, then Peking.

BOTANIST Meaning...???

COLE That the virus was taken from Philadelphia to San Francisco, then to New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, then Peking.

BOTANIST And your only goal is...???

COLE To find out where the virus is so a qualified scientist can travel back into the past and study the original virus.

BOTANIST So that...???

COLE Uh, so that a vaccine can be developed that will, uh, allow mankind to reclaim the surface of the earth.

COLE glances nervously at the suspicious SCIENTISTS as the BOTANIST switches on a slide projector and projects...

a magazine photo of wall graffiti: "ATTENTION!!! POLICE ARE WATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? 3 BILLION DIE?"

BOTANIST (o.s.) This is from a magazine printed in late September, 1995. The writer speculated that this graffiti might be related to the epidemic that by that time had already killed thirty million people world-wide and was getting worse. He says, certain people, unnamed, were questioned, but what came of that is not known. But it is a clue you should pursue.

COLE stares at the picture.

EXT. FAA STOREFRONT - DAY

LOUD BANGING! The storefront window, completely covered with posters, quivers violently. Images of MONKEYS covered with electrodes, BABY SEALS being viciously clubbed, DOGS jammed into tiny cages quiver as somebody beats on the window. It's RAILLY.

RAILLY IS ANYBODY IN THERE? HELLO? IS SOMEONE IN THERE? IF YOU'RE IN THERE, I NEED TO TALK TO YOU.

INT. FAA STORE

JEFFREY, BEN, TEDDY, and two of JEFFREY'S youthful cohorts, SANDY and KWESKIN, wait motionless beside a heap of cardboard cartons as FALE peeks out the front window through a slit between posters.

FALE It's the kidnap woman -- the one who was with the guy who tied us up.

BEN What's she doing?

FALE She's drawing attention to us, that's what she's doing. ... I don't know what you're up to this time, Mason, but you're gonna get us in deep shit!

JEFFREY Whine, whine, whine. What about walkie talkies? We used to have walkie talkies.

EXT. FAA STOREFRONT

From littered doorways, DERELICTS sneak peeks at RAILLY as she, seemingly mad, shakes the doorknob, then hammers on the door.

RAILLY I SAW YOU! I SAW SOMEONE MOVING. I KNOW YOU'RE IN THERE!

RASPY VOICE (o.s) Secret experiments!

RAILLY whirls, sees LOUIE, the raspy-voiced toothless derelict.

LOUIE That's what they do -- secret weird stuff!

RAILLY You! I know you!

But LOUIE is studying the pictures of the tortured animals now.

LOUIE Not just on them. Do 'em on people, too -- down at the shelters. Feed 'em chemicals 'n take pictures of 'em.

RAILLY Have you seen James Cole? The man...?

LOUIE They're watchin' you. Takin' pictures.

RAILLY follows his look.

ANGLE ON AN OLD CHEVY, parked across the street, the PLAINCLOTHES COP slouched at the wheel, pretending to read a newspaper.

RAILLY The police. I know. Listen, I need to talk to James, but he has to be careful how he contacts me. He mustn't get caught. Do you understand me?

LOUIS Uh, yeah, sure. Uh...who's James?

RAILLY He was with me, he spoke to you. Several weeks ago. He said you were from the future...watching him.

LOUIS gives her a look that says, "I'm outta here!"

But just then, RAILLY spots two TEZNAGE PUNKS surreptitiously "tagging" their way along the street with cans of spray paint.

RAILLY stares at the PUNKS.

INT. FAA STORE

FALE watches JEFFREY go over a check list while KWESKIN, SANDY, and TEDDY organize materials, and BEN peeks out the small opening between posters at the front window.

JEFFREY You get the bolt cutters?

KWESKIN One dozen. They're in the van.

FALE One dozen bolt cutters! Whadda you gonna do with one dozen bolt cutters?

JEFFREY (grins) You really want to know?

FALE No! Absolutely not. Don't tell me anything.

BEN Hey! Do you know what she's doing?

Everybody freezes, looking toward 3EN, who's peeking outside.

Then, except for JEFFREY, they all crowd around BEN to get a look.

POV THROUGH SLIT: a glimpse of RAILLY, spray painting the front of the store!

TEDDY What's it say?

BEN I can't see it.

JEFFREY (erupting) WHY DON'T WE FORGET MY GODDAMN PSYCHIATRIST AND DEAL WITH THE TASK AT HAND. THIS IS IMPORTANT.

FALE (spinning around) Your psychiatrist? Did you just say, "your psychiatrist"?

JEFFREY Ex-psychiatrist! Now, what about flashlights? How many flashlights...?

FALE That woman is...was...your... psychiatrist? And now she's spray- painting our building?

EXT. FAA STOREFRONT/SECOND AVENUE

ANGLE ON SLACK PLAINCLOTHES COP, across the street in the CHEVY, amazed, watching RAILLY spray painting. He shakes his head wearily.

ANGLZ ON STREET TYPES, inching closer, watching RAILLY with amazement, too. They include...

an IRISH DRUNK, white haired, red-faced, bloated...

a NATIVE AMERICAN with tormented eyes and a mangled ear...

an AFRICAN AMERICAN with one eye...

the TEENAGED PUNKS...

a WHITE MAN, shabbily dressed, joining the knot of ONLOOKERS, reacting at the sight of RAILLY. It's COLE! He pushes toward her.

COLE Kathryn!

RAILLY stops spraying, whips around at the sound of his VOICE.

RAILLY James!

With a quick glance toward the PLAINCLOTHES COP, RAILLY takes urgent charge of the situation.

RAILLY James! That's a policeman. Pretend you don't know me. If he sees you...

COLE (turning, looking) No, I want to turn myself in. Where is he? (placing his hands on his head) Don't worry -- it's all okay now. I'm not crazy any more! I mean, I am crazy, mentally divergent, actually, but I know it now and I want you to help me. I want to get well...

ANGLE on RAILLY, desperately pulling COLE'S hands off his head as she tries to block the COP'S view of COLE.

RAILLY James -- put your hands down and listen to me. Things have changed!

ANGLE ON THE PLAINCLOTHES COP, checking the mug shot of COLE on his clipboard, then reaching for his radio mike.

ANGLE ON RAILLY, reacting to the COP speaking into his mike: she tosses the spray paint can aside, grabs COLE and tries to pull him along...but COLE isn't moving. He's staring at the front of the FAA Store with disbelief!

RAILLY James, come on! We have to get out of here!

COLE looks from the wall to the can rolling on the sidewalk, then back to the wall where RAILLY has sprayed the huge words:

ATTENTION!!! POLICE ARE WATCHING! IS THERE A VIRUS? IS THIS THE SOURCE? THREE BILLION DIE?

It's the graffiti COLE saw in the future, in the picture!

COLE I've seen that...before.

But RAILLY'S total attention is on their dilemma.

RAILLY James, trust me. We're in terrible trouble. We have to run.

Very confused, COLE lets her drag him along the sidewalk, past ONLOOKERS. She looks crazier than he does.

ANGLE ON THE CHEVY, making a sudden, urgent u-turn, almost colliding with a passing car. BRAKES SQUEAL and a HORN BLARES.

INT. FAA STORE - DAY

ANGLE ON BEN, peeking out, reacting to the drama.

BEN Wow, a guy in a Chevy is chasing her and some other guy I can't see.

