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Twelve Monkeys (1995)

by David Webb Peoples and Janet Peoples.
Production Draft, June 27, 1994.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

INT.  CONCOURSE/AIRPORT TERMINAL - BAY

CLOSE ON A FACE.  A nine year old boy, YOUNG COLE, his eyes wide
with wonder. watching something intently.  We HEAR the sounds of
the P.A. SYSTEM droning Flight Information mingled with the
sounds of urgent SHOUTS, running FEET, EXCLAMATIONS.

YOUNG COLE'S POV:  twenty yards away, a BLONDE MAN is sprawled on
the floor, blood oozing from his gaudy Hawaiian shirt.

A BRUNETTE in a tight dress, her face obscured from YOUNG COLE'S
view, rushes to the injured man, kneels beside him, ministering
to his wound.

ANGLE ON YOUNG COLE, flanked by his PARENTS, their faces out of
view, as they steer him away.

		FATHER'S VOICE (o.s.)
	Come on, Son --this is no place for us.

YOUNG COLE resists momentarily, mesmerized by the drama.

YOUNG COLE'S POV:  intermittently visible through a confusion of
FIGURES rushing through the foreground, the BLONDE MAN reaching
up and touching the cheek of the kneeling BRUNETTE in a gesture
of enormous tenderness, a gesture of farewell, while the P.A.
SYSTEM continues its monotonous monotone...

		P.A. SYSTEM
	Flight 784 for San Francisco is now
	ready for boarding at inmate number
	66578, Greely.

INT.  PRISON DORMITORY/FUTURE - ETERNAL NIGHT

		PRISON P.A. SYSTEM
	--number 5429, Garcia -- number 87645, Cole...

COLE, late thirties, dark hair, comes awake in a bunk cage, one
of many stacked four high along both sides of a long dim
corridor.  He blinks in the near dark, shaken, disoriented.

Then, as he "recovers" from his very vivid dream, WE GET OUR
FIRST LOOK AT HIS ENVIRONMENT...A WINDOWLESS UNDERGROUND WORLD OF
ETERNAL NIGHT SOMETIME IN THE FUTURE...AN ALMOST COLORLESS
"REALITY" OF BLURRED EDGES AND ECHOEY SOUNDS, MUCH MORE
"DREAMLIKE" THAN HIS DREAM.

Flashlights glare. In the half-light, COLE sees spooky figures,
GUARDS, moving among the locked bunk/cages.

COLE turns and whispers to the occupant of the next cage, JOSE...

		COLE
	Ssssst!  Jose, what's going on?

JOSE's face is almost lost in shadow.  What there is of it is
youthful.  He's just a scared Puerto Rican kid!

		JOSE
	"Volunteers" again.

JOSE immediately rolls over and feigns sleep as SCARFACE, a
menacing guard with a jagged scar running down his cheek, looms
close to COLE's cage and unlocks it.

		SCARFACE
	"Volunteer duty".

The PRISONERS in the other cages watch silently with narrowed eyes.

		COLE
	I didn't volunteer.

		SCARFACE
	You causing trouble again?

		COLE
	     (controls his temper)
	No trouble.

INT.  EQUIPMENT ROOM - ETERNAL NIGHT

COLE's alone, struggling to get into what looks like a space suit
in a room where suits hang like ghosts with blank eyes.

	    TITLES BEGIN SUPERED OVER THE SCENE

COLE has the torso of the suit on now and is trying to close it.

		OFFSCREEN VOICE (o.s.)
	All openings must be closed.

COLE looks for the source of the voice, a tiny grate in the wall.

		OFFSCREEN VOICE (o.s.)
	If the integrity of the suit is compromised
	in any way, if the fabric is torn or a zipper
	not closed, readmittance will be denied.

INT.  SEALED CHAMBER - MINUTES LATER (ETERNAL NIGHT)

COLE, wearing the "space suit" and a helmet with a plastic visor,
steps into a tiny chamber, a kind of air lock.  The heavy door
clangs shut behind him.  He's alone.  COLE'S breath comes quicker
now as he sucks oxygen from the air tanks on his back.

On the opposite wall is another door with a huge wheel lock.
COLE turns the heavy wheel, opens the door, steps through It

INT.  ELEVATOR - SECONDS LATER (ETERNAL NIGHT)

COLE'S in an ascending elevator that groans and creaks.  He looks
down at a crudely drawn map he holds in his gloved hand.

The map shows a series of tunnels and ladders.

INT.  SEWER PIPE - MINUTES LATER (NIGHT)

COLE pans a flashlight, probing the filthy sewer he's wading through

RATS flee the blade of light, scurry across islands of rusting junk.

The flashlight beam settles on a ladder mounted in the wall.

Reaching the rusted ladder, COLE starts to climb awkwardly.

EXT.  CITY STREET/FUTURE - MOMENTS LATER (NIGHT)

A SCRAPING NOISE as a heavy man-hole cover is pushed up and moved
aside.  COLE'S helmeted head emerges from below.

COLE'S POV THROUGH HIS PLASTIC-VISORED HELMET:  a city in
moonlight!  A surreal image of abandoned buildings.  No people
anywhere.  The only sounds are the WIND and COLE'S BREATHING.

EXT.  ANOTHER CITY STREET - MINUTES LATER (NIGHT)

COLE'S light reveals abandoned vine-covered automobiles.

Moving to the nearest car, COLE searches in the vines for
something.  Finds it.  An insect.

COLE takes the bug in his gloved hand.  As he clumsily inserts it
into a collection tube, something makes him turn.

There's something across the street in the dark.  Something alive.

COLE points his flashlight and reveals...a BEAR!  Startled by the
light, the animal blinks, then stands on its rear legs and ROARS.

ANGLE ON COLE, staring wide-eyed.

Then, the BEAR sinks down onto all fours and, trying to avoid the
flashlight, it pads quickly down the street.

INT.  SUBTERRANEAN PARKING GARAGE - NIGHT

Using the flashlight to see, COLE reaches down to the cracked
floor and gets another specimen.  DOGSHIT!

The only sound is COLE'S labored BREATHING.

Then, a different SOUND.  GRRRR!  A dog.  More GRRRRS.  More
dogs.  Then, a YIP.  Then, VICIOUS GROWLS.  It's a DOGFIGHT!

EXT.  STREET - NIGHT (FIRST LIGHT)

A giant OWL, perched on an overhead traffic light, raises its wings
and lifts off...rising higher and higher into the brightening sky.

Below, on the street, COLE trudges along, passing deserted
buildings, windows broken, rusted signs dangling.

INT.  DEPARTMENT STORE - NIGHT (FIRST LIGHT)

COLE'S light reveals a spider web just inside the store.  A large
SPIDER tries to hide from the light.

COLE reaches carefully into the web and plucks the spider and
puts it into one of his specimen tubes.

Then, he shines his light all around the once elegant store.  There's
nothing but aisle after aisle of moldering consumer goods.

EXT.  DEPARTMENT STORE - DAWN

As COLE comes out of the store, the first rays of the sun hit the
building.  COLE stops, squints into the light through his visor.

COLE'S POV:  spray-painted on the wall a long time ago is a stenciled
logo of twelve monkeys holding hands in a circle.  Over it is
written, "WE DID IT!"

COLE looks up.

COLE'S POV:  high up on a building across the street, a LION
patrols a ledge, pauses, looks out majestically over his world.

	     TTTLES END

INT.  FIRST UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT

ROARING WATER, powerful torrents gushing from nozzles in the
wall, pummel the still-suited COLE.

INT.  SECOND UNDERGROUND DECONTAMINATION CHAMBER - ETERNAL NIGHT

Stark naked and shivering, COLE is being scrubbed with brushes on
long poles (like the ones used to wash cars) wielded by two HULKING
FIGURES in bulky decontamination suits, their personas lost in their
windowed masks.  It's a grim scene in a grim cement room with damp,
dripping walls.  From an unseen source comes an AMPLIFIED VOICE,

		AMPLIFIED VOICE (o.s.)
	Raise your arms above your head.

COLE lifts his arms and the FIGURES start scrubbing his armpits.

INT.  TINY CHAMBER - SHORTLY (ETERNAL NIGHT)

Still naked, COLE is seated on a stool while a MASKED TECHNICIAN
in a less elaborate, less bulky decontamination outfit draws
blood from COLE'S arm with an old-fashioned hypodermic needle.

COLE glances toward a single, nearly opaque "window" of thick
plastic in the rusty iron wall.  VAGUE FIGURES seem to lurk
behind the translucent aperture, studying him.

The TECHNICIAN slips the blood sample through a slot in the wall.

INT.  ENGINEERING OFFICE/FUTURE WORLD - ETERNAL NIGHT

Ushered in by two guards, TINY and SCARFACE, COLE looks around.

COLE'S POV:  wails hidden by old headlines, articles, maps, charts...
a blackboard covered with elaborate, sophisticated formulae...surfaces
heaped with cracked monitors, gerry-rigged computers held together with
string, lasers lost in tangles of cable, ancient tube amplifiers, a
dilapidated cardboard reconstruction of a city, stacks of moldering
books and tattered computer printouts...and, seated at a long conference
table, staring at COLE, six SCIENTISTS:  an ASTROPHYSICIST, ENGINEER,
BOTANIST, MICROBIOLOGIST, ZOOLOGIST, and a GEOLOGIST.  They represent
a "modern" science where brilliant new ideas interface with crude,
outdated, patched-together technologies.

		TINY
	James Cole.  Cleared from quarantine.

		MICROBIOLOGIST
	Thank you.  You two wait outside.

		SCARFACE
	He's got a history, Doctor.  Violence.

COLE'S eyes return to the walls.

Headlines:  "CLOCK TICKING!  NO CURE YET!"

		SCARFACE
	Anti-social six -- doing 25 to life.

		ENGINEER
	I don't think he's going to hurt us.  You're
	not going to hurt us, are you Mr. Cole?

COLE'S head turns quickly to the ENGINEER.

		COLE
	No, sir.

The GUARDS exchange a look, shrug, exit, closing the door.

		MICROBIOLOGIST
	Why don't you sit down, Mr. Cole.

COLE goes to the empty chair at the conference table, sits down.

		ASTROPHYSICIST
	We want you to tell us about last
	night.

		COLE
	I went to the surface and I collected
	specimens like I was told.

The SCIENTISTS don't say anything.  They just study him carefully.

		COLE
	     (worried)
	I mashed the spider, didn't I?

		MICROBIOLOGIST
	We'll get to the spider later, Mr.
	Cole.  Right now, we want to know
	everything that you saw.

INT.  ENGINEERING OFFICE - AN HOUR LATER (ETERNAL NIGHT)

COLE, starting to look very tired now, stands at the blackboard
sketching a detailed map of exactly where he was last night.

		ASTPOPHYSICIST
	Where you collected sample #4, what
	street was that?

		COLE
	Uh...

		BOTANIST
	It's important to observe everything.

		COLE
	I think it was...I'm sure it was 2nd Street.

As the SCIENTISTS start to whisper animatedly among themselves,
COLE'S eyes drift across the newspaper clippings taped to the
wall.  One headline screams, "VIRUS MUTATING!"  Another features
a photo of an OLD MAN (DR. MASON, who we'll see again later on)
and the words, SCIENTIST SAYS, "IT'S TOO LATE FOR CURE".

		ASTROPHYSICIST'S VOICE (o.s.)
	Close your eyes, Cole.

Startled, COLE closes his eyes obediently.

BLACKNESS.  Like COLE, WE SEE NOTHING.  But we HEAR their VOICES.

		ENGINEER'S VOICE (o.s.)
	Tell us in detail what you've seen in
	this room.

		COLE'S VOICE (o.s.)
	Uh, in this room?  Uh...

		MICROBIOLOGIST'S VOICE (o.s.)
	How many of us are there?

		COLE'S VOICE (o.s.)
	Six...seven, if you count me.

		ASTROPHYSICIST'S VOICE (o.s.)
	Tell us about the pictures on the wall...

		COLE'S VOICE (o.s.)
	Uh, you mean the newspapers?

		A MONTAGE OF OVERLAPPING VOICES (o.s.)
	Tell us about the newspapers.  Can you
	hear my voice?  What do I look like?
	What does he look like, the man who
	just spoke?  How old were you when you
	left the surface?

The VOICES blur into a cacophony and FADE INTO the droning P.A.
SYSTEM at the airport.

INT.  CONCOURSE/AIRPORT - DAY

THE DREAM AGAIN!  But at an earlier moment.  YOUNG COLE, flanked
by his PARENTS, whose faces are out of view, is watching a PLANE
land through one of the big glass windows that lines the concourse
leading to the departure gates.

		P.A. SYSTEM (o.s.)
	Flight 784 now boarding at gate...

Suddenly, a SHOUT, followed by raised VOICES, interrupts the
monotonous airport routine.  As YOUNG COLE and his PARENTS turn
to see what's going on, a man we'll call MR. PONYTAIL, his face
averted, hurries past them, bumping YOUNG COLE with a Chicago
Hulls Sports Duffle Bag.

		MR. PONYTAIL
	WATCH IT!

YOUNG COLE sees little more than the gaudy pants, the duffle, and
the man's ponytail flopping as he rushes towards the gates.

Just then, a WOMAN'S VOICE cries out, "NOOOOOOOOO!"

YOUNG COLE turns back toward the Security Check Point just as
TRAVELERS scatter madly, some diving to the floor, others
running.  A TERRIFIED TRAVELER, hitting the floor close by, looks
up at YOUNG COLE with panicky eyes, and asks....

		TERRIFIED TRAVELER
	Just exactly why did you volunteer?

