Conspiracy Theory_1997

INT. MANHATTAN STREETS - CAB - DAY
    Behind the wheel : JERRY FLETCHER . Flat - out handsome if not for his eyes . Someone rash , someone making an uninformed decision might call them crazy eyes . He stops across from an apartment building , TOOTS his HORN . IN DOORWAY A woman and a man , a CYNIC , appear . Jerry smiles as they kiss goodnight . A bit of desperate passion . She watches after him as he gets in the cab .
    CYNIC
    Luxembourg Towers on 7th.

INT. CAB
    Jerry nods , rolls out . The Cynic watches the door to 1257 close , then sighs . Jerry looks at him in the rearview .
    JERRY
    The sound of love.
    CYNIC
    Excuse me?
    Jerry exhales an exaggerated sigh .
    JERRY
    That's love.
    CYNIC
    Love? Love's just a pretty way of saying,' I want to sleep with you'. Love is bullshit.
    JERRY
    I live on tips, so do n't be offended, but you're a liar. I saw you kiss. Admit it, this is the street where love lives.
    The Cynic looks back over his shoulder . Down love street . As Jerry hangs a right , the Cynic faces forward .
    JERRY
    Love gives you wings. It makes you fly. I do n't even call it love. I call it Geronimo.
    CYNIC
    Geronimo?
    JERRY
    Geronimo. When you're really in love, you'll jump. Off the top of the Empire State. Screaming ` Geronimo' the whole way down.
    CYNIC
    But you'll die. You'll squash yourself. What's the point?
    JERRY
    Are n't you listening, man? Love gives you wings.
    The Cynic just smiles , leans back .
    CYNIC
    She must be some girl.
    JERRY
    I love her so bad. She just. wrecks me. I would die for her.
    ANOTHER ANGLE Jerry stops at a light . A road crew are at work ahead . A white strobe light warns motorists that they 're here .
    CYNIC
    She feel the same about you?
    Jerry ca n't take his eyes off the stroke . As he blinks .
    JERRY
    I do n't know.
    SUBJECTIVE POV Looking down as a man 's arms are strapped to the arm of a chair . The POV JERKING UP as the same is done with the head . A kaleidoscope of flashing lights ahead , then darkness as eyes are shut . They 're forced open . We see the reflection of blue eyes in glass as they 're taped open . As bright lights strobe . BACK TO TAXI Jerry stares at the light , transfixed .
    JERRY
    I never told her.
    CYNIC
    Why the hell not?
    JERRY
    I, uh, I have some problems.
    The traffic light glows green ; Jerry does n't see it . The sound of conspiratorial WHISPERS fill the taxi . SUBJECTIVE POV The contents of a syringe pumped into the strapped arm . The walls begin to melt . The WHISPERS CONTINUE . GARBLED , but their tone is perfectly clear . Threatening . Cabalistic . Human forms appear . Stretched impossibly long , melting along with the walls . We CLOSE ON the reflection of a dozen pair of the same taped - open eyes . The WHISPERING CUTS SHORT . Ominously . The eyes dart from side - to - side as FOOTSTEPS approach . The eyes suddenly widen in agony . As Jerry 's scream of pain becomes the BLARE of a HORN , we find ourselves back in the . TAXI Going about 60 mph . Jerry snaps to just in time to avoid a head - on collision with a car coming the other way .
    CYNIC
    Are you crazy?!
    JERRY
    The guy came right at us!
    CYNIC
    You turned up a one way street!
    Jerry watches , in a sweat , as he passes a `` ONE WAY '' sign pointing the opposite way . He mutters to himself .
    JERRY
    I was only going one way.
    CYNIC
    Drop me off here!
    JERRY
    Look, I'm sorry -
    CYNIC
    Just drop me off.
    ANOTHER ANGLE Jerry pulls to the curb . The meter at $ 3.60 . The Cynic slides a twenty through the slot and is out the door . Jerry watches over his shoulder as the Cynic disappears down the street . Jerry rubs his eyes , tries to regroup .
    JERRY
    Love street.

EXT. FIFTH AVENUE (MANHATTAN) - NIGHT
    Late . The cab rolls , this time the right way . Ahead , a well - dressed man steps off the curb , flags Jerry down . CAB Jerry slows , stops . As the well - dressed man starts over , Jerry sizes him up . The man seems suddenly sinister . As he reaches for the door , LOCKS CLICK DOWN . Jerry GUNS the CAB away . The confused man stumbles back , shouts , apparently not a threat at all .

EXT. APARTMENT BUILDING (UPTOWN) - NIGHT
    Headlights out , the cab pulls up to the curb .