FALE Hey, no problem, it's probably just another kidnapping featuring Jeffrey's shrink, pardon me, make that ex-shrink. (indicating Jeffrey to the others) This is your leader, a certifiable lunatic who told his former psychiatrist all his plans for God knows what whacko irresponsible schemes, and now who knows what she's painted out there on our wall?

JEFFREY WHO CARES WHAT PSYCHIATRISTS WRITE ON WALLS? (moves to Fale, jabs him with a finger) You think I told her about the Army of the 12 Monkeys? Impossible! Know why, you pathetically ineffectual and pusillanimous "pretend-friend-to- animals"?! I'll tell you why: because when I had anything to do with her six years ago, there was no such thing -- I hadn't even thought of it yet!

FALE (triumphant) Then how come she knows what's going on?

JEFFREY abruptly switches from rage to good humor, adopting a supercilious smile and a patronizing tone.

JEFFREY Here's my theory on that. While I was institutionalized, my brain was studied exhaustively in the guise of mental health. I was interrogated, x-rayed, studied thoroughly. Then, everything about me was entered into a computer where they created a model of my mind.

They all stare, mesmerized, at the strutting JEFFREY. Is he serious? Is he crazy? Doesn't matter -- he's charismatic.

JEFFREY (cont.) Then, using the computer model, they generated every thought I could possibly have in the next, say ten years, which they then filtered through a probability matrix to determine everything I was going to do in that period. So you see, she knew I was going to lead the Army of the Twelve Monkeys into the pages of history before it ever even occurred to me. She knows everything I'm ever going to do before I know it myself. How about that?

JEFFREY smiles smugly into FALE'S flabbergasted face.

JEFFREY Now I have to get going -- do my part. You guys check all this stuff out and load up the van. Make sure you have everything. I'm outta here.

JEFFREY exits. The others stare at the door.

FALE He's seriously crazy -- you know that.

EXT. SKID ROW ALLEY - DAY

An overflowing dumpster squats near the mouth of an alley.

The unmarked CHEVY crawls slowly past the alley, the PLAINCLOTHES COP'S eyes searching everywhere.

Trash stirs in the dumpster and RAILLY'S eyes peer up out of the torn cardboard boxes, rotting food, and styrofoam litter.

HER POV: the POLICE CAR passes from view.

ANGLE ON RAILLY, emerging from the refuse, hissing,

RAILLY James! Come on.

A confused COLE emerges from the opposite end of the dumpster, bits of lettuce in his hair.

COLE I don't understand what we're doing. RAILLY (climbing out of the dumpster) We're avoiding the police until I can....talk to you.

COLE (climbing out after her) You mean, treat me? Cure me? Kathryn, those words on the wall -- I've seen them before... I...I...dreamed them.

But she's not listening. She's peeking out the alley entrance.

RAILLY'S POV: across the street is a run-down skid row hotel, THE GLOBE, ROOMS WEEKLY, DAILY.

INT. GLOBE HOTEL/LOBBY - MINUTES LATER

The DESK CLERK, an old alkie who hates trouble but finds it often, stares across the counter suspiciously at RAILLY and COLE.

DESK CLERK Twenty five bucks an hour.

RAILLY An hour?!

DESK CLERK You want quarter hours, go someplace else.

RAILLY (catches on, pulls out her last bills) Here's ninety eight. For the night. Deal?

The DESK CLERK squints warily at this turn of events. Then, he turns, gets a key, turns back and hands it to her.

DESK CLERK Forty four. Fourth floor, turn right. Elevator's busted.

RAILLY turns, COLE follows, and they walk quickly to the stairs passing the stares of gloomy RESIDENTS sitting on torn sofas chairs in front of an old TV with hideous color.

ANGLE ON THE DESK CLERK, watching RAILLY and COLE climb stairs. As they disappear from view, he picks up the phone, punches a number, speaks into the phone.

DESK CLERK Tommy? This is Charlie at the Globe. You know if Wallace has a new girl? Sort of a rookie type? Blonde?

INT. GLOBE HOTEL ROOM 44 - MINUTES LATER (DAY)

COLE sits on the lumpy bed in the dingy room, watching RAILLY pace back and forth like a mad woman.

RAILLY Okay...you were standing there looking at the moon...you were eating grass... then what?

COLE I thought I was in...prison again.

RAILLY Just like that? You were in prison?

COLE No, not really. It's...it's in my mind. Like you said.

RAILLY You disappeared! One minute you were there, the next minute you were gone. Did you run through the woods?

COLE I don't know -- I don't remember.

RAILLY The boy in the well. How did you know that was just a hoax?

COLE It was? I didn't...know.

RAILLY James, you said he was hiding in the barn...

COLE I think I saw a TV show like that when I was a kid. Where a boy...

RAILLY IT WASN'T A TV SHOW! IT WAS REAL!

COLE looks at her. She's really upset.

COLE Well, maybe that kid saw the same TV show and copied it. Listen, you were right, it's all in my head. I'm mentally ill, I imagine all that stuff. I know they're not real, I can trick them, make them do what I want. I just worked on them in my head and I got back here. I can get better. I can stay here.

RAILLY pulls a photo from her purse, shows it to COLE.

It's the uncropped picture from her book, the photo of JOSE in WWI with a fuzzy image of COLE on the edge of the frame,

RAILLY What does this mean to you?

COLE ...I had a dream about...something like that.

RAILLY You had a bullet from World War One in your leg, James! How did it get there?

COLE You said I had delusions -- that I created a world -- you said you could explain everything...

RAILLY Well, I can't. ... I mean...I'm trying to. I can't believe that everything we do or say has already happened, that we can't change what's going to happen, that I'm one of the three billion people who are going to die...soon.

COLE stands, moves close to her.

COLE I want to be here. In this time. With you. I want to become...become a whole person. I want this to be the present. I want the future to be unknown.

RAILLY (sudden hopeful idea!) James...do you remember...six years ago...you had a phone number! You tried to call and...

WHAM! The door flies open, kicked violently, the flimsy lock not holding. A menacing figure stands in the doorway. WALLACE. A wiry biker-type with jail house tattoos and mean eyes.

COLE and RAILLY are too stunned to say anything as WALLACE looks them over coldly, insolently, then advances on RAILLY.

WALLACE This is my territory, bitch!

COLE (confused, turns to Railly) Is this real -- or is this one of my delusions?

RAILLY This is definitely real: (to Wallace) Excuse me, I think we have a little misunderstanding here...

WALLACE smashes RAILLY in the face. She flies back against the wall and onto the floor as WALLACE spins around to COLE who is stepping toward him, but WALLACE is now holding a knife

WALLACE What're you -- some kind of tough guy? You wanna be a hero? You gonna try and mess with me? Come on...

A beat. COLE puts his hands up placatingly as he backs around WALLACE and moves to RAILLY, whose eye is already swelling.

WALLACE Now that's a smart boy. But you, honey, you think you can go 'round me and peddle your fancy ass in this part of town, you bet your life we got what I would call a major goddamn misunderstandin'.

RAILLY reaches a hand up to COLE for assistance, but, he grabs her purse instead, swings it around, SMASHES WALLACE in the face with it, then grabs the pimp's arm and SNAPS it like it was a twig! The knife clatters to the floor as WALLACE yelps in pain and COLE slams him to the floor, straddles his chest, retrieves the near-by knife, and presses it sharply against WALLACE'S neck.

RAILLY JAMES -- DON'T!

COLE hesitates.

WALLACE (eyes bulging) You...heard...her. Don't do it, man.