INT.  ENGINEERING OFFICE/FUTURE WORLD - (ETERNAL NIGHT)

COLE comes abruptly awake.  Seated now, he's facing the SCIENTISTS.

		ASTROPHYSICIST
	Wake up, Cole.

		COLE
	Uh, I didn't hear the...

		MICROBIOLOGIST
	     (tapping a pencil on the table)
	I asked you, why did you volunteer?

		COLE
	Well, the guard woke me up.  He told me
	I volunteered.

The SCIENTISTS react, whispering urgently among themselves.

COLE starts to nod off again, then comes awake with a start as
the ENGINEER speaks to him.

		ENGINEER
	We appreciate you volunteering.  You're
	a very good observer, Cole.

		COLE
	Uh, thank you.

		ENGINEER
	You'll get a reduction in sentence.

COLE keeps his face impassive.

		ASTROPHYSICIST
	To be determined by the proper authorities.

		ENGINEER
	You don't want to jeopardize that reduction,
	do you, Cole?  Have it taken away?

		COLE
	No, sir!

		ASTROPHYSICIST
	We have a very advanced program, something
	very different, requires very skilled people.

		MICROBIOLOGIST
	An opportunity to reduce your sentence
	considerably...

		ZOOLOGIST
	And possibly play an important role in
	returning the human race to the surface
	of the earth.

		ENGINEER
	We want tough minded people.  Strong
	mentally.  We've had some...misfortunes
	with "unstable" types.

		ASTROPHYSICIST
	For a man in your position...an opportunity.

		BOTANIST
	Not to volunteer could be a real mistake.

		MICROBIOLOGIST
	     (tapping his pencil again)
	Definitely a mistake!

COLE gives away nothing.  He's in a box here.  He has no choices.
He stares at the tapping pencil.

INT.  ART GALLERY - NIGHT

A strikingly "real" world of bright colors.  Extravagant paintings
adorn the walls.  A POET, tiny and ruddy faced, squints over his
glasses as he reads in a booming voice to an AUDIENCE of thirty
seated on folding chairs.

		POET
	Still among the myriad microwaves, the
	infra-red messages, the gigabytes of ones
	and zeroes, we find words, infinitesimally
	small, byte-sized now, tinier even than
	science lurking in some vague electricity
	where, if we listen we can hear the solitary
	voice of that poet telling us,
	"We are no other than a moving row
	Of Magic shadow-shapes that come and go
	Round with the Sun-illumined Lantern hold
	In Midnight by the Master of the show."

As the POET reads, we STUDY the audience, mostly YUPPIE CULTURE
JUNKIES or BOHEMIANS.  Among them, a light-haired woman of twenty-
eight, soberly dressed, wearing glasses.  She's KATHRYN RAILLY.  And
it's her beeper that suddenly BEEPS.  BEEP!  BEEP!

		POET'S VOICE (o.s.)
	"The Moving Finger writes; and, having writ,
	Moves on:  nor all your Piety nor Wit
	Shall lure it back to cancel half a Line,
	Nor all your Tears wash out a Word of it."

BEEP!  BEEP!  Scowling at the outrageous interruption, the POET
looks up from the text just as RAILLY, tumbling, shuts off the
beeper and rises, embarrassed.  As she makes her way to an exit,
the glaring POET continues...

		POET
	"Yesterday This Day's Madness did prepare;
	Tomorrow's Silence, Triumph or Despair:
	Drink!  for you know not whence you came, nor why:
	Drink!  for you know not why you go, nor where."

INT.  CORRIDOR/POLICE STATION - NIGHT

DETECTIVE FRANKI leads RAILLY past crowded holding cells.

		FRANKI
	-- so they get there and they ask the guy
	real nice for some kind of i.d., and he gets
	agitated, starts screaming about viruses.
	Totally irrational, totally disoriented,
	doesn't know where he is, what day it is,
	alla that stuff.  All they got was his
	name.  They figure he's stoned out of
	his mind, it's some kinda psychotic
	episode, so they're gonna bring him...

		RAILLY
	He's been tested for drugs?

		FRANKI
	Negative for drugs.  But he took on
	five cops like he was dusted to the
	eyeballs.  No drugs.  You believe that?

FRANKI pauses, indicating a tiny observation window of thick meshed
glass in an otherwise solid door, and RAILLY looks through it.

RAILLY'S POV THROUGH THE WINDOW:  a MAN, his back to her, in
strait-jacket and prison denims, examining the wall of the padded
cell with the distorted intensity of a "mental case".

		RAILLY
	You have him in restraints.

		FRANKI
	Were you listening?  We got two officers in
	the hospital.  Yeah, he's in restraints, plus
	the medic gave him enough stellazine to kill
	a horse.  Look at him!  Still on his feet.

RAILLY'S POV THROUGH THE WINDOW:  the MAN in the cell turns, looks
right at her.  In spite of the cuts and welts, it's clearly COLE.

		RAILLY
	That would explain the bruises, I
	guess.  The struggle.

		FRANKI
	You want to go in?  Examine him?

		RAILLY
	Yes, please.  You said he gave a name...

		FRANKI
	     (unlocking the door)
	James Cole.  That's everything we got.  None
	of the James Coles on the computer match him.
	No license, no prints, no warrants.  Nothing.
	You want me to go in with you?

		RAILLY
	     (entering)
	No, thank you.

		FRANKI
	I'll be right here...just in case.

INT.  ISOLATION CELL

COLE stares at RAILLY.  The environment is intensely real...vivid
colors...each sound, however slight, very distinct, almost loud...
and yet she appears to him almost like a vision.

		RAILLY
	Mr. Cole?  My name is Doctor Railly.
	I'm a psychiatrist.  I work for the
	County -- I don't work for the police.
	My only concern is your well being --
	do you understand that?

		COLE
	I need to go now.

		RAILLY
	I'm going to be completely honest.  I'm
	not going to lie to you.  I can't make
	the police let you go...but I do want
	to help you.  And I want you to trust
	me.  Can you do that, James?  May I
	call you "James"?

		COLE
	"James"!  Nobody ever calls me that.

		RAILLY
	     (frowns, studies him)
	Have you been a patient at County?
	Have I seen you someplace?

		COLE
	No, not possible.  Listen, I have to
	get out of here.  I'm supposed to be
	getting information.

		RAILLY
	What kind of information?

		COLE
	It won't help you.  You can't do anything
	about it.  You can't change anything.

		RAILLY
	Change what?

		COLE
	I need to go.

		RAILLY
	Do you know why you're here, James.

		COLE
	Because I'm a good observer.  Because I
	have a tough mind.

		RAILLY
	I see.  You don't remember assaulting a
	police officer...several officers?

		COLE
	They wanted identification.  I don't have
	any identification.  I wasn't trying to
	hurt them.

		RAILLY
	You don't have a driver's license,
	James?  Or a Social Security card?

		COLE
	No.

		RAILLY
	Why not?  Most people have some ID.

		COLE
	You wouldn't understand.

		RAILLY
	You've been in an institution, haven't
	you, James?  A hospital?

		COLE
	I have to go.

		RAILLY
	A jail?  Prison?

		COLE
	Underground.

		RAILLY
	Hiding?

		COLE
	I love this air.  This is wonderful air.

		RAILLY
	What's wonderful about the air, James?

		COLE
	It's so clean.  No germs.

		RAILLY
	You're afraid of germs?

		COLE
	I have to go.

		RAILLY
	Why do you think there aren't any germs
	in the air, James?

		COLE
	This is April, right?

		RAILLY
	July.

		COLE
	     (sudden panic)
	July?!

		RAILLY
	Do you know what year it is?

		COLE
	What year is it?

		RAILLY
	What year do you think it is?

		COLE
	1995?

		RAILLY
	You think it's July of 1995?  That's
	the future, James.  Do you think you're
	living in the future?

		COLE
	     (slightly confused)
	No, 1995 is the past.

		RAILLY
	1995 is the future, James.  This is 1989.

COLE looks stunned.

INT.  POLICE STATION CORRIDOR - MORNING

COLE, bound tightly by the strait-jacket, heavy manacles on his
ankles, is being escorted down the corridor by two surly POLICEMEN.

		COLE
	Where are you taking me?

		POLICEMAN #1
	South of France, buddy.  Fancy hotel.
	You're gonna love it.

		COLE
	South of France?!  I don't want to go
	to the South of France.  I want to make
	a telephone call.

POLICEMAN #2 smirks as he unlocks a heavy steel door.

		POLICEMAN #2
	Zip it, scumbag -- you fooled the shrink
	with your act, but you don't fool us.

Then, POLICEMAN #2 swings the steel door open and sunlight
overwhelms COLE, blinding him in a dazzling fury of white light.

EXT.  CITY STREET/MINI-VAN - DAY

A Mini-van, the kind of vehicle used to transport a half dozen
prisoners, crawls through a busy street.  The Police Department
logo is prominent on the side of the van beneath barred windows.

INT. COUNTY HOSPITAL/SHOWERS - AN HOUR LATER (MORNING)

Fierce spray recalls the decontamination in the future.  COLE
stands stark naked under the shower while two muscular attendants,
PALMER and BILLINGS, supervise.

As PALMER shuts off the water, BILLINGS hands COLE a towel and
starts inspecting his scalp...

		BILLINGS
	Lemme see your head, Jimbo, see if you
	got any creepy crawlies.

		COLE
	I need to make a telephone call.

		BILLINGS
	     (pulling Cole's head)
	Gotta work that out with a doctor, Jimbo.
	Can't make no calls 'til the doctor says.

		COLE
	It's very important.

		BILLINGS
	What chew gotta do, Jimbo, is take it
	easy, relax into things.  We all gonna
	get along fine if you just relax.

COLE gets the hint of menace in the message and submits to the
lice inspection, only his eyes revealing his frustration.

INT.  HOSPITAL/DAYROOM - HALF AN HOUR LATER (DAY)

COLE stands in the doorway, stunned by his first sight of the
large room.  His eyes go to the heavily-grilled windows where
light pours in from outside.  Then, to the TV, where a CARTOON
COMMERCIAL makes raucous noises.

PATIENTS, in K-Mart street clothes or ratty robes, stare gloomily
at the TV, or play cards, pace, or just stare blankly.

BILLINGS is at COLE'S side, beckoning to a patient, JEFFREY MASON,
a twenty year old white youth dressed in khakis and a plaid shirt.

		BILLINGS
	Jeffrey.  Yo!  Jeffrey.  This here is James.
	Whyncha show James around?  Tell him the TV
	rules, show him the games an' stuff, okay?

		JEFFREY
	     (with a sly look)
	How much you gonna pay me?  Huh?  I'd
	be doing your job.

		BILLINGS
	Five thousand dollars, my man.  That
	enough?  I'll wire it to your account
	as usual, okay?

		JEFFREY
	Okay, Billings.  Five thousand.  That's
	enough.  Five thousand dollars.  I'll
	give him the Deluxe Mental Hospital Tour.

As BILLINGS walks away chuckling, JEFFREY turns to COLE.

		JEFFREY
	Kid around, kid around.  It makes them feel
	good, we're all pals.  We're prisoners, they're
	the guards, but it's all in good fun, you see?

COLE nods and JEFFREY indicates card tables where PATIENTS are
playing cards, checkers, chess, or working on jig saw puzzles.

		JEFFREY
	Here's the games.  Games vegitize you.
	If you play the games, you're
	voluntarily taking a tranquilizer.

COLE sees a partially completed puzzle of the well-known painting,
THE PEACEABLE KINGDOM, depicting a serene world of animals in harmony.

		JEFFREY
	What'd they give you?  Thorazine?  How
	much?  Learn your drugs -- know your doses.

		COLE
	I need to make a telephone call.

		JEFFREY
	A telephone call?  That's communication
	with the outside world!  Doctor's
	discretion.  Hey, if alla these nuts
	could just make phone calls, it could
	spread.  Insanity oozing through telephone
	cables, oozing into the ears of all those
	poor sane people, infecting them!  Whackos
	everywhere!  A plague of madness.
	     (suddenly sly and confidential)
	In fact, very few of us here are actually
	mentally ill.  I'm not saying you're
	not mentally ill, for all I know you're
	crazy as a loon.  But that's not why
	you're here.  Why you're here is because
	of the system, because of the economy.
	     (indicating the TV)
	There's the TV.  It's all right there.
	Commercials.  We are not productive
	anymore, they don't need us to make
	things anymore, it's all automated.  What
	are we for then?  We're consumers.  Okay,
	buy a lot of stuff, you're a good citizen.
	But if you don't buy a lot of stuff, you
	know what?  You're mentally ill! That's
	a fact!  If you don't buy things...toilet
	paper, new cars, computerized blenders,
	electrically operated sexual devices...
	     (getting hysterical)
	SCREWDRIVERS WITH MINIATURE BUILT-IN
	RADAR DEVICES, STEREO SYSTEMS WITH
	BRAIN IMPLANTED HEADPHONES, VOICE-
	ACTIVATED COMPUTERS, AND...

A woman orderly, TERRY, turns from the feeble PATIENT she's helping.

		TERRY
	Take it easy, Jeffrey.  Be calm.

Abruptly, JEFFREY stifles his hysteria, takes a deep breath and
continues, completely calm now.  But COLE isn't listening.  He's
mesmerized by the TV.

		JEFFREY
	So if you want to watch a particular
	program, say "All My Children" or
	something, you go to the Charge Nurse
	and tell her what day and time the show
	you want to see is on.  But you have to
	tell her before the show is scheduled
	to be on.  There was this one guy who
	was always requesting shows that had already
	played.  He couldn't quite grasp the
	idea that the Charge Nurse couldn't
	just make it be yesterday for him, turn
	back time ha ha.  What a fruitcake!!

