TWELVE MONKEYS (Continue)
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?
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