RAILLY (gets up, looks around) Put him in the closet, ... But get his money first.

COLE (amazed) You want me to rob him?

RAILLY I...I...We need cash, James.

A shadow. RAILLY turns toward the door and glimpses a FACE disappearing, then hears SHOUTS from the hallway...

SHOUTS (o.s.) They're killing him! Call the cops.

Being very careful not to move his neck, WALLACE reaches into his pocket and produces a thick roll of bills, which RAILLY grabs.

WALLACE You two are crazy. I got friends. You put me in a closet, they're gonna be really pissed.

COLE moves off Wallace and, keeping the knife close, yanks him to his teeth while RAILLY hurries to the window and looks out.

HER POV: A fire escape leads down into an alley.

RAILLY turns just in time to see COLE shove WALLACE into the bathroom, follow him in, slam the door behind them, and LOCK it.

RAILLY James, no!

INT. BATHROOM

RAILLY'S VOICE (from the other room) (rattling the door knob) James, what are you doing?

WALLACE cowers back against the shower stall.

WALLACE I have friends, man -- if you cut me...

WALLACE breaks off, bug-eyed, reacting to something we don't see!

WALLACE What...the...fuck..are you doing???

INT. GLOBE MOTEL ROOM 44

RAILLY is pounding on the bathroom door now as, suddenly, it opens and COLE steps out, the knife in his right hand, dripping with blood.

RAILLY Oh, my God, James. Did you kill him?

COLE shakes his head "no" as blood oozes from his mouth.

COLE Just...just in case. In case I'm not crazy... (holds up two bloody molars) That's how they find us. By our teeth. (a beat, eye contact) I don't want them to find me. Ever. I don't want to go back.

RAILLY's astonishment turns to emotion as it dawns on her the choice he's made. Given up the future (if it exists, and it's looking like it does)! Risking his life to be with her! For this brief time! She's overwhelmed, lips trembling, tears welling in her eyes. But just then, the SOUNDS of SHOUTS and feet THUNDERING up the stairs snap her back to reality.

INT. STAIRWELL/GLOBE HOTEL

COPS' boots THUNDER up the stairwell.

INT. ROOM 44/GLOBE HOTEL

In between nervous glances toward the door, RAILLY supervises as COLE obediently blocks the bathroom door with the bureau.

RAILLY Push it tight!

WALLACE'S VOICE (from the bathroom) NO PROBLEM! I'LL JUST STAY IN HERE! DON'T WORRY ABOUT ME.

INT. 4TH FLOOR HALLWAY/GLOBE HOTEL

POLICE OFFICERS, led by the PLAINCLOTHES COP, make a cautious entrance onto the 4th floor, guns drawn.

Seedy HOTEL RESIDENTS point to Room 44, then cower back into their doorways.

EXT. GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY

COLE and RAILLY clatter down the fire-escape, COLE in the lead. They come to the end of the metal stairway. It's a long distance to the ground. COLE jumps down, turns, reaches up to her.

She lets herself down to him. Their eyes meet. He holds her in his arms for a moment. Then, reluctantly, he puts her down. They start running down the alley.

INT. GLOBE HOTEL FOURTH FLOOR - DAY

The PLAINCLOTHES COP has his pistol out, his back to the wall alongside the open doorway to Room 44. The UNIFORMED OFFICERS are backing him up, weapons drawn.

PLAINCLOTHES COP POLICE! THROW YOUR WEAPONS OUT AND COME OUTTA THERE!

No response.

INT. GLOBE HOTEL ROOM 44

The PLAINCLOTHES COP charges into the room in a crouch, pistol extended in both hands. He pans the gun around the empty room.

HIS POV: the open window...the blood on the floor.

WALLACE'S VOICE (from the bathroom) HEY! ZAT THE POLICE! I'M AN INNOCENT VICTIM IN HERE! I WAS ATTACKED BY A COKED-UP WHORE AND A CRAZY DENTIST!

EXT. BUS STOP/DOWNTOWN - LATE AFTERNOON

A city bus disgorges a stream of PASSENGERS at a stop in the toney downtown shopping district. Among them, RAILLY looks furtively left and right, COLE on her heels. She's hidden her bruised eye behind sun glasses; he's holding a bloody handkerchief to his mouth.

As he steps to the sidewalk, COLE is overwhelmed by the bustling city, the tall downtown buildings. His eyes go up.

COLE'S POV: a building, towering toward the sky. A building with a ledge. The same ledge the lion prowled in the future!!!

ANGLE ON COLE, shaken, as RAILLY ushers him into the recessed entrance to a store.

RAILLY Wait here. I'm going to try that phone number. Let's hope it's nothing!

Dazed by his experience and the flow of SHOPPERS, COLE watches her hurry to a pay phone twenty yards away, his view of her made intermittent by PEDESTRIANS streaming past him, their FACES looming frighteningly close.

A BUSINESSMAN jostles COLE, forcing him back against the display window. Turning, he faces the angry jaws of a BEAR only inches away

Recovering from a jolt of terror, COLE realizes the BEAR is a life-size toy in the display window. Relieved, he looks back at RAILLY.

COLE'S POV: RAILLY, well out of earshot, speaking earnestly into the phone.

ANGLE ON COLE, startled, as a BUSINESSMAN, mistaking him for a panhandler, shoves a dollar into his hand. Confused, COLE stares at the dollar, then turns to say something to the retreating BUSINESSMAN, but just then he sees RAILLY rushing toward him, eyes sparkling with happiness, LAUGHING, ebullient.

RAILLY James! James! It's okay. We're insane! We're crazy!

COLE doesn't know how to respond, but a PASSERBY gives them a look.

RAILLY It's a Carpet Cleaning Company...

COLE A Carpet Cleaning Company?

RAILLY (laughing) No superiors! No scientists. No people from the future. It's just a Carpet Cleaning Company. They have voice mail -- you leave a message telling them when you want your carpet cleaned.

COLE You... you left them a message? RAILLY (impishly) I couldn't resist. I was so relieved. Wait'll they hear this nutty woman telling them...they better watch out for the Army of the Twelve Monkeys...

Looking at her laughing face, COLE is struck with horror as he realizes the truth! He starts to recite...

COLE "The Army of the Twelve Monkeys -- they're the ones who are going to do it. I can't do anything more. The police are watching me."

Now she's stunned. She glances back and sees the phone booth twenty yards away.

RAILLY You... you couldn't have heard me.

COLE They got your message, Kathryn. They played it for me. It was a bad recording...distorted. I didn't recognize your voice.

RAILLY'S eyes fill with horror as she grasps the meaning.

ANGLE ON A UNIFORMED COP, staring out the window of a POLICE CRUISER as it inches along in the bumper to bumper traffic. Noticing something, he reaches for his radio.

ANGLE ON RAILLY, spotting the CRUISER, grabbing COLE, pulling him into the CROWD.

RAILLY Come on.

INT. DEPARTMENT STORE/MEN'S DEPARTMENT - 6:00 PM

RAILLY, whose sun glasses don't really hide her bruised eye, adds a man's Hawaiian shirt to the pile of other men's things heaped on a counter in front of a very suspicious CLERK.

RAILLY And this. (turning) Anything else?

But COLE'S not here. He's a short distance away...staring.

COLE'S POV: aisle after aisle of eager shoppers and a bounty of brand new consumer goods.

ANGLE ON COLE, remembering another department store, dark and full of moldering merchandise.

ANGLE ON RAILLY, turning again to the CLERK.