This last thought actually penetrates COLE'S focus on the TV and
he turns to JEFFREY who's picking up speed again.

		JEFFREY
	Seriously, more and more people are
	being defined now as mentally ill.  Why?
	Because they're not consuming on their
	own.  But as patients, they becone
	consumers of mental health care.  And
	this gives the so-called sane people work!
	     (hysteria again)
	WHOOO!  SHOCK THERAPY!  GROUP THERAPY!
	HALLUCINATIONS!  THERAPEUTIC DRUGS!
	IGGIDY DIGGIDY DIG!  PERFECT!  THE
	SYSTEM IN HARMONY LIKE A BIG MACHINE...

		TERRY
	Okay, that's it, Jeffrey, you're gonna
	get a shot.  I warned you...

		JEFFREY
	     (calming himself, smiling)
	Right!  Right!  Carried away, heh heh.
	I got "carried away".  Explaining the
	workings of...the institution.

Just then, TJ WASHINGTON, a somber-looking African American in a
bathrobe, taps COLE on the shoulder.

		TJ WASHINGTON
	I don't really come from outer space.

		JEFFREY
	This is TJ Washington, Jim -- he
	doesn't really come from outer space.

		TJ WASHINGTON
	Don't mock me, my friend.
	     (to Cole)
	It's a condition of "mental divergence".
	I find myself on another planet, Ogo,
	part of an intellectual elite, preparing
	to subjugate barbarian hordes on Pluto.
	But even though it's a totally convincing
	reality in every way...I can feel, breathe,
	hear...nevertheless, Ogo is actually a
	construct of my psyche.  I am mentally
	divergent in that I am escaping certain
	unnamed realities that plague my life
	here.  When I stop going there, I will
	be well.  Are you also divergent, friend?

The P.A. SYSTEM interrupts, startling COLE.

		P.A. SYSTEM (v.o.)
	James Cole.  Report to Staff.  James Cole!

		JEFFREY
	Staff!  Whoo!  Time for Staff.  Now the
	geniuses cure you.  Hallelujah!

INT.  PSYCH WARD CONFERENCE ROOM - MINUTES LATER (DAY)

COLE is agitated, speaking forcefully.

		COLE
	This is a place for crazy people!  I'm
	not crazy!

RAILLY, four other PSYCHIATRIC RESIDENTS, including RAILLY'S best
friend, MARILOU MARTIN, and their chief, DR. OWEN FLETCHER, sit
around a beat-up conference table, watching COLE, who sits facing
the doctors, with BILLINGS looming behind him.  (Some of the DOCTORS
bear a strong resemblance to the SCIENTISTS OF THE FUTURE.)

		RESIDENT #1
	We don't use that term..."crazy", Mr. Cole.

		COLE
	Well, you've got some real nuts in here!
	Listen to me, all of you -- I have to
	tell you something that's going to be
	difficult for you to understand, but...

		DR. RAILLY
	James...please.  These are all doctors
	here and we want to help you.

		DR. FLETCHER
	Mr. Cole -- last night you told Dr.
	Railly you thought it was...
	     (checking a file)
	1995. ... How about right now?  Do you
	know what year it is right now?

		COLE
	1989.  Look, I'm not confused.  There's been
	a mistake, I've been sent to the wrong place.

Suddenly, COLE reaches out and BILLINGS lunges forward, but COLE
is just grabbing a pad and pencil.

		COLE
	Hey, I'm not going to hurt anybody.

FLETCHER restrains BILLINGS with a hand signal.

		COLE
	     (drawing)
	Do any of you know anything about the
	Army of the Twelve Monkeys?  They paint
	this, stencil it, on buildings, all
	over the place.

COLE waves a sketch of the dancing monkey logo we saw earlier.

		DR. CASEY
	Mr. Cole...

		COLE
	Right.  I guess you wouldn't, this is
	1989, they're probably not active yet.
	That makes sense!  Okay.  Listen to me,
	three billion people died in 1995.
	Three billion, got that?  Almost
	the whole population.  Of the world!
	Only about one percent survived.

DOCTORS exchange knowing looks.  This is an old story, apparently.

		RESIDENT #2
	Are you going to save us, Mr. Cole?

		COLE
	Save you?  How can I save you?  It
	already happened!  I can't save you.  I'm
	simply trying to get some information for
	people in the present so that someday...
	     (sees their eyes)
	You don't believe me.  You think I'm
	crazy.  But I'm not crazy.  I'm a convict,
	sure, I have a quick temper, but I'm as
	sane as anyone in this room.  I...

COLE stops, sees DR. FLETCHER tapping his pencil.  COLE'S seen
that tapping before -- in the future!  It disorients him.

		DR. RAILLY
	Can you tell us the name of the prison
	you've come from?

COLE doesn't answer.  He's staring at the tapping pencil.

		DR. FLETCHER
	Does this bother you, Mr. Cole?

		COLE
	     (recovering, new tack)
	No!  Look, I don't belong here!  What I
	need to do is make a telephone call to
	straighten everything out.

		DR. FLETCHER
	Who would you call, Mr. Cole, who would
	straighten everything out?

		COLE
	Scientists.  I'm supposed to report in
	to them.  They'll want to know they
	sent me to the wrong time.

		DR. FLETCHER
	So you could talk to these scientists
	and they do what?  Send you to the future?

		COLE
	No, no.  I can't talk to them.  It's called,
	"voice mail".  I'm supposed to leave messages.
	They monitor it from the present.

		RESIDENT #2
	"From the present."  We're not in the
	present now, Mr. Cole?

		COLE
	No, no.  This is the past.  This has
	already happened.  Listen...

		RESIDENT #3
	Mr. Cole, you belong in 1995 -- that's
	the present, is that it?

		COLE
	No, 1995 is the past, too.  Look...

		DR. FLETCHER
	These scientists, Mr. Cole?  Are they
	doctors like ourselves?

Two of the residents exchange quick knowing looks.

		COLE
	No!  I mean yes, but... Look, I've been given
	a lot of drugs but I'm still perfectly lucid.
	You have to let me use the phone.  One call!

COLE looks desperately toward RAILLY, pleading eyes meeting hers.

INT.  LOW RENT APARTMENT - DAY

Four little KIDS SCREAM and SQUABBLE while the phone CHIRPS
insistently in the tiny, cluttered apartment and a harried MOTHER
lunges for the phone, answers sharply...

		MOTHER
	Yes?
	     (listens, frowns, then)
	Whaaaaat?  "Voice mail"!  I don't know
	what you're talkin' about. ... Is this
	a joke?  I don't know any scientists.
	James who?  Never heard of you!

The MOTHER slams down the phone.

INT.  RAILLY'S OFFICE/COUNTY HOSPITAL - DAY

A dismayed COLE still has the receiver in his hand.  Sympathetically,
RAILLY takes it from him.

		RAILLY
	It wasn't who you expected?

COLE is clearly agitated, starts to pace, upset.  Nuts?

		COLE
	It was some lady.  She didn't know anything.

		RAILLY
	Perhaps it was a wrong number...

		COLE
	No.  That's the reason they chose me --
	I remember things.

RAILLY frowns, studying the distracted man with intense interest.
It's clear COLE is becoming a special patient and RAILLY'S cool,
detached demeanor is giving way ever so slightly.

		RAILLY
	James, where did you grow up?  Was it
	around here?  Around Baltimore?

		COLE
	     (lost in thought)
	What?

		RAILLY
	I have the...strangest feeling I've met
	you before...a long time ago, perhaps.
	Were you ever...?

		COLE
	Wait!  This is only 1989!  I'm supposed
	to be leaving messages in 1995.  It's
	not the right number yet.  That's the
	problem.  Damn!  How can I contact them?

RAILLY recovers her distance, her poise, as she takes a bottle,
pours out some tablets, and holds them out to COLE.

		RAILLY
	James, take these.
	     (watching him step back)
	Please -- I helped you like I said I
	would.  Now I want you to trust me.

INT.  AIRPORT CONCOURSE - DAY (THE DREAM)

MR. PONYTAIL races past the startled YOUNG COLE.

		MR. PONYTAIL
	WATCH IT!

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

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

		WOMAN'S VOICE
	NOOOOOOOOOO!

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

Just then, YOUNG COLE is distracted by a running figure.  It's
the BLONDE MAN in the Hawaiian shirt, but he's not injured.  He's
sprinting toward the gates, glancing back over his shoulder, his
moustache slightly askew!

A sharp CRACK of a GUNSHOT rings out!  Then, DAZZLING LIGHT.
Everything goes white!

INT.  DORMITORY (PSYCH WARD)/COUNTY HOSPITAL - NIGHT

COLE'S eyes blink awake, blinded by a flashlight.

He's lying in one of thirty beds in a darkened ward.  Disoriented.
Which world is this?  The room is full of BREATHING, SNORING,
occasional MOANS.  He can barely discern the shadowy figures of
an ORDERLY and a NURSE, making their rounds, checking each bed.

His eyes adjusting to the darkness, COLE watches them exit.

He turns and sees a patch of moonlight coming in a barred window.

With a quick glance at the sleeping PATIENTS, he slips out of
bed, makes his way stealthily to the window, peers out.

COLE'S POV:  the moon, glowing in the sky, illuminating a single
tree.  Under the tree, in silhouette, a COUPLE embraces, kisses.

ANGLE ON COLE, looking out the window, absorbed.

		VOICE (o.s.)
	It won't work. You can't open it.

Alarmed, COLE turns, sees JEFFREY in the next bed.

		JEFFREY
	You think you can remove the grill but
	you can't.  It's welded.

COLE checks the grill anyway.

		JEFFREY
	See?  I toldja.  And all the doors are
	locked, too.  They're protecting the
	people on the outside from us.  But the
	people outside are as crazy as us.

COLE has become preoccupied with a small SPIDER creeping along
the window sill.  He's staring at it when he's distracted by a
sudden SOUND.  Grabbing the SPIDER, COLE scrambles back into bed
just as the door opens and an ORDERLY probes the dark room with
the blade of his flashlight.

ANGLE ON COLE, in bed, feigning sleep.

The flashlight clicks off and COLE hears the door close.

For a long moment the ward is silent except for BREATHING,
SNORES, occasional MOANS.  Then, COLE hears JEFFREY'S hoarse
whisper, picking up right where he left off.

		JEFFREY
	You know what "crazy" is?  "crazy" is
	"majority rules".  Take germs for example.

Although COLE is preoccupied with the SPIDER struggling to get
out of his fist, he can't help reacting to the word, "germs"!

		COLE
	Germs?!

		JEFFREY
	In the 18th century there was no such
	thing!  Nobody'd ever imagined such a
	thing -- no sane person anyway.  Along
	comes this doctor...Semmelweiss, I
	think.  He tries to convince people...
	other doctors mostly...that there are
	these teeny tiny invisible "bad things"
	called germs that get into your body and
	make you...sick!  He's trying to get
	doctors to wash their hands.  What is
	this guy...crazy?  Teeny tiny invisible
	whaddayou call 'em?..."germs"!

As JEFFREY warms to his subject, getting excited, COLE tries to
figure out where to put the SPIDER.

		JEFFREY (cont.)
	So cut to the 20th century!  Last week
	in fact, right before I got dragged
	into this hellhole.  I order a burger
	in this fast food joint.  The waiter
	drops it on the floor.  He picks it up,
	wipes it off, hands it to me...like it
	was all okay.

No alternative.  COLE pops the SPIDER in his mouth and swallows
it as JEFFREY prattles on...

		JEFFREY
	"What about the germs?"  I say.  He
	goes, "I don't believe in germs.  Germs
	are just a plot they made up so they
	can sell you disinfectants and soap!"
	Now, he's crazy, right?  Hey, you
	believe in germs, don't you?

		COLE
	I'm not crazy.

		JEFFREY
	Of course not, I never thought you were.
	You want to escape, right?  That's very
	sane.  I can help you.  You want me to,
	don't you?  Get you out?

		COLE
	If you know how to escape, why don't you...?

		JEFFREY
	Why don't I escape, that's what you
	were going to ask me, right?  'Cause
	I'd be crazy to escape!  I'm all taken
	care of, see?  I've sent out word.

		COLE
	What's that mean?

		JEFFREY
	I've managed to contact certain underlings,
	evil spirits, secretaries of secretaries, and
	assorted minions, who will contact my father.
	When he learns I'm in this kind of place,
	he'll have them transfer me to one of those
	classy joints where they treat you...properly.
	LIKE A GUEST!  LIKE A PERSON!  SHEETS!
	TOWELS!  LIKE A BIG HOTEL WITH GREAT DRUGS
	FOR THE NUT CASE LUNATIC MANIAC DEVILS...

PATIENTS are waking up as the NURSE and two ORDERLIES burst into the
dorm and head straight for JEFFREY who's struggling to calm himself.

		JEFFREY
	Sorry.  Really sorry.  Got a little
	agitated.  The thought of escaping
	crossed my mind and suddenly...suddenly
	I felt LIKE BENDING THE FUCKING BARS
	BACK, RIPPING OFF THE GODDAMN WINDOW
	FRAMES AND...EATING THEM, YES, EATING
	THEM, AND LEAPING, LEAPING...

COLE watches the ORDERLIES grab JEFFREY and haul him away.

		JEFFREY
	You dumb assholes!  I'm a mental patient!
	I'm supposed to act out.  Wait til you
	morons find out who I am.  My father's
	gonna be really upset.  AND WHEN MY
	FATHER GETS UPSET, THE GROUND SHAKES!
	MY FATHER IS GOD!  I WORSHIP MY FATHER.

INT.  WARD DAYROOM - MORNING

ANGLE ON TV SCREEN/A VIDEO IMAGE OF A LAB MONKEY, convulsing
pathetically, a victim of shocks from the numerous wires attached
to his tiny, restrained body.

ANGLE ON COLE, sitting, writing intensely in a magazine with
crayon, surrounded by dull-eyed PATIENTS in pajamas and ratty
robes, staring at the shuddering LAB MONKEY on the TV screen.

		JEFFREY'S VOICE (o.s.)
	Torture!  Experiments!  We're all
	monkeys

COLE locks up, startled, as JEFFREY, one eye bruised black, takes
the seat next to him.

		COLE
	They hurt you!

		JEFFREY
	Not as bad as what they're doing to
	kitty.

ANGLE ON TV, showing a laboratory CAT turning in mad circles,
eating its own tail, while a NEWS REPORTER narrates.

		TV NEWS REPORTER (v.o.)
	These video tapes were obtained by
	animal rights activists who worked
	underground as laboratory assistants
	for several months.  Authorities say
	there is little they can do until...

The video footage now shows LAB WORKERS watching the results of
their experiments passively.

ANGLE ON COLE, reacting angrily.

		COLE
	Look at those assholes, they're asking
	for it!  Maybe people deserved to be
	wiped out!

		JEFFREY
	     (startled, turning)
	Wiping cut the human race!  That's a
	great idea!  But it's more of a long
	term thing -- right now we have to
	focus on more immediate goals.
	     (sudden whisper)
	I didn't say a word about "you know
	what".

		COLE
	What are you talking about???

		JEFFREY
	You know -- your plan.

As COLE stares, befuddled, JEFFREY sees COLE'S magazine.

		JEFFREY
	What're you writing?  You a reporter?

		COLE
	     (shielding the magazine)
	It's private.

		JEFFREY
	A lawsuit?  You going to sue them?

Just then BILLINGS looms over COLE, extending a cup full of pills.

		BILLINGS
	Yo, James -- time to take your meds.

INT.  DAY ROOM/HOSPITAL - THIRTY MINUTES LATER (MORNING)

ANGLE ON THE TV, a commercial playing:  a beautiful couple romps
in the surf in slow motion while an eager NARRATOR encourages...

		NARRATOR (v.o.)
	Take a chance.  Live the moment.  Sunshine.
	Gorgeous beaches.  The Florida Keys!

ANGLE ON COLE, very drugged, seated in front of the TV along with
other drugged PATIENTS, staring at the screen.

ANGLE ON THE TV, showing a picture of the Marx Brothers.

		TV AWNOUNCER (v.o.)
	We'll return to the Marx Brothers in
	"Monkey Business" following these
	messages.

		JEFFREY'S VOICE (o.s.)
	Monkey Business!  Monk Key Business.

COLE sees JEFFREY sliding into the next chair and smirking.

		JEFFREY
	Get it?  Monk - Key.  Monk!
	     (big grin)
	Key!

JEFFREY flashes his palm open for one quick moment.  A KEY!

		COLE
	     (groggy)
	What....???

		JEFFREY
	Wooooo, they really dosed you, bro.
	Major load!  Listen up -- try and get
	it together.  Focus!  Focus!  The plan!
	Remember?  I did my part.

		COLE
	What...???

		JEFFREY
	Not, "what", babe!  When!

	"When???"

		JEFFREY
	     (pressing the key into Cole's hand)
	Now!

		VOICE/TV (o.s.)
	Let us guide you to the stocks and
	bonds that will enhance your portfolio.

		JEFFREY
	     (leaping to his feet)
	YES -- NOW!  BUY NOW!  STOCKS AND BONDS!
	NO MORE MONKEY BUSINESS -- BUY NOW.

ANGLE ON TV, almost mimicking JEFFREY with an ad...a BULL and a
BEAR and a computer screen showing stock prices fluctuating.

		VOICE/TV (v.o.)
	A portfolio tailored to your specific
	needs and the needs of your loved ones...

   ANGLE ON COLE, dumbfounded, watching JEFFREY dance crazily.

		JEFFREY
	YES, YES.  ENHANCE YOUR PORTFOLIO NOW!

   ANGLE ON BILLINGS, across the ward, reacting to JEFFREY, lets go
   of the OLD MAN he's helping as another orderly, TERRY, presses a
   beeper, calling for help.

   ANGLE ON COLE, flabbergasted, as JEFFREY cavorts around the room.

		   JEFFREY
	   BUY!  SELL!  SEIZE THE OPPORTUNITY!

   ANGLE ON A HAND, inserting the last piece into the PEACEABLE
   KINGDOM JIGSAW PUZZLE.  Just then, JEFFREY'S HAND sweeps the
   puzzle off the table, scattering it into a thousand pieces.

   ANGLE ON JEFFREY, dancing away while the PATIENT who just
   completed the puzzle stares, very upset.

   Other PATIENTS are getting agitated, too, as JEFFREY avoids a
   lunge by BILLINGS and dances off, using PATIENTS as a shield.

		   HEAVY WOMAN PATIENT
	   I'M GETTING DIZZY.  MAKE HIM STOP!

		   SKINNY MAN PATIENT
	   HERE THEY COME!  THEY'RE COMING!

		   OLD MAN PATIENT
	   FIVE HUNDRED DOLLARS!  I GOT FIVE
	   HUNDRED DOLLARS!  I'M INSURED!

		   JEFFREY
	   OPPORTUNITY!  DEFINITELY!  A WINDOW OF
	   OPPORTUNITY!  OPENING NOW!  NOW'S THE TIME
	   FOR ALL GOOD MEN TO SEIZE THE MOMENT!  YES!
	   YES!  MASTERCARD!  VISA!  THE KEY TO HAPPINESS!

ANGLE ON COLE, realizing through the haze of drugs that JEFFREY
is sending a message to him.  COLE looks at the ward door.

COLE'S POV:  the WARD DOOR opens and two husky ORDERLIES enter.
One locks the door with a key, one of many on a key ring attached
to his belt, as the other ORDERLY rushes to join the pursuit.

		JEFFREY
	   SEIZE THE MOMENT!  GET RICH!  NOW'S THE
	   TIME!  GO FOR IT!

		BILLINGS
	     (missing a tackle)
	   God damn you, Jeffrey, quit playing the fool.

ANGLE ON COLE, hesitating.  He locks at the door...blurring in
and out of focus.  He looks down at the key in his hand.

ANGLE ON JEFFREY, being grabbed by the ORDERLIES.  JEFFREY
resists wildly as they struggle to overpower him.

		JEFFREY
	   LAST CHANCE!  LAST CHANCE!  HEY -- OW!

ANGLE ON COLE, moving to the door.  He reaches it and tries to
insert the key in the lock.

ANGLE ON LOCK, as the key keeps missing the hole.

ANGLE ON COLE, glancing nervously over his shoulder.

COLE'S POV:  ORDERLIES swarm over JEFFREY, don't notice COLE.

ANGLE ON COLE, managing to insert the key.  It won't turn.

A PATIENT, close at hand, startles COLE, speaking into his ear.

		PATIENT
	Place to go would be...Florida.  The
	keys are lovely this tine of year.

COLE, unnerved, desperate tries the key again.  It turns.

		PATIENT
	Be careful.  J. Edgar Hoover isn't really dead.

COLE pauses, stares, not understanding.  Then, he opens the door.

INT.  CORRIDOR/COUNTY HOSPITAL

Stepping through the door, COLE finds himself in an ante-room
facing several elevators.

A uniformed SECURITY MAN sitting at a near-by desk doesn't even
lock up from the magazine he's reading.

Barely daring to breathe, COLE steps toward the elevators so his
back is to the SECURITY MAN.  But he doesn't know how to control
this elevator.  What should he do?

		SECURITY MAN'S VOICE (o.s.)
	Two's not working today.  Use one.

COLE freezes, sneaks a glance over his shoulder.

COLE'S POV:  the SECURITY MAN continues his reading.  He's a big
guy with reading glasses perched on his nose.  He looks exactly
like the MENACING GUARD IN THE FUTURE...SCARFACE!

ANGLE ON COLE, stunned!

Just then, an elevator door slides open.  The elevator's empty.

COLE steps into it.

INT.  ELEVATOR/COUNTY HOSPITAL

The door closes, isolating COLE in the elevator.

COLE finds the down button, is about to push it when the elevator
springs to life.  The numbers on the indicator over the door
start to rise.  7...8...9.

Then, the elevator stops and the door opens.

Two DOCTORS and an AIDE stand in front of the door, waiting.

COLE hesitates.

They look at him.  They seem to expect him to exit.

Avoiding eye contact, COLE exits the elevator.

As they enter the elevator, the DOCTORS look back at COLE and frown.

INT.  RAILLY'S OFFICE - MORNING

RAILLY has just arrived for work.  She's slipping on her white
doctor's coat when...

DR. CASEY, one of the other residents, sticks his head in the
door waving a crayoned message on a page torn from a magazine.

		DR. CASEY
	This was in my box, but I have a slight
	suspicion it wasn't meant for me.

CASEY enters the room, reading the scrawled words dramatically.

		DR. CASEY
	"You are the most beautiful woman I have
	ever seen.  You live in a beautiful
	world.  But you don't know it.  You have
	freedom, sunshine, air you can breathe."

		RAILLY
	     (smiling)
	Cole.  James Cole -- right?

She reaches for the note but CASEY moves it out of her grasp.

		DR. CASEY
	"I would do anything to stay here, but
	I must leave.  Please, help me."

		RAILLY
	Poor man...

CASEY is handing her the note when another resident, DR. GOODINS,
sticks his head in the door.  He's upset.

		DR. GOODINS
	Hey, Kathryn, James Cole is one of
	yours, right?

RAILLY and CASEY stare at him.

		DR. GOODINS
	He got out.  Took off.  Last seen, he
	was up on nine.

INT.  X-RAY DEPARTMENT/BASEMENT - DAY

A PATIENT is being swallowed by a large tube, a CAT SCANNER,
while a DOCTOR in a white coat speaks reassuringly.

		DOCTOR
	Just relax -- don't fight it.  We have
	to know exactly what's there so we can...

The DOCTOR stops, astonished, as the door bursts open.

It's COLE!  He stares at the PATIENT and the Cat Scanner.

The PATIENT lifts his head up and stares at COLE.

		DOCTOR
	Eh, excuse me.  Can I help you?

COLE turns and rushes back out the door.

INT.  CORRIDOR/COUNTY HOSPITAL

COLE steps into the corridor, turns to his right, freezes.

A POSSE of SECURITY GUARDS is headed in his direction.

COLE turns to his left.

Four ORDERLIES are coming that way.

COLE'S trapped.  A beat.  He attacks the nearest man.  BILLINGS.

INT.  TECH ROOM/PSYCH WARD - SHORTLY (DAY)

RAILLY prepares a hypo, turns to COLE who is strapped tightly on
a gurney with BILLINGS and an RN standing on either side, tense
for more trouble.  One of BILLINGS' eyes is starting to swell shut.

		RAILLY
	It's just a shot to calm you.

		COLE
	No more drugs.  Please...

		RAILLY
	I have to do this, James.  You're very
	confused.

RAILLY pushes the needle into COLE'S skin.

INT.  CONFERENCE ROOM/PSYCH WARD - LATER (DAY)

DR. FLETCHER faces RAILLY across the conference table.  DR.
CASEY, DR. GOODINS, DR. MARILOU MARTIN are also there.

		DR. FLETCHER
	Don't be defensive, Kathryn, this isn't
	an inquisition.

		RAILLY
	I didn't think I was being defensive.
	I was just...

		DR. FLETCHER
	He should have been in restraints.  It
	was bad judgment on your part, plain
	and simple.  why not just cop to it?

		RAILLY
	Okay, it was bad judgment.  But I have
	the strangest feeling about him -- I've
	seen him somewhere and...

		DR. FLETCHER
	     (impatient, not interested)
	Two policemen were already in the
	hospital and now we have an orderly
	with a broken arm and a Security
	Officer with a fractured skull.

		RAILLY
	I said it was bad judgment!  What else
	do you want me to say?

		DR. FLETCHER
	You see what I mean?  You're being defensive.
	     (to Dr. Casey)
	Isn't she being defensive, Bob?

But just then, BILLINGS sticks his head in the door.

		BILLINGS
	Uh, Dr. Fletcher -- we got another...
	situation.

INT.  CORRIDOR/PSYCH WARD - MOMENTS LATER (DAY)

DR. FLETCHER looks into an empty padded cell as RAILLY, MARTIN,
GOODIN, BILLINGS, PALMER and the NURSE crowd behind him.

		DR. FLETCHER
	He was in full restraints?  And the
	door was locked?

		BILLINGS
	Yes, sir.  Did it myself.

		DR. FLETCHER
	And he was fully sedated?

		RAILLY
	He was fully sedated!

		DR. FLETCHER
	Then are you trying to tell me that a
	fully sedated, fully restrained patient
	somehow slipped out that vent, replaced
	the grill behind him and that he's wriggling
	through the ventilation system right now?

DR. FLETCHER indicates an impossibly tiny vent high in the wall.

INT.  CONCOURSE/AIRPORT - DAY (THE DREAM)

Seen through the glass windows, a 747 takes off, climbing into
the sky as the airport P.A. System drones...

		P.A. SYSTEM
	Flight 784 to San Francisco now
	boarding at Gate 38...

YOUNG COLE, watching the 747, whirls at the SOUND of a COMMOTION.

MR. PONYTAIL bumps him.

The BLONDE MAN sprints past.  The WOMAN'S VOICE calls out!

		WOMAN'S VOICE
	NOOOOOOOOOO!