RAILLY I guess that's it.

CLERK Shall I put this on your account, Ma'am?

RAILLY (producing Wallace's roll of bills) No -- I'll pay cash.

The CLERK stares at the huge roll of bills!

RAILLY What floor are the wigs on, please?

EXT. PEST CONTROL VAN - NIGHT

Surrounded by stripped and abandoned vehicles, the VAN, with a PEST CONTROL logo on its side, is parked on a trash-littered street beside the massive pillars of a towering freeway.

INT. PARKED PEST CONTROL VAN

The VAN is packed with SIX ACTIVISTS, SANDY and KWESKIN among them, all wearing black. Some of them have climbing gear, tool belts, all sorts of paraphernalia. KWESKIN is telling his story.

KWESKIN So then he goes into this incredible riff about how his shrink, like, replicated his brain while he was in the nut house. Turned it into a computer.

WELLER And Fale believed it?

KWESKIN Oh, you know Fale! He's like, "If you guys get nailed -- and I'm sure you will -- I never saw you before in nay life!"

LAUGHTER from all of them. Then, there's a sharp, rhythmic series of RAPS on the side door, a signal.

POPE quickly slides the door open. It's JEFFREY...grinning.

Three other activists, GOINES, ICHIOKA, and BRUHNS, stagger out of the darkness behind JEFFREY, lugging a huge, squirming GARBAGE BAG.

The van occupants react with murmurs of "Awwwwwright" and "Far out", then they help maneuver the writhing bag into the van.

Then, JEFFREY and the other three scramble in, too.

JEFFREY Let's do it!

EXT. VAN/FREEWAY

The PEST CONTROL VAN lumbers up a ramp and onto the freeway.

INT. PEST CONTROL VAN/MOVING

The GARBAGE BAG squirms and grunts as JEFFREY holds a map under a flashlight and goes over "the plan" with the other ACTIVISTS.

JEFFREY Okay, that's Stage One. In Stage Two, Monkey Four is over here...

A loud GROAN from the bag distracts the others.

GOINES What's the harm in opening the bag? His eyes are taped.

SANDY Yeah, it's cruel leaving him like that.

JEFFREY Ah, but cruelty is his specialty.

ICHIOKA So why should we be like him?

Shrugging cheerfully, JEFFREY tears open the garbage bag revealing DR. MASON, trussed up, duct tape covering his eyes and mouth.

JEFFREY Want the full effect?

Grinning wickedly, JEFFREY rips the tape from his father's mouth.

DR. MASON Jeffrey? I know it's you, Jeffrey. I recognize your voice.

JEFFREY puts his finger to his lips, silencing everyone.

DR. MASON JEFFREY??? ... Very well. You're out of your mind, Jeffrey. I know all about your insane plan. That woman -- your psychiatrist -- she told me.

JEFFREY raises his eyebrows. This he hadn't expected.

DR. MASON I didn't believe her -- it seemed too crazy even for you. But, just in case, I took steps to make sure you couldn't do it. I took myself out of the loop! I don't have the code any more. I don't have access to the virus. So, go ahead -- torture me, but you can't extract anything of use to yourself.

The ACTIVISTS are all exchanging puzzled looks.

JEFFREY What...virus?

DR. MASON (spins his head toward Jeffrey) She knew about it, Jeffrey. She knew you were going to try this.

JEFFREY What virus are we talking about, Dad?

DR. MASON You're insane, Jeffrey.

JEFFREY You "develop" viruses and you're calling me insane? Typical. What does this virus attack? Don't tell me, you sick fuck, it doesn't matter. (to the others) Have I ever "developed" a virus? Do I put helpless animals in cages and measure their reactions to electrical stimuli? Do I inject radioactive substances into living creatures and examine their bowel movements? Wow! And I'm crazy!

DR. MASON Please tell me, Jeffrey, what exactly are you going to do? I don't have to tell you I'm afraid.

JEFFREY THIS IS A FUCKING EXPERIMENT! YOU'RE OUR HELPLESS LITTLE TEST ANIMAL, DADDY. GOT THAT? NOW -- WHAT FUCKING VIRUS HAVE YOU COME UP WITH, YOU DEMENTED FUCKING MANIAC?

INT. MOVIE SCREEN/THEATER - NIGHT

Spooky BERNARD HERRMAN MUSIC, giant redwoods looming skyward. It's DAYTIME in Muir Woods. SCOTTY (JAMES STEWART) AND MADELINE (KIM NOVAK) walk toward a display of a cross cut section of a redwood tree. We're watching Hitchcock's VERTIGO.

SCOTTY (up on the screen) Here's a cross section of one of the old trees that's been cut down.

They look at the lines of the tree marked with cards that say, "BIRTH OF CHRIST", "DISCOVERY OF AMERICA", "MAGNA CARTA SIGNED", "1066 - BATTLE OF HASTINGS", and "1930 TREE CUT DOWN".

ANGLE ON THE THEATER AUDIENCE, empty seats dimly visible in the flickering light, a few shadowy MOVIEGOERS scattered here and there.

ANGLE ON THE SCREEN, MADELINE pointing, saying with profound melancholy.

MADELINE (up on the screen) Somewhere in here I was born. And here -- I die. There's only a moment for you. You don't notice.

ANGLE ON THE AUDIENCE, a shadowy COUPLE near the back of the theater. WE CAN'T REALLY SEE THEM, but we recognize their VOICES

RAILLY Here, let me help you.

The theater is briefly illuminated by a very bright scene on the screen, revealing enough of COLE and RAILLY for us to see she's doing something to his upper lip while he tries to watch the movie.

COLE I think I've seen this movie before. When I was a kid. It was on TV.

RAILLY (fussing with his upper lip) Shh -- don't talk. Hold still.

COLE (moving his head to see the film) I have seen it, but I don't remember this part. Funny, it's like what's happening to us, like the past. The movie never changes -- it can't change -- but everytime you see it, it seems to be different because you're different -- you notice different things.

RAILLY If we can't change anything...because it's already happened, then we ought to at least smell the flowers.

COLE Flowers! What flowers?

From the darkness, a MOVIE PATRON makes a SSSSHHHHH shound.

RAILLY (whispering) It's an expression. Here...

She's pulling something from a shopping bag at her feet, placing it on COLE'S head, adjusting it...

COLE Why are we doing this?

RAILLY So we can stick our heads out the window and feel the wind and listen to the music. So we can appreciate what we have while we have it. Forgive me, psychiatrists don't cry.

There are tears in her eyes. They discomfit COLE.

COLE But maybe I'm wrong. Maybe you're wrong. Maybe we're both crazy.

RAILLY In a few weeks, it will have started or it won't. If there are still baseball games and traffic jams, armed robberies and boring TV shows -- we'll be so happy, we'll be glad to turn ourselves in to the police.

SHADOWY MOVIEGOER SHHHHHHH

COLE (whispers) Where can we hide for a few weeks?

ANGLE ON THE SCREEN, where SCOTTY and MADELINE are in the foreground, the OCEAN behind them.

RAILLY You said you'd never seen the ocean...

EXT. GORILLA'S PEN/ZOO - NIGHT

CLOSE ON A GORILLA, by moonlight, angry, a true nightmare vision.

URGENT WHISPERS off screen, RUSTLING SOUNDS. Then, METAL ON METAL. Only now are we aware that the GORILLA is in an outdoor zoo pen with phony rocks. Stalking back and forth. Huge. Upset.