TRAVELERS dive for cover briefly revealing the mysterious BRUNETTE
running after the BLONDE MAN!  But this time, YOUNG COLE catches
just a glimpse of her face.  She looks a little like RAILLY except
for the dark hair, the make-up. and the flashy earrings.  She
calls out, her VOICE blending weirdly with the P.A. SYSTEM...

		BRUNETTE/P. A. SYSTEM
	The Freedom For Animals Headquarters
	now boarding on Second Avenue.  The
	Army of the Twelve Monkeys...

		ENGINEER'S VOICE (o.s.)
	Cole, you moron -- wake up!

INT.  ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE

As COLE blinks awake, the digitized monotone of the P.A. SYSTEM
continues to drone in an unearthly VOICE...

		UNEARTHLY VOICE/P.A. SYSTEM
	-- they're the ones who are going to do it...

COLE'S eyes seek the source of the sound and find it on the table
in front of the panel of disapproving SCIENTISTS facing him.  It's
a beat-up old tape recorder.

		UNEARTHLY VOICE/TAPE RECORDER
	I can't do anything more.  The Police
	are after me.

The tape ends, runs off the reel, flap...flap...flap...

		ASTROPHYSICIST
	Well?

		COLE
	Uh, what?

		ENGINEER
	He's drugged out of his mind!  He's
	completely zoned out.

		ASTROPHYSICIST
	Cole, did you or did you not record
	that message?

		COLE
	Uh, that message...me?

		MICROBIOLOGIST
	It's a digital reconstruction of a
	message, Cole, from a weak signal on our
	contact number.  Did you make that call?

		COLE
	     (angrily)
	I couldn't call!  You sent me to the
	wrong year!  It was 1989.

		SCIENTISTS
	1989!

The SCIENTISTS react, exchanging looks, whispers.  Then,

		ZOOLOGIST
	You're certain of that?

		GEOLOGIST
	     (before Cole can answer)
	What did you do with your time, Cole?
	Did you waste it on drugs?  Women?

		COLE
	They forced me to take drugs.

		BOTANIST
	Forced you!  Why would someone force
	you to take drugs?

		COLE
	I got into trouble.  I got arrested.
	But I still got you a specimen -- a
	spider -- but I didn't have anyplace to
	put it, so I ate it.  It was the wrong
	year anyway, so I guess it doesn't matter.

The SCIENTISTS stare incredulously, then turn, exchange knowing
looks, huddle, start whispering to one another.

Struggling to stay awake COLE sees, blurrily, the MICROBIOLOGIST
staring at COLE intently.  For one moment, the face belongs to
DR. FLETCHER!

COLE blinks hard...and the MICROBIOLOGIST has his own face, again.

COLE'S head slumps forward now...and everything goes dark.

		GEOLOGIST'S VOICE (o.s.)
	Cole!

INT.  ENGINEERING OFFICE - ETERNAL NIGHT OF THE FUTURE

COLE comes awake with a start.  The room is dark now, except...

a slide is being projected on a torn screen.  It's a picture of a
stenciled graffiti...the logo of The Army of the 12 Monkeys.

		ENGINEER
	What about it, Cole?

		ZOOLOGIST
	Did you see it?

		COLE
	Uh, no, sir.  I...

Another slide CLICKS into place.  Youthful PROTESTERS, their
placards featuring slogans and images of Animal Atrocities,
confront POLICE in riot gear.

		ASTROPHYSICIST
	What about these people?  Did you see
	any of these people?

Zooming in, panning, the SCIENTISTS emphasize the FACES of the
PROTESTERS.  The FACES are unfamiliar to COLE (though WE will
recognize some of them later on).

		COLE (o.s.)
	Uh, no, sir, I...wait!

The image pans back to a much enlarged blurry FACE among the
PROTESTERS.  In spite of the poor image, the expression of rage
is clear, and it seems to resemble a somewhat older JEFFREY MASON.

		ASTROPHYSICIST
	Him?  You saw that man?

		COLE
	Uh, I think so.  In the mental hospital.

		MICRO3IOLOGIST
	     (switching on the light)
	You were in a mental institution?!

The SCIENTISTS MUTTER disapprovingly among themselves.

		ASTROPHYSICIST
	You were sent to make very important
	observations!

		BOTANIST
	You could have made a real contribution.

		GEOLOGIST
	Helped to reclaim the planet...

		ZOOLOGIST
	As well as reducing your sentence.

		MICROBIOLOGIST
	The question is, Cole -- "Do you want
	another chance?"

COLE stares at them, trying to figure out what they mean.

INT.  CONCOURSE/AIRPORT - DAY (THE DREAM)

The BRUNETTE runs up the concourse, her back to YOUNG COLE, as
frightened PASSENGERS duck for cover, SHOUTING!

		RASPY VOICE (o.s.)
	Hey!  Who's that?

INT.  CELL - ETERNAL NIGHT

COLE opens his eyes.  Where is he?  Silence as he examines the
tiny cell.  Bare cement walls.  High ceiling.  Same color and
size as the isolation room at the county hospital.

		RASPY VOICE (o.s.)
	Hey, Bob...what's your name?

COLE looks around frantically.  Up, down.  Where is the VOICE
coming from?  Maybe from that tiny vent high in the wall...

		COLE
	Where are you?

		RASPY VOICE (o.s.)
	You can talk!  Wah'dja do, Bobby boy?
	Volunteer?

		COLE
	My name's not "Bob".

		RASPY VOICE (o.s.)
	Not a prob, Bob.  Where'd they send you?

		COLE
	Where are you?

		RASPY VOICE (o.s.)
	Another cell. ...  Maybe.

		COLE
	What do you mean, "maybe"?  What's that
	supposed to mean?

		RASPY VOICE (o.s.)
	Maybe.  Means "maybe" I'm in the next cell,
	another "volunteer" like you -- or "maybe"
	I'm in the Central Office spying on you
	for all those science bozos.  Or, hey, "maybe"
	I'm not even here.  "Maybe" I'm just in
	your head.  No way to confirm anything.
	Ha Ha.  Where'd they send you?

COLE doesn't answer.

		RASPY VOICE (o.s.)
	Not talking, huh, Bob?  That's okay
	I can handle that.

		COLE
	1989.

		RASPY VOICE (o.s.)
	89!  How was it?  Good drugs?  Lotsa
	pussy?  Hey, Bob, you do the job?  D'ju
	find out the "big info"?...Army of the
	Twelve Monkeys...where the virus was
	prior to mutation?

		COLE
	It was supposed to be 1995.

		RASPY VOICE (o.s.)
	Science isn't an exact science with
	these clowns.  You're lucky you didn't
	end up in ancient Egypt!

INT.  LAB - ETERNAL NIGHT OF THE FUTURE

COLE is strapped on a gurney.  SCIENTISTS hover near-by,
whispering.  The walls of the gloomy chamber are damp, sweating.

		GEOLOGIST
	No mistakes this time, Cole.

		ASTROPHYSICIST
	Stay alert.  Keep your eyes open.

		ZOOLOGIST
	Good thinking about that spider, Cole.
	Try and do something like that again.

		MICROBIOLOGIST
	Just relax now -- don't fight it.  We
	have to know exactly what's there so we
	can fix it.

The gurney is being wheeled into a crudely welded steel tube...
reminiscent of the cat scanner in County Hospital.

COLE'S POV:  a last glimpse of anxious FACES, then the chamber
door is CLANGED shut.

EVERYTHING IS BLACK.  A HUM BUILDS.  THE BLACKNESS VIBRATES, THE
HUM REACHES A DEAFENING LEVEL, THEN DIMUENDOS.  WE BEGIN TO HEAR
BURSTS OF MACHINE GUN FIRE, VOICES SHOUTING IN FRENCH, A SUDDEN
HUGE EXPLOSION!  THEN...

EXT.  TRENCH/FRANCE - DAY

DRIZZLING RAIN.  And SCREAMS.  COLE'S in a deep trench, naked,
eyes wide with terror. What's going on? Where is he?  SOLDIERS
in gas masks push urgently past him rushing toward their injured
COMRADES who've been ripped apart by the shell that just hit
fifteen yards away.  Muffled VOICES shout through gas masks...
in FRENCH.  COLE doesn't know it, but this is World War I!
Suddenly, a SERGEANT confronts him, shouting in French.

		SERGEANT
	     (FRENCH, subtitled)
	Where's your mask?!  And your clothes...
	and your weapon, you idiot?!

		COLE
	What?  What??

COLE looks around desperately.  A horribly WOUNDED MAN is being
stretchered past them in the narrow trench.  Machine guns chatter
close at hand.  AAK AAK AAK.  A grenade EXPLODES.  Reacting to the
foreign word, the SERGEANT jams his bayonet into COLE'S ribs...

		SERGEANT
	     (FRENCH, subtitled)
	Captain!  A Kraut!  We got a Kraut!

		COLE
	I don't understand.  Where am I?

The CAPTAIN hurries over, snapping at COLE in German.

		CAPTAIN
	     (GERMAN, subtitled)
	How'd you get here, soldier?  What's
	your rank?  Where are your clothes?

		COLE
	I...don't understand.

		CAPTAIN
	     (frowning, GERMAN, subtitled)
	German!  Speak German!  What are you
	doing here?

		VOICE (o.s.)
	     (pleading in English)
	I gotta find 'em.  I gotta find 'em.
	Please, you gotta help me!

COLE turns, sees...

It's his friend, JOSE, the Puerto Rican kid from the next cell in
the "underground" time.  He's being carried past COLE now on a
stretcher, blood all over his torso, horribly wounded.

		COLE
	JOSE!

		JOSE
	Cole!  Oh, God, Cole, where are we?

JOSE reaches out to COLE just as a PHOTOGRAPHER takes a FLASH
PICTURE of the kid being carried off on the stretcher.  SUDDENLY,
SHOTS RING OUT.  COLE goes down.  Hit in the leg!

SOLDIERS in gas masks rush past him like giant insects.

Looking to his left, COLE sees the CAPTAIN lying beside him, dead
from a chest wound, his gas mask half off.

COLE is reaching for the mask when...

A SHELL HITS CLOSE BY WITH AN ENORMOUS EXPLOSION.

EXT.  COLLEGE CAMPUS - NIGHT

Stunningly quiet.  We are on a placid campus looking at the
dignified architecture of Breitrose Hall.  MOVING IN we FOCUS ON
a large poster advertising "The Alexander Lectures, Spring 1995".
WE SKIM the listings (Jon Else on The Nuclear Agony, Dr. Andrew
Miksztal on Biological Ethics, etc.) until we SETTLE ON...

		  DR. KATHRYN RAILLY
	      MADNESS AND APOCALYPTIC VISIONS
		    MAY 17

INT.  AUDITORIUM/BREITROSE HALL - NIGHT

A large screen dominates the auditorium stage.  On the screen is
a slide of an engraving from the Middle Ages showing a MADMAN in
apparent agony, his mouth shaped to a scream, as he is restrained
by PEASANTS.  The projector ZOOMS slowly in on the agonized FACE
of this MADMAN as we HEAR RAILLY'S VOICE lecturing.

		RAILLY'S VOICE (o.s.)
	According to the accounts of local
	officials at that time, this gentleman,
	judged to be about forty years of age,
	appeared suddenly in the village of Wyle
	near Stonehenge in the West of England in
	April of 1162.  Using unfamiliar words and
	speaking in a strange accent, the man made
	dire prognostications about a pestilence
	which he predicted would wipe out humanity
	in approximately 8OO years.  Deranged and
	hysterical, the man raped a young woman of the
	village, was taken into custody, but then
	mysteriously escaped and was not heard of again.

WE DISCOVER RAILLY, six years older now, standing at a lectern
in a pool of light.  She's dwarfed by the giant screen where the
engraving is replaced by a series of slides of woodcuts showing
scenes of pestilence in the Middle Ages as she lectures to an
audience of mostly SCHOLARLY TYPES.

		     RAILLY (cont.)
	In 1841, Mackay wrote, "During seasons
	of great pestilence, men have often
	believed the prophecies of crazed
	fanatics, that the end of the world was
	come."  Obviously, this plague/doomsday
	scenario is considerably more compelling
	when reality supports it in some form,
	whether it's the Bubonic Plague, smallpox,
	or AIDS.  In addition to these "natural"
	contagions, there are now technological
	horrors as well:  besides radiation,
	consider our lurking fear of germ
	warfare and its close approximation,
	chemical warfare, which first reared
	its ugly head in the deadly mustard
	gas attacks during the First World War.

ON THE SCREEN, a SERIES of SLIDES show images of WORLD WAR I
SOLDIERS in gas masks, in death throes, etc..

		RAILLY'S VOICE (cont. o.s.)
	During such an attack in the French
	trenches in October, 1917, we have an
	account of this soldier...

ON THE SCREEN, a slide of an old deteriorated photograph shows
JOSE, the Puerto Rican kid, strapped to a stretcher, being carried
by SOLDIERS through the trenches during an attack.  JOSE appears
to be ranting madly as the projector ZOOMS CLOSER on his face until
the image approximates Munch's famous painting.

		RAILLY'S VOICE (cant. o.s.)
	-- who, during an assault, was wounded
	by shrapnel and hospitalized behind the
	lines where Doctors discovered he had
	lost all comprehension of French but
	spoke English fluently, albeit in a
	regional dialect they didn't recognize.
	The man, although physically unaffected
	by the gas, was hysterical.  He claimed
	he had come from the future, that he was
	looking for a pure germ that would
	ultimately wipe mankind off the face of
	the earth in the year... 1995!

The AUDIENCE gives a nervous CHUCKLE.

ON THE SCREEN, a different old photograph of JOSE.  This time
he's in a military hospital, gaunt, haunted, very ill.