CLANK. CLANK. METAL ON METAL. GRUNTS of effort, then, DR. MASON'S VOICE, plaintive, frightened.

DR. MASON'S VOICE (o.s.) What are you doing to me? Where are we? Jeffrey, please...

SANDY'S VOICE (o.s.) For God's sake, put the tape back on his mouth!

The GORILLA bellows angrily, beating his chest.

JEFFREY'S VOICE (o.s.) Forget the tape. The monkey's louder than he is. You gonna tape the monkey's mouth?

EXT. PANTHERS' PEN/ZOO - NIGHT

Under the full moon, PANTHERS pace back and forth, back and forth, uttering ominous guttural SNARLS.

EXT. LION'S PEN/ZOO

The KING OF BEASTS gives a deep, fierce ROAR. From the darkness, unseen ELEPHANTS TRUMPET their response.

EXT. AVIARIES/ZOO

A PANDEMONIUM of WINGS RUSTLING, the sharp metallic CLINKING of metal on metal, the MUTTER of HUMAN VOICES, then a cacophonous CRESCENDO of frenzied SCREECHING as PARROTS, COCKATOOS and other EXOTIC BIRDS careen madly in their cages.

INT. MOVIE THEATER AUDITORIUM

CLOSE ON COLE, dozing fitfully, as the SOUNDS of SCREAMING BIRDS continue. Suddenly, he comes awake with a start...sees the movie filling his field of vision.

HIS POV: the MOVIE SCREEN. TIPPI HEDRIN, overwhelmed by screeching BIRDS in an attic in Hitchcock's THE BIRDS.

ANGLE ON COLE, orienting himself, looking around. Empty seats on both sides of him. He's alone. He panics.

COLE Kathryn?!

INT. THEATER LOBBY

A lobby poster boasts "Classics 24 Hours A Day" and "Hitchcock Festival". PANNING OFF the poster, passing a SNORING USHER, dead to the world in an old velvet chair, WE DISCOVER a BRUNETTE in a tight dress, just hanging up the lobby pay phone. Turning, she reveals heavy make-up, gaudy costume jewelry, and sun glasses. She's the BRUNETTE in COLE'S DREAM! Crossing the lobby toward the auditorium, it's a pleasure to watch her nice body undulate in the tight dress.

Just then, the auditorium doors burst open and a BLONDE MAN in a Hawaiian shirt appears, the man from COLE'S DREAM, except this man's moustache is fixed firmly on his upper lip. The BLONDE MAN stops, stunned at the sight of the BRUNETTE.

BRUNETTE We're booked on a 9:30 flight to Key West.

The Brunette is RAILLY, no longer the frazzled professional, revealed now by her disguise as a sexy babe. The Blonde Man is COLE! He's confused.

COLE You were in my dream just now. I didn't recognize you.

RAILLY Well, you look pretty different, too.

COLE I mean in my dream -- I didn't realize it was you. Then...I woke up and I...I thought you were gone.

RAILLY (studies him seriously) I remember you...like this. I feel I've known you before. I feel I've always known you.

Their eyes lock. Suddenly, she backs up, gently maneuvering him with her, past the sleeping USHER, to and through an unlocked, unmarked door, then closing it behind them.

INT. STORAGE ROOM/MOVIE THEATER

RAILLY and COLE are in a dimly lit cluttered storage room. She kisses him hungrily amid the brooms, plastic trash barrels, other janitorial items. COLE responds to her passion as they move deeper into the room, its walls covered with old movie posters. Tearing at each other's clothes, they collapse on a rolled theater curtain among stacks of ancient theater seats.

EXT. SUBURBS - DAWN

The red rim of the rising sun is just becoming visible beyond the silhouetted roofs of an upper middle-class suburban neighborhood. The early light is so vague that when a huge SIBERIAN TIGER pads across a neatly-trimmed lawn, he's more a shadowy vision than reality. Did we really see him at all?

EXT. CONSTRUCTION SITE - DAWN

The rising sun flares behind the towering silhouette of an unfinished building, deserted in the early morning light. High up, a MONKEY his head around a girder.

Four stories below, other MONKEYS are climbing.

EXT. SHOPPING MALL - DAWN

Deserted in the first light of dawn, the stores face each other across a broad promenade with blank staring windows.

Nothing happens. For a long moment. Then, an AFRICAN BULL ELEPHANT appears, turning the corner, lumbering toward us along the promenade, raising his trunk to TRUMPET triumphantly to the other ELEPHANTS trotting into view behind him.

INT. TAXICAB/CITY STREETS - EARLY MORNING

A fiftyish WOMAN CABBIE with white hair and a Southern twang is at the wheel of the cab.

WOMAN CABBlE What time's your flight, friends?

In the back seat, COLE, in the blonde wig and moustache, looks to his companion, the sexy babe in sun glasses and heavy make-up, RAILLY.

RAILLY Nine thirty

WOMAN CABBIE Might be tight.

RAILLY (startled, checks her watch) Tight? My watch says 7:30.

WOMAN CABBIE On your normal mornin', okay, plenty a time, but today, gotta take inta account your Army-of-the-Twelve-Monkeys factor.

RAILLY What? What did you say?

WOMAN CABBIE Twelve Monkeys, honey. Guess you folks didn't turn on your radio this morning.

COLE and RAILLY exchange a quick look.

WOMAN CABBIE Bunch a weirdoes let all the animals outta the zoo last night. Then they locked up this big shot scientist in one of the cages. Scientist's own kid was one a the ones did it!

RAILLY and COLE stare at the cabbie, stunned.

WOMAN CABBlE Now they got animals all over the place. Buncha zebras shut down the thruway 'bout an hour ago and some kinda thing called an "e-mu" it's got traffic blocked for miles over on 22.

Flabbergasted, RAILLY'S eyes suddenly fill with hope.

RAILLY That's what they were up to! Freeing animals!

COLE On the walls -- they meant the animals when they said, "We did it."

WOMAN CABBIE You can hear it on the radio all the stations...

As the WOMAN CAEBIE switches on the RADIO, RA:LLY points and COLE follows her look.

COLE'S POV: two CHEETAHS, sleek and magnificent against the cityscape, streaking past the cab at ninety mph!

ANNOUNCER/RADIO (o.s.) In the meantime, numerous animal rights activists have joined the chorus condemning what they're calling the "loose canon" activities of Jeffrey Mason and his Army of the Twelve Monkeys. RIGHTS ACTIVIST/RADIO (o.s.) Can these fools seriously believe that releasing a captive animal into an urban environment is being compassionate to the animal? It's mindlessly cruel, almost as indefensible as holding the animal in captivity in the first place.

RAILLY and COLE are watching FLAMINGOS cross the sky against a backdrop of skyscrapers in silhouette.

RAILLY Maybe it's going to be okay.

INT. TICKET COUNTER/AIRPORT TERMINAL - MORNING

CLOSY ON copies of the mug shot of COLE and a photo of RAILLY while the airport P.A. SYSTEM DRONES in the b.g..

REVEAL a DETECTIVE, giving the flyers to the uniformed SUPERVISOR at one end of the ticket counter.

DETECTIVE Tell your people if they spot either one of them, not to try and apprehend then. They should notify us and...

ANGLE ON RAILLY AND COLE, thirty yards away, entering the terminal.

P.A. SYSTEM -- Flight 531 for Chicago is now ready for boarding at Gate Seventeen.

ANGLE ON COLE, reacting to the P.A., stopping, seeing the bustling airport lobby.

COLE I know this place! ... This is my dream.

RAILLY Airports all look the same. Maybe it's... (turning, reacting) James! Your moustache! It's slipping.

But COLE isn't listening. He's looking around, mesmerized.

COLE It's not just my dream. I was actually here! I remember now. My parents brought me to meet my uncle. About a week or two before...before...before everybody started dying.

RAILLY glances around nervously.

RAILLY'S POV: two UNIFORMED POLICEMEN, strolling through the lobby, their eyes scanning the faces of TRAVELERS.

ANGLE ON RAILLY, pulling a small tube from her purse.

RAILLY They may be looking for us, James. (placing the tube in his hand) Use this. You can fix it in the Men's Room. COLE (confounded) I was here...as a kid. I think you were here, too. But you...looked just like you look now.

RAILLY (getting desperate) James, if we're identified, they're going to send us someplace...but not to Key West!

COLE (snaps out of it, hand to moustache) Right! You're right. I have to fix this.

RAILLY (indicating a sign) I'll get the tickets and meet you... in the Gift Shop.

COLE follows her look, nods, then heads for the Men's Room as RAILLY, in sun glasses, gaudy outfit, high heels, starts clip clopping toward the ticket counter, her ass attracting admiring glances.

INT. TELEPHONES/LOBBY - DAY

BUSINESS TRAVELERS huddle over pay phones, talking earnestly, as COLE walks past on his way to the Men's Room.

Seeing an unoccupied phone, COLE hesitates, considers it. Coming to a decision, he reaches into his pocket, pulls out some change.

INT. TZCKET COUNTER/TERMINAL

CLOSE ON the flyer of COLE and RAILLY taped under the counter, hidden from the customers, but in clear view of the TICKET AGENT who has just finished serving a PORTLY GENTLEMAN. The GENTLEMAN walks away.

ANGLE ON RAILLY, stepping up to the counter, smiling, looking nothing like the Railly on the flyer.

RAILLY Judy Simmons. I have reservations for Key West.

INT. PAY PHONES/TERMINAL

COLE is speaking into the phone very low, very private, very intense.

COLE Listen, I don't know whether you're there or not. Maybe you just clean carpets. If you do, you're lucky -- you're gonna live a long, happy life. But if you other guys exist and you're picking this up -- forget about the Army of The Twelve Monkeys -- they didn't do it. It was a mistake' Someone else did it. The Army of The Twelve Monkeys are just dumb kids playing revolutionaries. It was someone else!

COLE looks around nervously, catches a BUSINESSMAN at the next phone looking away quickly. COLE touches his loose moustache as he averts his face and speaks into the phone in an urgent whisper.

COLE I've done my job. I did what you wanted. Good luck. I'm not coming back!

COLE hangs up the phone, looks around, catches a few stares. Averting his face, he heads for the Men's Room.

INT. TICKET COUNTER - DAY

The TICKET AGENT is counting out a stack of bills.

TICKET AGENT Don't see a lot of this... cash.

RAILLY It's...a long story.

TICKET AGENT (smiles, hands over the tickets) They'll begin boarding in about twenty minutes. Have a nice flight, Mrs. Simmons.

Turning to go, RAILLY fumbles the tickets while trying to put them in her purse and they flutter to the floor. As she kneels to retrieve them, WE SEE the long line of waiting TRAVELERS from the waist down. WE SEE a familiar Chicago Bulls Sports Bag resting on the floor beside sneakers and gaudy baggy pants. we've seen this outfit before...in COLE'S dream...on MR. PONYTAIL!

INT. MEN'S ROOM/AIRPORT - DAY

The P.A. DRONES as CCLE, head down, lingers at a sink, washing and rewashing his hands while another TRAVELER finishes drying his hands, gives COLE a quizzical look, then leaves.

Quickly, COLE glances around, checks the seemingly empty Men's Room, then takes the tube of adhesive from his pocket, puts some goop under the loose edge of his moustache and presses it firmly against his face as he leans close to the mirror.

RASPY VOICE (o.s.) Got yourself a prob, Bob?

COLE whirls, looks for the source of the VOICE. Nothing! Until he spots shoes peeking from dropped trousers indicating an occupied stall. It must be him!

COLE Leave me alone! I made a report. I didn't have to do that.

RASPY VOICE (o.s.) Point of fact -- you don't belong here. It's not permitted to let you stay.

A toilet FLUSHES in the "occupied" stall. COLE'S answer is loud and defiant.

COLE This is the present. This is not the past. This is not the future. This is right now!

A PLUMP BUSINESSMAN emerges from the "occupied" stall, gives COLE a wary look and a wide berth as he heads for a sink.

COLE I'm staying here! You got that? You can't stop me!

PLUMP MAN (high pitched voice) Anything you say, chief. It's none of my business.

COLE looks dismayed. This guy couldn't be "THE VOICE"! And there are no feet showing under the other stalls. Did he imagine it?

INT. TICKET COUNTER - DAY

The Chicago Bulls bag! It's on the counter in front of the TICKET AGENT who's reviewing a stack of tickets in awe...

TICKET AGENT Woooo-eeee. San Francisco, New Orleans, Rio de Janeiro, Rome, Kinshasa, Karachi, Bangkok, Peking! That's some trip you're taking, sir, All in one week!

MR. PONYTAIL (o.s.) Business.

TICKET AGENT (handing over the tickets) Have a good one, sir.

INT. TERMINAL LOBBY

COLE emerges from the Men's Room, shaken, paranoid. He glances around nervously. Then, keeping his head down, he starts walking toward the Gift Shop. Before he gets more than a few steps, someone suddenly grabs his shoulder from behind.

FAMILIAR VOICE (o.s.) You gotta be crazy, man!

COLE whirls, finds himself facing a Puerto Rican youth in an L.A. Raiders jacket, a sideways baseball cap, and mirrored sun glasses

COLE Jo...Jose????

JOSE Pulling out the tooth, man, that was nuts! Here, take this.

JOSE tries to slip COLE a 9mm pistol. Astonished, COLE resists!

COLE What? What for? Are you crazy?

Frustrated, JOSE conceals the gun but keeps a grip on COLE'S arm.

JOSE Me? Are you kiddin? You're the one! You were a hero, man. They gave you a pardon! And whadda you do? You come back and fuck with your teeth! Wow!

COLE How did you find me?

JOSE The phone call, man. The phone call.

COLE The call I just made? Five minutes ago?

JOSE Hey, five minutes ago, thirty years ago! Yes, that phone call. I been in training for this a couple a months now -- ever since I got back from that... "weird" war we were in. You remember that? (pressing the pistol on Cole) Here, take it, man! You could still be a hero if you'd cooperate!

INT. GIFT SHOP/TERMINAL - DAY

RAILLY takes a travel book on Key West from a rack, considers it, includes it with several magazines she's holding. She doesn't notice MR. PONYTAZL enter the Gift Shop behind her!

The P.A. System DRONES flight info as RAILLY checks her watch and frowns. It's getting late and where's Cole? She turns, heads for the cash register to make her purchases.

MR. PONYTAIL, seen from behind, is at the cash register already. He sets a newspaper on the counter and searches for change.

The paper features a banner headline..."ANIMALS SET FREE" and a sub head..."PROMINENT SCIENTIST FOUND LOCKED IN GORILLA CAGE" over a photo of DR. MASON being released from the cage and another photo of a GORILLA perched atop a parked car.