		RAILLY'S VOICE (cont. o.s.)
	Although seriously injured, the young
	soldier disappeared from the hospital
	before more data could be gathered.  No
	doubt, he was trying to carry on his
	mission to warn others, substituting
	for the agony of war...a self-inflicted
	agony we call the "Cassandra Complex".

As RAILLY continues, we SCAN the AUDIENCE and DISCOVER MARILOU MARTIN,
RAILLY'S friend, and MARILOU'S HUSBAND, WAYNE CHANG, both listening
attentively.  Further away, another MAN listens intently.  A MAN with
shoulder-length carrot-colored hair.  His name is DR. PETERS.

		RAILLY (cont.)
	Cassandra, in Greek legend you will recall,
	was condemned to know the future but to be
	disbelieved when she foretold it.  Hence,
	the agony of foreknowledge combined with
	impotence to do anything about it.

INT.  RECEPTION ROOM - AN HOUR LATER (NIGHT)

A stack of new books.  THE DOOMSDAY SYNDROME, Apocalyptic
Visions of the Mentally Ill by Dr. Kathryn Railly

Surrounded by enthusiastic members of the audience, RAILLY is
seated at the table signing books but DR. PETERS has her ear.

		DR. PETERS
	I think, Dr. Railly, you have given
	your alarmists a bad name.  Surely
	there is very real and very convincing
	data that the planet cannot survive the
	excesses of the human race:  proliferation
	of atomic devices, uncontrolled breeding
	habits, the rape of the environment, the
	pollution of land, sea, and air.  In this
	context, isn't it obvious that "Chicken
	Little" represents the sane vision and
	that Homo Sapiens' motto, "Let's go
	shopping!" is the cry of the true lunatic?

DR. PETERS smiles self-importantly at RAILLY as an elderly
disheveled PROFESSOR elbows in front of him.

		DISHEVELED PROFESSOR
	Doctor Railly -- please!  I wonder if
	you're aware of my own studies which
	indicate that certain cycles of the
	moon actually impact on the incidence
	of apocalyptic predictions as observed
	in urban emergency rooms and...

As the PROFESSOR babbles, MARILOU MARTIN and her husband, WAYNE
CHANG, appear and whisper...

		MARILOU
	You were great.

		RAILLY
	You're leaving?

		MARILOU
	The reservation's at nine thirty --
	it's getting late.

		DISHEVELED PROFESSOR
	Doctor Railly -- please -- this is very
	important!

		WAYNE CHANG
	     (checking the professor)
	You sure you're gonna be all right?

		RAILLY
	     (smiles, checks her watch)
	I'll be there in twenty minutes.

		DISHEVELED PROFESSOR
	Dr. Railly, I simply cannot understand
	your exclusion of the moon in relation
	to apocalyptic dementia...

EXT.  PARKING LOT/BREITROSE HALL - NIGHT

A full moon.

COLLEAGUES in a VOLVO pull out of the parking lot, calling,
"Congratulations" to RAILLY.

She waves back as she hurries to her black ACURA, one of the last
cars left in the lot.

The outside lights of Breitrose Hall go off.

RAILLY seems to be alone in the lot as she fishes keys from her
purse, unlocks her car door, starts to open it when...

Suddenly, she's grabbed from behind in a choke-hold by a large
shadowy MAN looming out of the darkness behind her.

		MAN'S VOICE
	Get in!

Unable to scream, she writhes and kicks as he forces her into the
front seat.

		MAN'S VOICE
	I've got a gun.

RAILLY freezes, terrified, as he opens the rear door and
scrambles in behind her.

INT.  ACURA/PARKING LOT

Fighting to suppress the quaver in her voice, RAILLY says...

		RAILLY
	You can have my purse.  I have a lot of
	cash and credit...

		MAN'S VOICE (o.s.)
	Start the car.

Glancing in the rear view mirror, RAILLY sees penetrating eyes
peering out of the shadows, no other features.

Half-turning in the seat, she holds out the keys to him.

		RAILLY
	Here!  You can have the keys.  You can...

He grabs her hair and yanks her head back hard, speaking fiercely
into her ear, his face last in shadow.

		MAN
	START THE CAR!  NOW!

EXT.  ACURA/PARKING LOT

The engine STARTS, the Acura backs up, then heads for the exit.

INT.  ACURA

Steering fearfully, RAILLY hears him speak more calmly now.

		MAN'S VOICE (o.s.)
	I don't want to hurt you.  But I will.
	I've hurt people before when...when I
	had no choice.  Turn left.

As she makes the turn, RAILLY glances in the rear view mirror,
sees him unfolding a tattered map.  His face is lost in darkness
but she glimpses ragged, torn clothing as he tries to read the
map by the intermittent glow of passing street lights.

		RAILLY
	Where... where are we going'

		MAN
	I need you to drive me to Philadelphia.

		RAILLY
	     (startled, horrified)
	But that's... that's more than 200 miles!

		MAN
	That's why I can't walk there.  Turn
	here... I think...

RAILLY obeys.  She glances in the mirror again, hesitates, then
boldly switches on the dome light, holding her breath fearfully
for his reaction.

He grunts appreciatively.  Relieved, she looks in the mirror
again, trying to get a better look at him, but now his features
are concealed by the map.

		RAILLY
	If you make me go with you, it's
	kidnapping.  That's a serious crime.
	If you let me go, you could just take
	the car and...

		MAN
	I don't know how to drive!  We went
	underground when I was nine, I told you
	that.  When you come to the corner,
	turn right.

Startled, RAILLY whirls, looks right at him.

He's lowered the map.  It's COLE!  Haggard, unshaven, dirty.

		RAILLY
	Cole!  James Cole!  You escaped from a
	locked room six years ago.

		COLE
	1989.  Six years for you.  There's the
	sign!  Right here!

COLE is indicating a freeway entrance.

RAILLY turns the wheel sharply.

EXT.  FREEWAY - NIGHT

The Acura veers up the ramp and onto the freeway.

INT.  ACURA/FREEWAY - NIGHT

RAILLY glances in the mirror, sees COLE settling back wearily
against the seat.  She says carefully...

		RAILLY
	I can't believe this is a coincidence,
	Mr. Cole.  Have you been...following me?

		COLE
	You told me you'd help me.  I know this
	isn't what you meant, but...I was desperate...
	no money...bum leg... sleeping on the streets.
	I probably smell bad.  Sorry about that.
	But then I saw your book in a store window
	with a notice about your lecture.
	     (sudden pride)
	I can read, remember?

		RAILLY
	Yes, I remember.
	     (a beat, then)
	Why do you want to go to Philadelphia?

		COLE
	It's the next step.  I checked out the
	Baltimore information, it was nothing.
	It's Philadelphia, that's where they
	are, the ones who killed everyone.
	     (pointing suddenly, eagerly)
	Zs that a radio?  Does it play music?

RAILLY turns on the radio and immediately WE HEAR the SOUND of SURF
and the CRIES of gulls, background to an oozing baritone COMMERCIAL.

		COMMERCIAL/RADIO (o.s.)
	This is a personal message to you.

COLE sits up, alert, listening intently.

		COMMERCIAL/RADIO (cont. o.s.)
	Are you at the end of your rope?  Are
	you dying to get away?

COLE'S eyes narrow, concentrating on this personal message.

		COMMERCAIL/RADIO (cont. o.s.}
	The Florida Keys are waiting for you.

COLE frowns as the SOUND of breaking SURF and crying GULLS fills
the car.  It's confusing!  He blurts out...

		COLE
	I've never seen the ocean!

Observing his confusion in the mirror, RAILLY assumes her
professional tone.

		RAILLY
	It's an advertisement, Mr. Cole.  You
	do understand that, don't you?  It's
	not really a special message to you.

COLE frowns.  He did think it was for him, but she's probably right.

		COLE
	You used to call me "James".

		RAILLY
	You'd prefer that? ... James...you
	don't really have a gun, do you.

		COLE
	     (cynical laugh)
	Everybody's got a gun.  In this city...

He breaks off reacting to the RADIO MUSIC!  FATS DOMINO singing
"BLUEBERRY HILL"!  COLE grins, mouth agape, eyes wide like a kid's.

		COLE
	Can you...can you make it louder?  I
	love hearing twentieth century music!
	Hearing music and breathing air!

As RAILLY cranks up the volume, she watches the mirror
incredulously, sees him stick his head out the window into the
wind, mouth open, "eating" the air hungrily.

EXT.  FREEWAY/ACURA - NIGHT

"BLUEBERRY HILL" BLARES as the Acura, COLE'S head out the rear
window, zips past a sign at 65 mph.

The sign says, "PHILADELPHIA 233 MILES."

INT.  ACURA/FREEWAY - NIGHT

RAILLY glances in the mirror at the nut in the rear seat with his
head out the window.  what can she do?  Just then, while she's
trying to figure something out, an ANNOUNCER'S VOICE breaks in...

		ANNOUNCER/RADIO (o.s.)
	This just in from Fresno, California:
	emergency crews are converging on a
	cornfield where playmates of nine year
	old Ricky Neuman say they saw him
	disappear right before their eyes.

COLE pulls his head back inside with a frown, troubled now.

		ANNOUNCER/RADIO (cont. o.s.)
	Young Neuman apparently stepped into an
	abandoned well shaft and is lodged somewhere
	in the narrow 150 foot pipe, possibly alive,
	possibly seriously injured.  Playmates claim
	they heard him cry out faintly but since then
	there has been no contact with...

		COLE
	"Never cry wolf!"

		RAILLY
	What?

		COLE
	My father told me that.  "Never cry
	wolf."  Then people won't believe you
	if...something really happens.

		RAILLY
	"If something really happens"...like
	what, James?

		COLE
	Something bad.  Is that all the music?
	I don't want to hear this stuff...

RAILLY glances at him as she scans stations.

		RAILLY
	Did something terrible happen to you when
	you were a child?  Something so bad...?

		COLE
	Ohhhh, that one!  Can we hear that one?

It's IVORY JOE HUNTER singing, "SINCE I MET YOU, BABY".

		IVORY JOE/RADIO (o.s.)
	"Since I met you, baby,
	My whole life has changed...

Ecstatic, COLE sticks his head out the window again.

EXT.  ACURA/FREEWAY

COLE'S POV:  the heavens, glittering with a million stars and a
lover's moon as IVORY JOE croons the achingly romantic lyrics...

		IVORY JOE/RADIO (cont. o.s.)
	"-- cause since I met you, baby.
	All I need is you..."

ANGLE ON COLE, wind in his hair, eyes shining, gulping air blissfully.

INT.  RAILLY'S APARTMENT - MORNING

Two POLICE OFFICERS and an anxious MARILOU MARTIN listen to an
answering machine's message while a hungry CAT cries plaintively.

		ANSWERING MACHINE
	Dr. Railly -- this is Palmer from Psych
	Admitting.  There was a guy here this
	afternoon looking for you.  He seemed
	very agitated.  We tried to keep him, but
	he refused 'n I kept thinking, I know
	this guy.  Then, just a few minutes ago,
	it came to me.  It's Cole!  James Cole.
	Remember him?  The paranoid who pulled
	the Houdini back in '89.  Well, he's
	back and he's...cuckoo...and he's looking
	for you.  I thought you oughta know.

The machine switches off.  The POLICE OFFICERS exchange a look.

		MARILOU MARTIN
	It's just as I told you -- my husband
	and I had gone ahead -- she never
	showed.  That's totally unlike her!

		OFFICER TWO
	     (pulls out his notebook)
	Do you happen to know the make of her car?

		MARILOU MARTIN
	Um...Acura...'92 Acura. ... Also, that
	cat's starving!  She would never neglect
	her cat!

EXT.  MOTEL - MORNING

The ACURA is parked outside room 46 of the HIGHWAYS & BYWAYS
MOTEL, which has definitely seen better days.

INT.  MOTEL ROOM 46

The TV is on.  A commercial is just starting.  A catfood jingle.

The sound of HEAVY BREATHING.

ANGLE ON COLE, sweating, BREATHING HEAVILY, sprawled on one side
of the double bed, sound asleep.

INT.  CONCOURSE/AIRPORT - DAY (THE DREAM)

GUNSHOT!  YOUNG COLE glimpses the BLONDE MAN staggering, wounded.

The mysterious BRUNETTE races past him toward the BLONDE MAN, and
YOUNG COLE again glimpses the resemblance to RAILLY, in spite of
the dark hair, the make-up, the flashy earrings.

Close at hand, YOUNG COLE'S FATHER, his face still out of view, says,

		FATHER'S VOICE (o.s.)
	Son, it's important for your cat to
	have the nourishment necessary for
	healthy bones and a rich coat.

INT.  MOTEL ROOM 46

COLE comes awake with a start.  He stares, disoriented, at the
CATFOOD COMMERCIAL on the TV.

		RAILLY'S VOICE (o.s.)
	Please untie me.  I'm very uncomfortable.

COLE turns to RAILLY, beside him on the bed, frightened and
helpless, her jacket arranged to restrain her like a strait-jacket.

COLE'S instinct is to free her at once, but he controls his
impulse.  He looks away, gets up, and, wincing, limps to the
dresser, stepping around empty fast-food cartons.  He pulls a
razor and shaving soap from a paper bag, then goes into the
bathroom, leaving the door open, and starts to shave.

		COLE
	You were in my dream just now.  Your hair
	was different, but I'm sure it was you.

		RAILLY
	We dream about what's important in our lives.
	And I seem to have become pretty important
	in yours.  What was the dream about?

		COLE
	About an airport...before everything
	happened.  It's the same dream I always
	have -- the only one.  I'm a little kid
	in it.

		RAILLY
	And I was in it?  What did I do?