Stepping in line behind MR. PONYTAIL, RAILLY checks her watch again. Then, MR. PONYTAIL, having paid, turns to go and RAILLY looks up and sees his face. though it is not visible to us.

Startled, RAILLY frowns. Does she know this man?

MR. PONYTAIL pauses for a moment, considering the babe in the shades, gaudy earrings, the tight skirt, and high heels.

RAILLY doesn't recognize the man, but we do! He's DR. MASON'S ASSISTANT, DR. PETERS...the man who attended RAILLY's lecture!

Smiling, DR. PETERS steps around RAILLY and exits the Gift Shop.

Still puzzled, RAILLY puts her purchases on the counter and the CLERK starts ringing them up as a DELIVERY MAN comes in and drops a bundle of newspapers at her feet.

RAILLY'S POV: the front page shows a photo of three frightened GIRAFFES in freeway gridlock under a headline proclaiming, "TERRORISTS CREATE CHAOS". Further down are two more photos...DR. MASON in the gorilla cage and a file photo of DR. MASON in his lab.

CLOSE ON THE SHOT OF DR. MASON in his lab. There's someone else in the picture. It's a man wearing a lab coat and a PONYTAIL!

ANGLE ON RAILLY, reacting, suddenly remembering!

MEMORY FLASHBACK! INT. RECEPTION ROOM/BREITROSE HALL - NIGHT

RAILLY looks up from the book she's signing and sees DR. PETERS.

DR. PETERS Isn't it obvious that "Chicken Little" represents the sane vision and that Homo Sapiens' motto, "Let's go shopping!" is the cry of the true lunatic?

INT. GIFT SHOP - DAY

RAILLY, stunned, stares in the direction PETERS/PONYTAIL went.

RAILLY Oh, my God!

P.A SYSTEM -- flight 764 for San Francisco is now ready for boarding at Gate 36.

INT. LOBBY - DAY

In the confusion of TRAVELERS streaming in different directions, COLE hurries toward the Gift Shop while JOSE struggles to keep up.

JOSE Coma on, Cole, don't be an asshole. (then, blurting it out) Look, I got orders, man! You know what I'm sposed to do if you don't go along? I'm sposed to shoot the lady! You got that? They said, "If Cole don't obey this time, Garcia, you gotta shoot his girlfriend!"

COLE stops in his tracks, blown away, too stunned to speak.

JOSE I got no choice, man. These are my orders. Just take it, okay?

COLE accepts the gun this time, resigned now. They've got him.

COLE This part isn't about the virus, is it?

JOSE Hey, man...

COLE It's about obeying, about doing what you're told.

JOSE They gave you a pardon, man. Whatdaya want?

COLE Who am I supposed to shoot?

Just then, RAILLY rushes up to COLE, not even noticing JOSE.

RAILLY James! Thank God! I thought you'd disappeared. Listen, I think I know who it is! I saw him! It's Dr. Mason's assistant. An apocalypse nut! The next flight to San Francisco leaves from Gate 38. If he's there, it has to be him.

JOSE, having heard this, steps back into the crowd as RAILLY grabs COLE and pulls him toward the Security Check Points.

COLE I love you, Kathryn. Remember that.

She doesn't hear him or see the look of doom in his eyes.

RAILLY Maybe we can stop him. Maybe we can actually do something.

INT. SECURITY CHECK POINT/TERMINAL - DAY

A young boy of nine passes through the magnetic arch grinning. YOUNG COLE! Exactly as he appears in the dream!

He joins his PARENTS, who are only visible from their chests down, and they continue along the concourse. WE LINGER and DISCOVER two DETECTIVES watching TRAVELERS as they pass through the magnetic arch and retrieve their bags from the X-ray machine, comparing their faces to photos of COLE and RAILLY.

ANGLE ON A SECURITY OFFICER, watching the x-ray monitor.

ANGLE ON THE MONITOR, showing the X-RAY IMAGE of a sports bag moving along the conveyer belt. The bag contains some strange objects.

ANGLE ON THE SECURITY OFFICER, reacting.

SECURITY OFFICER Excuse me, sir. Would you mind letting me have a look at the contents of your bag?

ANGLE ON DR. PETERS, coming through the magnetic arch, reacting.

DR. PETERS Me? Oh, yes, of course. My samples. I have the appropriate papers.

INT. END OF LINE/SECURITY CHECK POINT

RAILLY AND COLE arrive at the very long suddenly stalled line of TRAVELERS waiting to pass through security.

RAILLY Oh, God, we don't have time for this.

ANGLE ON THE SECURITY CHECK POINT, where DR. PETERS unpacks his Bulls bag, pulls out six metal cylinders along with a change of clothes and a Walkman.

DR. PETERS Biological samples. I have the paperwork right here.

DR. PETERS produces a sheaf of official papers while the SECURITY OFFICER examines one of the tubes, turning it over in his hands.

SECURITY OFFICER I'm going to have to ask you to open this, sir.

DR. PETERS Open it? (blinks stupidly, then) Of course.

DR. PETERS takes the metal cylinder and starts opening it.

There's a SOUND of VOICES RAISED behind them. DR. PETERS pays no attention, but the SECURITY OFFICER turns toward the NOISE.

SECURITY OFFICER'S POV: RAILLY, trying to explain something to a SECOND SECURITY OFFICER.

ANGLE ON THE TWO DETECTIVES, nearby, showing interest in the commotion.

ANGLE ON DR. PETERS, oblivious to the fuss, pulling a closed glass tube out of the metal cylinder.

DR. PETERS Here! You see? Biological! Check the papers -- it's all proper. I have a permit.

SECURITY OFFICER It's empty!

Indeed, it looks like a sealed clear glass tube with nothing in it.

DR. PETERS Well, yes, to be sure, it looks empty! But I assure you, it's not.

ANGLE ON RAILLY, at the end of the line, arguing with the SECOND SECURITY OFFICER.

RAILLY Please listen to me -- this is very urgent!

SECOND SECURITY OFFICER You'll have to get in line, ma'am.

TRAVELER We're all in a hurry, lady. What's so special about you?

ANGLE ON DR. PETERS, producing the glass tubes from the other metal cylinders as the SECURITY OFFICER examines the papers.

DR. PETERS You see! Also invisible to the naked eye.

A beat. OR. PETERS grins suddenly, opens one of the glass tubes, and waves it under the SECURITY OFFICER'S nose!

DR. PETERS It doesn't even have an odor.

The SECURITY OFFICER glances up, sees what DR. PETERS is doing, and smiles as he hands the papers back to the scientist.

SECURITY OFFICER That's not necessary, sir. Here you go. Thanks for your cooperation. Have a good flight.

Hastily, DR. PETERS snatches up all the tubes and cylinders and shoves them back into his gym bag.

ANGLE ON RAILLY, raging as the SECOND SECURITY OFFICER jabs her with his finger.

SECOND SECURITY OFFICER Who are you calling a "moron"?

COLE Get your hands off her!

The SECOND SECURITY OFFICER stiffens for trouble.

ANGLE ON THE DETECTIVES, watching the fuss, ready to get involved. Suddenly, the FIRST DETECTIVE frowns.

FIRST DETECTIVE9S POV: COLE'S moustache is slipping. COLE senses it, reaches up to touch it, catches the DETECTIVE'S look. For half a second their eyes meet, then COLE looks away.

ANGLE ON DR. PETERS, hurrying away.

SECURITY OFFICER'S VOICE (o.s.} HOLD IT! JUST A MOMENT.

DR. PETERS freezes, turns, ashen.

The SECURITY OFFICER is retrieving a pair of jockey shorts from the floor beside the search table. He waves them at DR. PETERS.

DR. PETERS hurries back for his underpants.

ANGLE ON COLE, trying to keep his head turned away as he confronts the SECURITY OFFICER.

COLE I said, get your hands off her. She's not a criminal. She's a doctor...a psychiatrist.

RAILLY looks alarmed at that.

ANGLE ON THE DETECTIVES, coming this way. The FIRST DETECTIVE has the photos in his hand.

ANGLE OW DR. PETERS, bagging his jockey shorts, then starting hastily down the windowed concourse toward the gates.

ANGLE ON RAZZLY, suddenly spotting DR. PETERS!

RAILLY THERE HE IS! HE'S CARRYING A DEADLY VIRUS! STOP HIM!

ANGLE ON COLE, following RAILLY'S look, seeing MR. PONYTAIL, THE MAN FROM HIS DREAM!

ANGLE ON DR. PETERS, frightened, glancing back, walking faster.

RAILLY (o.s.) PLEASE, SOMEBODY -- STOP HIM!

ANGLE ON DETECTIVES, reaching RAILLY and COLE.

FIRST DETECTIVE (raising his badge) Police Officers. Would you step over here, please.

ANGLE ON COLE, spotting something behind the DETECTIVES!

COLE'S POV: SCARFACE, dressed like a "businessman"! He gives COLE a cold look.

A beat. COLE lunges at the SECOND DETECTIVE, knocking him off balance, then sprints toward the magnetic arch and through it.

The ALARM goes off!!!!

The FIRST SECURITY OFFICER tries to stop COLE, but COLE knocks him aside like a rag doll.

ANGLE ON DR. PETERS, fifty yards up the concourse, glancing back.

ANGLE ON COLE, pulling his pistol.

ANGLE ON THE SECOND SECURITY OFFICER.

FIRST SECURITY OFFICER HE'S GOT A GUN!

ANGLE ON THE FIRST DETECTIVE, raising his pistol at COLE.

FIRST DETECTIVE STOP OR I'LL SHOOT! ANGLE ON COLE, gun in hand, sprinting along the concourse toward DR. PETERS as frightened TRAVELERS SCREAM and dive for cover.

ANGLE ON YOUNG COLE, standing at a concourse window, watching a plane land, flanked by his parents whose faces we don't see.

IT'S SUDDENLY AS IF THE DREAM IS HAPPENING IN REAL LIFE!!! THE SAME MOKENTS INTERSPERSED WITH "NEW" MOMENTS FROM THE POV OF YOUNG COLE who, hearing the commotion, turns just as DR. PETERS hurries by. DR. PETERS bumps into YOUNG COLE and reacts by pulling his Bulls bag close to his body and calling...

DR. PETERS WATCH IT!

ANGLE ON YOUNG COLE, wide eyed, watching...

YOUNG COLE'S POV: a BLONDE MAN. dashing up the concourse, his moustache slipping over his lip, a pistol in his hand.

YOUNG COLE'S POV: the FIRST DETECTIVE aims, looking for a clear shot in the crowded passageway.

YOUNG COLE'S POV: a BRUNETTE in flashy clothes, gaudy earrings, high heels, and sun glasses SCREAMS...

BRUNETTE (RAILLY) N0OOOOO0O!!!!!!

YOUNG COLE'S POV: the FIRST DETECTIVE, firing! CRACK!

YOUNG COLE'S POV: the BLONDE MAN, shuddering, staggering, falling.

ANGLE ON YOUNG COLE, stunned, as his PARENTS try to shield him.

MOTHER'S VOICE (o.s.) My God! They shot that man!

Mesmerized, YOUNG COLE watches the BRUNETTE rush to the BLONDE MAN, kneel beside him, minister to his bloody wound.

YOUNG COLE'S POV: the BLONDE MAN, fatalistically reaching up and tenderly touching the BRUNETTE'S cheek, touching her tears. (WE'VE SEEN THIS EXACT IMAGE IN COLE'S DREAM, A POWERFUL MOMENT, UNFOLDING UNNATURALLY SLOWLY, OPENING LIKE A FLOWER.)

ANGLE ON YOUNG COLE, not able to hear their words, but he can see emotion as the BLONDE MAN tries to tell the sobbing BRUNETTE something.

YOUNG COLE'S POV: PARAMEDICS, breaking the spell, pushing the BRUNETTE aside as they crouch beside the BLONDE MAN.

FATHER'S VOICE (o.s.) Come along, son, this is no place for us.

ANGLE ON YOUNG COLE, as his FATHER'S ARM drapes over his shoulder, steering him. YOUNG COLE turns to look back as he's led away.

YOUNG COLE'S POV: the PARAMEDICS, exchanging glances, shrugging helplessly. It's too late. The BLONDE MAN is dead.

YOUNG COLE sees the BRUNETTE, her face streaked with tears, suddenly turn and look around, scanning the crowd, searching for something. POLICE OFFICERS approach her, say something to her. Even as she responds, her eyes continue to scan the concourse.

ANGLE ON YOUNG COLE, being hurried toward the lobby by his PARENTS (whose faces remain out of view). He can't help sneaking another look back.

YOUNG COLE'S POV: POLICE, handcuffing a distracted, unresisting RAILLY. Even now, she continues to look around almost frantically.

Suddenly, her gaze falls on YOUNG COLE and she reacts...she's found what she's looking for!

ANGLE ON YOUNG COLE, reacting to the intensity of her look.

ANGLE ON RAILLY, her eyes speaking to the boy across the crowded concourse.

ANGLE ON YOUNG COLE, overwhelmed by the look.

FATHER'S VOICE (o.s.) Hurry up, son.

With a last lingering look toward the mysterious BRUNETTE, YOUNG COLE turns away, tears welling in his eyes. WE MOVE IN...CLOSE... CLOSE...CLOSER...on his eyes. WE WANT TO KNOW WHAT THE TEAR MEANS, BUT THERE IS NO WAY TO TELL. WE DON'T KNOW WHAT HE IS THINKING, BUT WE KNOW VERY WELL WHAT HE WILL REMEMBER!

MOTHER'S VOICE (o.s.) Pretend it was just a bad dream, Jimmy.

INT. 747 CABIN - DAY

DR. PETERS closes the door to the overhead luggage rack containing his Chicago Bulls bag and takes his seat. Next to him, a FELLOW TRAVELER, unseen, says...

FELLOW TRAVELER'S VOICE (o.s.) It's obscene, all the violence, all the lunacy. Shootings even at airports now. You might say...we're the next endangered species...human beings!

CLOSE ON DR. PETERS, smiling affably, turning to his neighbor.

DR. PETERS I think you're right. sir. I think you've hit the nail on the head.

DR. PETERS' POV: the FELLOW TRAVELER, a silver haired gentleman in a business suit, offering his hand congenially. DR. PETERS doesn't know who this man is, but we do. It's the ASTROPHYSICIST!

ASTROPHYSICIST Jones is my name. I'm in insurance.

EXT. PARKING LOT/AIRPORT

As YOUNG COLE'S PARENTS (seen only as sleeves and torsos) usher YOUNG COLE into their station wagon, the boy hesitates, looks back, watches a 747 climb into the sky.

FADE OUT:

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12 / Twelve Monkeys.
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