		COLE
	You were very upset.  You're always
	very upset in the dream, but I never
	knew it was you before.

		RAILLY
	It wasn't me before, James.  It's
	become me now because of...what's
	happening.  Please untie me.

Finished shaving, COLE re-enters the bedroom, toweling his face.

		COLE
	No, I think it was always you.  It's
	very strange.

		RAILLY
	You're flushed.  And you were moaning.
	I think you're running a fever.  What
	are you doing?

COLE is rummaging through RAILLY'S wallet, pulling out money.

		COLE
	I'll be back in a minute.

He heads for the door.

		RAILLY
	No!  Don't leave me here like this!

Too late!  He shuts the door behind him, leaving her alone.

ANGLE ON THE TV SCREEN, where an ANCHORMAN sits at a News Set.

		TV ANCHORMAN
	And in Fresno, California...crews
	continue to attempt to rescue nine year
	old Ricky Neuman.

ANGLE ON RAILLY, twisting and struggling on the bed, trying to
get loose, tears welling in her eyes.

		TV ANCHORMAN (cont. o.s.)
	The boy was playing ball with four
	other children when he literally
	disappeared off the face of the earth.

EXT.  MOTEL CORRIDOR - MORNING

COLE puzzles over a junk food vending machine, inserts coins tentatively.

INT.  MOTEL ROOM

ANGLE ON TV, the picture of RAILLY filling the screen.


----------------------- PAGE 52 MISSING -----------------------


		COLE
	My notes.  Observations.  Clues.

		RAILLY
	Clues?  What kind of clues?

		COLE
	A secret army.  The Army of The Twelve
	Monkeys.  I've told you about them.
	They spread the virus.  That's why we
	have to get to Philadelphia.  I have to
	find them -- it's my assignment.

		RAILLY
	What will you do...when you find
	this...secret army?

		COLE
	I just have to locate the virus in its
	original form before it mutates.  So
	scientists can come back and study it
	and find a cure.  So that those of us
	who survived can go back to the surface
	of the earth.

RAILLY maintains a professional deadpan, says nothing as they pass
a pickup truck with a MOTHER, FATHER, and five KIDS in the back.

COLE stares at the KIDS, a sad look in his eyes.

		COLE
	You won't think I'm crazy next month.
	People are going to start dying.  At
	first the papers will say it's some
	weird fever, some virus.  Then they'll
	begin to catch on.  They'll get it.

		RADIO NEWSCASTER (o.s.)
	We interrupt this program with a
	special bulletin...

RAILLY and COLE both react to the radio, suddenly alert.

		RADIO NEWSCASTER (o.s.)
	This report just in from Fresno,
	California.  Naval sonar specialists
	who were flown to the site...

		COLE
	I thought it was about us.  I thought
	maybe they'd found us and arrested me
	or something.

RAILLY stares at COLE.

		COLE
	Just a joke.

		RADIO NEWSCASTER (o.s.)
	-- an hour ago have been unable to
	determine the location of the boy in the
	150 foot shaft...but a TV sound man who
	lowered an ultra-sensitive microphone into
	the narrow tube claims he heard breathing
	sounds coming from approximately seventy
	feet down...

COLE reaches over and changes stations.  MUSIC again.

		RAILLY
	Does that disturb you, James?  Thinking
	about that little boy in the well?

		COLE
	When I was a kid I identified with that
	kid, down there alone in that pipe...a
	hundred feet down -- doesn't know if
	they're going to save him.

		RAILLY
	What do you mean -- when you were a kid?

		COLE
	Nevermind.  It's not real -- it's a
	hoax.  A prank.  He's hiding in a barn.
	Hey, turn left here.  Left!

COLE quickly checks the map as RAILLY stares, then turns left.

EXT.  SKID ROW STREET/PHILADELPHIA - DAY

An elderly EVANGELIST with long stringy hair, wearing a tattered
bathrobe, stands on a Skid Row corner WAVING a worn Bible as he
rants at disinterested DERELICTS, WINOS, and BAG LADIES.

		EVANGELIST
	"And the wild beasts of the islands
	shall cry in their desolate houses and
	dragons in their pleasant palaces:  and
	her time is near to come, and her days
	shall not be prolonged."

ANGLE ON RAILLY'S ACURA, crawling down the street, RAILLY driving,
COLE, beside her, staring out the window.

INT.  ACURA/SKID ROW STREET

COLE is scrutinizing the crumbling walls, boarded-up store
fronts, tattered posters, decaying signs, miserable "RESIDENTS".

		COLE
	Where I come from we think of this as Eden.
	If we could just see the sun, eat sun-grown
	food.  Eden!  Look at them!  They donut
	know what they have.  They don't see the
	sky.  They don't feel the air!

COLE'S POV:  a BMW speeds toward them, passes, its radio BLARING!

		COLE (o.s.)
	And the ones who aren't hungry are so smug
	they haven't a clue.  WAIT!  STOP!

EXT.  ACURA/SKID ROW

On foot now, COLE pulls an astonished RAILLY to a wall covered with
graffiti, a hopeless tangle of symbols, words, and crude pictures.

Clueless, RAILLY stares at the wall, then at COLE.

COLE touches a bit of red-stenciled graffiti hidden under gang
insignias.  We can just see TWELVE MONKEYS holding hands in a circle.

		COLE
	The Twelve Monkeys!!!  They're here.
	     (looks around)
	Somewhere.  Come on!

He pulls her along the sidewalk.  No question, he's insane.

At the next alley entrance, COLE stops abruptly.  Then, still
keeping a firm grip on RAILLY'S arm, he starts ripping down newly
tacked-up posters announcing a Rap concert.

RAILLY stares at him, then turns and is looking all around when,
suddenly, COLE pulls her up tight and threatens...

		COLE
	Look, I'm warning you.  You do anything,
	I'm going to go crazy -- hurt people!

		RAILLY
	I'm not going to "do" anything, I
	promise.  But you need help, James.
	None of this is what you think it is.

ANGLE ON COLE, not listening, staring triumphantly!  He's found
another partially obscured stencil of THE TWELVE MONKEYS!

But just then, a raspy VOICE startles COLE.

		RASPY VOICE (o.s)
	You can't hide from them, Bob.

COLE whirls, sees a derelict, LOUIE, leering at him, speaking in a
voice eerily like the RASPY VOICE from the next cell in the future.

		LOUIE
	No, sir, Old Bob -- don't even try.
	     (conspiratorially)
	They hear everything.  They got that
	tracking device on you.  They can find
	you anywhere.  Anytime.  Ha Ha!

RAILLY looks from LOUIS to COLE, sees COLE'S stunned reaction.

		LOUIE
	     (touches his back jaw)
	In the tooth, Bob!  Right?
	     (sudden triumphant grin)
	But I fooled 'em, old buddy!

He opens his mouth wide.  NO TEETH'

COLE grabs RAILLY and pulls her into the alley and down it.

		COLE
	They're keeping an eye on me.

		RAILLY
	Who's keeping an eye on you?

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

COLE breaks off, freezes as he sees...

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

And further on, another red stencil!

EXT.  VACANT LOT - MOMENTS LATER (DAY)

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

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

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

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

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

INT.  DARK ALLEY - DAY

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

COLE avoids them as he pulls RAILLY into the gloom.

ANGLE ON RAILLY, seeing something alarming twenty yards ahead!

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

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

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

These creeps have mean eyes, predator faces.

RAILLY digs her heels in, forcing COLE to stop.

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

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

		FIRST THUG
	Hey, buddy.

Startled, COLE turns to face them.

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

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

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

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

		SECOND THUG
	Stick around, bitch.

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

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

		COLE
	Please!  Please don't hurt me!

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

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

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

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

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

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

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

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

		COLE
	Are you hurt?

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

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

		RAILLY
	Is he...alive?

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

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

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

		RAILLY
	Oh, Jesus, James!  You killed him!

		COLE
	I did him a favor.  Now come on.

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

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

		COLE
	I've got one now.

EXT.  SECOND AVE - DAY

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

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

But COLE has stopped and is staring at...

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

INT.  FAA STORE - MOMENTS LATER (DAY)

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

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

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

		FALE
	Uh, can we help you?

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

		FALE
	Excuse me.  You looking for something
	in particular?

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

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

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

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

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

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

		COLE
	I just need some information...

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

TEDDY breaks off mid-sentence...freezes.

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

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

MONKEYS CHATTER wildly as TEDDY backs up.

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

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

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

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

		COLE
	Lock it now!

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

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

		FALE
	Shut up!

		COLE
	Mason???

		RAILLY
	Jeffrey Mason?

		BEN
	Yeah, tucking, crazy Jeffrey Mason.

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

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

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

		COLE
	No, I don't watch TV.

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

		COLE
	Is this him -- Dr. Mason?

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

		FALE
	That's him.

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

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

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

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

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

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

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

		COLE
	The Army of The Twelve Monkeys.

		BEN
	They started planning a "Human Hunt".

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

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

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

		COLE
	What's that mean?

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

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

EXT.  FREEWAY - AFTERNOON

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

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

INT.  MOVING FORD/FREEWAY

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

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

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

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

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

COLE is studying the map again.

		COLE
	The guy was a total fruitcake.

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

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

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

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

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

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

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

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

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

		COLE
	We need gas.

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

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

		RAILLY
	What's the matter with your leg?

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

		RAILLY
	Shot!  Who shot you?

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

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

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

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

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

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

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

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

		COLE
	Where are you going?

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

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

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

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

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

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

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

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

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

		COLE
	I love seeing the sun.

A beat.  COLE tries to stand up.

		RAILLY
	Wait -- let me help you.

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

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

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

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

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

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

		COLE
	I have a mission.  It's important.

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

EXT.  MASON MANSION - NIGHT

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

		FIRST AGENT
	They find him?

		SECOND AGENT
	Who??

		FIRST AGENT
	That kid.  The one in the pipe.

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

		FIRST AGENT
	You're making that up!

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

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

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

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

INT.  MASON MANSION/DINING ROOM - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

INT.  HALLWAY/MASON MANSION

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

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

INT.  LIBRARY/MASON MANSION

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

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

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

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

		COLE
	I'm here about some monkeys.

Halfway out the door, JEFFREY freezes.  A beat.

		JEFFREY
	Excuse me -- what did you say?

		COLE
	Monkeys.  Twelve of them.

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

		JEFFREY
	Arnold...Arnold.

COLE is astonished.  The AGENTS are, too.

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

		AGENT #3
	     (dubious)
	You know this man?

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

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

		AGENT #4
	"Arnie?"

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

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

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

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

INT.  HALLWAY/MASON MANSION

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

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

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

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

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

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

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

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

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

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

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

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

		   COLE
	Plan?  What are you talking about?

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

		   COLE
	Bulishit!  You're fucking with my head!

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

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

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

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

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

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

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

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

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

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

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

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

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

INT.  FOYER/MASON MANSION

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

INT.  DINING ROOM/MASON MANSION

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

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

INT.  KITCHEN/MASON MANSION

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

INT.  DEN/MASON MANSION

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

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

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

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

Just then, two AGENTS burst into the den.

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

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

ON THE TV SCREEN, RAILLY'S photograph appears.

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

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

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

EXT.  MASON MANSION - MINUTES LATER (NIGHT)

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

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

INT.  PARKED GREEN JAGUAR

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

EXT.  PARKED CARS/MASON MANSION

AGENTS continue to move cautiously among the parked cars.

INT.  PARKED GREEN JAGUAR

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

Panic.  COLE studies the shift again.

EXT.  PARKED CARS/MANSION

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

INT.  PARKED GREEN JAGUAR

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

EXT.  LAWN/MANSION

AGENT #5 whirls at the sound.

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

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

INT.  MOVING JAGUAR

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

The JAGUAR comes free with a great SCCCREEEEECH...

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

EXT.  MASON MANSION - NIGHT

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

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

INT.  SPEEDING JAGUAR/OUTERHRIDGE ?OAD - NIGHT

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

		COLE
	LIGHTS!  LIGHTS!

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

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

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

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

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

INT.  FLYING HELICOPTER - NIGHT

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

Just then, the PILOT sees headlights below.

		PILOT
	There!  He's showing lights.

INT.  SPEEDING JAGUAR - NIGHT

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

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

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

EXT.  OUTERBRIDGE ROAD

The HELICOPTER maneuvers over the speeding JAGUAR.

INT.  SPEEDING JAGUAR

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

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

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

EXT.  HELICOPTER/WOODS

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

INT.  HELICOPTER

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

		PILOT
	Goddamnit!  Where is he?

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

		CO-PILOT
	There!  Over there.

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

The headlights are gone.  Nothing but darkness below.

		PILOT
	He musta turned his lights of if.

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

		PILOT
	Maybe he's not driving!

EXT.  WOODS - LATER (NIGHT)

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

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

The POLICE OFFICER lunges forward, pointing his weapon into the
Jaguar.  He inspects the car, then turns and calls out...

		POLICE OFFICER
	He's not in here.

EXT.  WOODS/CLEARING - NIGHT

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

Suddenly, he sees what he's looking for.

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

INT.  TRUNK/FORD

Total blackness!  The sound of keys in the lock.

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

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

		RAILLY
	You bastard!  You total bastard!

EXT.  FORD

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

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

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

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

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

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

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

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

		RAILLY
	See -- you can drive after all!

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

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

		RAILLY
	What made you think that?

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

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

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

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

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

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

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

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

		RAILLY
	Give me the gun.

		COLE
	The gun! ... I lost it

		RAILLY
	You're sure?

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

RAILLY starts around to the front of the car.

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

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

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

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

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

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

		COLE
	I love this world!

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

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

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

COLE is gone.  Disappeared.

INT.  POLICE STATION OFFICE - MORNING

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

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

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

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

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

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

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

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

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

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

INT.  AIRPORT CONCOURSE/THE DREAM

YOUNG COLE stares, eyes wide.

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

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

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

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

INT.  SCIENTISTS' CHAMBER - ETERNAL NIGHT

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

		ASTROPHYSICIST
	Come on, Cole, cooperate!

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

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

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

INT.  RAILLY'S APARTMENT - EVENING

The TV shows film of RAILLY leaving the police station.

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

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

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

		WAYNE
	Sorry.

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

		MARILOU
	Did you take the sedative?

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

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

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

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

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

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

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

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

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

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

CLOSE ON RAILLY'S FACE... SHOCKED.

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

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

RAILLY stares at the TV, stunned.

INT.  "HOSPITAL" ROOM - ETERNAL NIGHT

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

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

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

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

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

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

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

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

		ZOOLOGIST
	This isn't the prison, James.

		BOTANIST
	This is a hospital.

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

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

		GEOLOGIST
	Stress!  Time travel!

		ASTROPHYSICIST
	You stood up very well, considering...

		GEOLOGIST
	Superior work!  Superior!

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

		MICROBIOLOGIST
	Others will take over now...

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

		GEOLOGIST
	We'll retake the planet.

		ASTROPHYSICIST
	We're very close!  Because of you!

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

		BOTANIST
	A full pardon!

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

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

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

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

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

COLE bursts into hysterical laughter.

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

INT.  PSYCHIATRIST'S OFFICE - DAY

CLOSE ON KATHRYN RAILLY, insisting fiercely to someone,

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

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

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

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

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

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

INT. "HOSPITAL" CELL - ETERNAL NIGHT

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

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

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

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

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

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

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

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

		COLE
	FUCK YOU!

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

		COLE
	Oh, yeah?  What do I want?

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

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

		COLE
	Tell me.  Tell me what I want.

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

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

		COLE
	More...than...anything.

INT.  RAILLY'S BEDROOM - MORNING

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

INTERCUT LIEUTENANT HALPERIN'S OFFICE/RAILLY'S BEDROOM

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

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

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

		RAILLY
	You found him?  Is he all right?

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

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

ANGLE ON RAILLY, reacting, stunned.

ANGLE ON HALPERIN, continuing soberly now,

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

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

INT.  RAILLY'S BEDROOM/STUDY

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

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

		RAILLY
	No!

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

INT.  SCIENTISTS' CHAMBER - ETERNAL NIGHT

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

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

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

		BIOLOGIST
	He really is the most qualified...

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

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

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

		MICROBIOLOGIST
	But you know what's real now?

		COLE
	Yes, sir.

The SCIENTISTS start to confer openly among themselves

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

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

The ASTROPHYSICIST fixes COLE with a sharp, penetrating look.

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

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

		COLE
	I understand.  There'd be no point.

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

INT.  DR. MASON'S OFFICE - DAY

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

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

INT.  RAILLY'S APARTMENT/STUDY

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

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

INT.  DR. MASON'S OFFICE

Dr. Mason on the phone.

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

DR. MASON hangs up angrily and glares.

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

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

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

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

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

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

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

INT.  SCIENTISTS' CHAMBER - ETERNAL NIGHT

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

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

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

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

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

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

		BOTANIST
	Meaning...???

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

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

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

		BOTANIST
	So that...???

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

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

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

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

COLE stares at the picture.

EXT.  FAA STOREFRONT - DAY

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

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

INT.  FAA STORE

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

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

		BEN
	What's she doing?

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

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

EXT.  FAA STOREFRONT

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

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

		RASPY VOICE (o.s)
	Secret experiments!

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

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

		RAILLY
	You!  I know you!

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

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

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

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

RAILLY follows his look.

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

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

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

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

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

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

RAILLY stares at the PUNKS.

INT.  FAA STORE

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

		JEFFREY
	You get the bolt cutters?

		KWESKIN
	One dozen.  They're in the van.

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

		JEFFREY
	     (grins)
	You really want to know?

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

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

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

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

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

		TEDDY
	What's it say?

		BEN
	I can't see it.

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

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

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

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

EXT.  FAA STOREFRONT/SECOND AVENUE

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

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

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

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

an AFRICAN AMERICAN with one eye...

the TEENAGED PUNKS...

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

		COLE
	Kathryn!

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

		RAILLY
	James!

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

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

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

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

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

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

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

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

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

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

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

		COLE
	I've seen that...before.

But RAILLY'S total attention is on their dilemma.

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

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

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

INT.  FAA STORE - DAY

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

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

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

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

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

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

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

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

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

JEFFREY smiles smugly into FALE'S flabbergasted face.

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

JEFFREY exits.  The others stare at the door.

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

EXT.  SKID ROW ALLEY - DAY

An overflowing dumpster squats near the mouth of an alley.

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

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

HER POV:  the POLICE CAR passes from view.

ANGLE ON RAILLY, emerging from the refuse, hissing,

		RAILLY
	James!  Come on.

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

		COLE
	I don't understand what we're doing.

		RAILLY
	     (climbing out of the dumpster)
	We're avoiding the police until I
	can....talk to you.

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

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

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

INT.  GLOBE HOTEL/LOBBY - MINUTES LATER

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

		DESK CLERK
	Twenty five bucks an hour.

		RAILLY
	An hour?!

		DESK CLERK
	You want quarter hours, go someplace else.

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

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

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

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

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

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

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

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

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

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

		RAILLY
	Just like that?  You were in prison?

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

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

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

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

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

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

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

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

COLE looks at her.  She's really upset.

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

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

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

		RAILLY
	What does this mean to you?

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

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

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

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

COLE stands, moves close to her.

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

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

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

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

		WALLACE
	This is my territory, bitch!

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

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

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

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

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

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

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

		RAILLY
	JAMES -- DON'T!

COLE hesitates.

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

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

		COLE
	     (amazed)
	You want me to rob him?

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

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

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

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

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

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

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

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

		RAILLY
	James, no!

INT.  BATHROOM

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

WALLACE cowers back against the shower stall.

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

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

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

INT.  GLOBE MOTEL ROOM 44

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

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

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

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

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

INT.  STAIRWELL/GLOBE HOTEL

COPS' boots THUNDER up the stairwell.

INT.  ROOM 44/GLOBE HOTEL

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

		RAILLY
	Push it tight!

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

INT.  4TH FLOOR HALLWAY/GLOBE HOTEL

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

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

EXT.  GLOBE HOTEL FIRE ESCAPE/ALLEY - DAY

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

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

INT.  GLOBE HOTEL FOURTH FLOOR - DAY

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

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

No response.

INT.  GLOBE HOTEL ROOM 44

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

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

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

EXT.  BUS STOP/DOWNTOWN - LATE AFTERNOON

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

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

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

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

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

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

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

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

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

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

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

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

		RAILLY
	It's a Carpet Cleaning Company...

		COLE
	A Carpet Cleaning Company?

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

		COLE
	You... you left them a message?

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

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

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

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

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

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

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

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

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

		RAILLY
	Come on.

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

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

		RAILLY
	And this.
	     (turning)
	Anything else?

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

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

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

ANGLE ON RAILLY, turning again to the CLERK.

		RAILLY
	I guess that's it.

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

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

The CLERK stares at the huge roll of bills!

		RAILLY
	What floor are the wigs on, please?

EXT.  PEST CONTROL VAN - NIGHT

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

INT.  PARKED PEST CONTROL VAN

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

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

		WELLER
	And Fale believed it?

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

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

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

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

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

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

		JEFFREY
	Let's do it!

EXT.  VAN/FREEWAY

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

INT.  PEST CONTROL VAN/MOVING

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

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

A loud GROAN from the bag distracts the others.

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

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

		JEFFREY
	Ah, but cruelty is his specialty.

		ICHIOKA
	So why should we be like him?

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

		JEFFREY
	Want the full effect?

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

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

JEFFREY puts his finger to his lips, silencing everyone.

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

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

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

The ACTIVISTS are all exchanging puzzled looks.

		JEFFREY
	What...virus?

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

		JEFFREY
	What virus are we talking about, Dad?

		DR. MASON
	You're insane, Jeffrey.

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

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

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

INT.  MOVIE SCREEN/THEATER - NIGHT

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

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

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

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

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

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

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

		RAILLY
	Here, let me help you.

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

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

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

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

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

		COLE
	Flowers!  What flowers?

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

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

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

		COLE
	Why are we doing this?

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

There are tears in her eyes.  They discomfit COLE.

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

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

		SHADOWY MOVIEGOER
	SHHHHHHH

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

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

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

EXT.  GORILLA'S PEN/ZOO - NIGHT

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

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

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

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

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

The GORILLA bellows angrily, beating his chest.

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

EXT.  PANTHERS' PEN/ZOO - NIGHT

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

EXT.  LION'S PEN/ZOO

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

EXT.  AVIARIES/ZOO

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

INT.  MOVIE THEATER AUDITORIUM

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

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

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

		COLE
	Kathryn?!

INT.  THEATER LOBBY

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

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

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

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

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

		RAILLY
	Well, you look pretty different, too.

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

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

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

INT.  STORAGE ROOM/MOVIE THEATER

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

EXT.  SUBURBS - DAWN

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

EXT.  CONSTRUCTION SITE - DAWN

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

Four stories below, other MONKEYS are climbing.

EXT.  SHOPPING MALL - DAWN

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

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

INT.  TAXICAB/CITY STREETS - EARLY MORNING

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

		WOMAN CABBlE
	What time's your flight, friends?

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

		RAILLY
	Nine thirty

		WOMAN CABBIE
	Might be tight.

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

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

		RAILLY
	What?  What did you say?

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

COLE and RAILLY exchange a quick look.

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

RAILLY and COLE stare at the cabbie, stunned.

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

Flabbergasted, RAILLY'S eyes suddenly fill with hope.

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

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

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

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

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

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

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

		RAILLY
	Maybe it's going to be okay.

INT.  TICKET COUNTER/AIRPORT TERMINAL - MORNING

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

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

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

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

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

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

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

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

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

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

RAILLY glances around nervously.

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

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

		RAILLY
	They may be looking for us, James.
	     (placing the tube in his hand)
	Use this.  You can fix it in the Men's Room.

		COLE
	     (confounded)
	I was here...as a kid.  I think you
	were here, too.  But you...looked just
	like you look now.

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

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

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

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

INT.  TELEPHONES/LOBBY - DAY

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

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

INT.  TZCKET COUNTER/TERMINAL

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

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

		RAILLY
	Judy Simmons.  I have reservations for
	Key West.

INT.  PAY PHONES/TERMINAL

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

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

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

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

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

INT.  TICKET COUNTER - DAY

The TICKET AGENT is counting out a stack of bills.

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

		RAILLY
	It's...a long story.

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

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

INT.  MEN'S ROOM/AIRPORT - DAY

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

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

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

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

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

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

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

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

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

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

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

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

INT.  TICKET COUNTER - DAY

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

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

		MR. PONYTAIL (o.s.)
	Business.

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

INT.  TERMINAL LOBBY

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

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

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

		COLE
	Jo...Jose????

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

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

		COLE
	What?  What for?  Are you crazy?

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

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

		COLE
	How did you find me?

		JOSE
	The phone call, man.  The phone call.

		COLE
	The call I just made?  Five minutes ago?

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

INT.  GIFT SHOP/TERMINAL - DAY

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

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

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

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

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

Startled, RAILLY frowns.  Does she know this man?

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

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

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

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

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

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

ANGLE ON RAILLY, reacting, suddenly remembering!

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

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

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

INT.  GIFT SHOP - DAY

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

		RAILLY
	Oh, my God!

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

INT.  LOBBY - DAY

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

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

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

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

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

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

		JOSE
	Hey, man...

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

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

		COLE
	Who am I supposed to shoot?

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

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

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

		COLE
	I love you, Kathryn.  Remember that.

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

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

INT.  SECURITY CHECK POINT/TERMINAL - DAY

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

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

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

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

ANGLE ON THE SECURITY OFFICER, reacting.

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

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

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

INT.  END OF LINE/SECURITY CHECK POINT

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

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

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

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

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

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

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

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

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

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

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

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

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

		SECURITY OFFICER
	It's empty!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

		COLE
	Get your hands off her!

The SECOND SECURITY OFFICER stiffens for trouble.

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

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

ANGLE ON DR. PETERS, hurrying away.

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

DR. PETERS freezes, turns, ashen.

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

DR. PETERS hurries back for his underpants.

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

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

RAILLY looks alarmed at that.

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

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

ANGLE ON RAZZLY, suddenly spotting DR. PETERS!

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

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

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

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

ANGLE ON DETECTIVES, reaching RAILLY and COLE.

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

ANGLE ON COLE, spotting something behind the DETECTIVES!

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

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

The ALARM goes off!!!!

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

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

ANGLE ON COLE, pulling his pistol.

ANGLE ON THE SECOND SECURITY OFFICER.

		FIRST SECURITY OFFICER
	HE'S GOT A GUN!

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

		FIRST DETECTIVE
	    STOP OR I'LL SHOOT!

ANGLE ON COLE, gun in hand, sprinting along the concourse toward
DR. PETERS as frightened TRAVELERS SCREAM and dive for cover.

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

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

		DR. PETERS
	WATCH IT!

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

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

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

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

		BRUNETTE (RAILLY)
	N0OOOOO0O!!!!!!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ANGLE ON YOUNG COLE, overwhelmed by the look.

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

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

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

INT.  747 CABIN - DAY

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

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

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

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

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

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

EXT.   PARKING LOT/AIRPORT

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

				 FADE OUT:

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