INT. CAB - NIGHT
    Jerry glances at a lit 2nd floor apartment window , then settles in with a bologna sandwich . About to take a bite , he pauses , removes a slice of bologna . He regards it a beat , then carefully peels off the edge . Jerry holds the narrow casing up against the glow of a streetlight , like it was encoded . Then something catches his eye . He trades the sandwich for binoculars , focuses on the window . BINOCULAR POV - WINDOW LIZA SUTTON . In a Yale sweatshirt , stretching , earphones on . She forces her head past her kneecap and holds it there . Driven is the word to describe Liza . When she sleeps , she tries to do it better than anyone else does . We ca n't hear her , but as she finishes stretching , she sings along with the music on her headset . JERRY captivated , he sighs - the sound of love . Then he gets an idea . Still watching , he fumbles for the RADIO . Turning it ON , he SCANS radio STATIONS . BINOCULAR POV - LIZA Her lips do n't match anything . COUNTING CROWS . DAVID BOWIE . The TRAFFIC REPORT . A RAP TUNE . JERRY Never takes his eyes off her , SCANS STATIONS for the elusive number . He finds ANNIE LENNOX singing `` Blue Moon . '' BINOCULAR POV - LIZA Lips in synch . That 's what she 's singing along with .
    JERRY
    ( V.O . )
    ( joins in . )
    ` Blue moon, you saw me standing alone.'
    INTERCUT between them . `` Without a song in my heart , without a love of my own . Blue moon . '' In a weird way , it 's a duet . A sweet moment . Then , Liza stops . She gets on a treadmill and cranks it up . Walking a few moments before she 's jogging , before she 's running . No easy pace here . Liza gets grim , cranks up the speed and goes hard . She 's punishing herself . JERRY His voice trails off as he watches . Sad , he lowers the binoculars , does n't want to watch her do this . Throwing the CAR in GEAR , he takes a last look and drives away .

EXT. NEW YORK NEWS - NIGHT
    A classic corner newsstand except that a river runs down the street and over the curb . Newspaper stacks usually on the sidewalk are up on milk crates . The owner , FLIP TANNER , cruises the sidewalk in a battered wheelchair . All sinew and tendons , Flip is black , about 50 . He looks to Jerry 's cab plowing twin fountains as it approaches . Flip heaves a stack of newspapers and magazines into his lap . he rolls to meet Jerry at the curb , hands him the stack through the window . Jerry looks down at the water .
    FLIP
    Water main. Broke all the way over on 40th Street and Seventh. Subway's a damn river.
    Jerry stares back over his shoulder at water gushing out a manhole cover . Flip watches him , smiles .
    FLIP
    What're you thinking, Jerry?
    JERRY
    Water mains usually go in the winter. It's August 1st.
    FLIP
    Tell you what. Reminds me of life in the Delta.
    JERRY
    Mississippi?
    FLIP
    Mekong, my friend, Mekong.
    JERRY
    You know, Flip, Vietnam War was fought because of a bet Howard Hughes lost to Aristotle Onasis.
    FLIP
    Sure. And the two of'em used my legs for a wishbone. Nearly snapped me in half.
    JERRY
    I got ta go, Flip. Thanks.
    As Jerry drives away , Flip smiles , shakes his head .

EXT. VILLAGE BROWNSTONE - ROOFTOP - NIGHT
    Carrying his magazines and newspapers , Jerry climbs onto the roof from the fire escape . He deadpans a look back and forth . All seems clear . Jerry starts across . COOS as Jerry passes a PIGEON coop . He steps back , opens the door .
    JERRY
    It's your choice, fellas.
    As Jerry continues . SPACE BETWEEN TWO ROOFTOPS As Jerry leaps , PASSES directly OVER us .

INT. VILLAGE BROWNSTONE - HALLWAY - NIGHT
    Jerry enters by a window at the fire escape . Apartment 202 . He checks the seam between the door and casing . The tip of a toothpick is just visible . Assured , he unlocks the door . As the toothpick drops , Jerry steps inside .

INT. APARTMENT 202 - LIVING ROOM - NIGHT
    Stacked with filled - to - bursting file cabinets . On the walls , a silvery particle board . Jerry locks the door , balances an empty beer bottle upside down on the door knob . Satisfied , Jerry enters the file labyrinth . As he moves we FLASH ON some of the labels , some with not bad cartoon drawings . `` George Bush , '' `` Delta 30 , '' `` Blue Flood , '' `` Sirhan2 . '' Jerry turns the corner . `` Nazis & Nutrasweet , '' `` Patti Hearst , '' and among many more : `` MK Ultra '' which features the silhouette of a man holding a handgun & `` Council On Foreign Affair '' with the C - F - A in heavily Gothic lettering . KITCHEN - REFRIGERATOR Locked . Padlocked chains run through steel rings bolted to the sides . Jerry spins the combo - lock . Before opening , he pauses to consider a set of magnetic poetry words on the fridge door . He arranges them , reads :
    JERRY
    The essential goddess death could chain bitter men.
    ( moves words . )
    and crush the ugly moment. like life pounding eggs.
    Jerry opens the fridge to reveal ten padlocked stainless steel containers . He removes one labeled : `` Tapioca . ''

INT. APARTMENT 202 - JERRY'S BEDROOM - NIGHT
    Carrying a bowl of tapioca , Jerry enters . More files , a manual typewriter . On the wall , an American flag alongside a poster of John Lennon reading : `` Assassinated 12/8/80 . '' He strides to his desk and a . PUBLISHING MONTAGE BEGINS Jerry scans a New York Times spread on a drafting table . He circles headlines , names and dates . Does the same with the San Francisco Chronicle , Le Monde , Time , the Economist and Popular Mechanics . He enters raw data on 3x5 cards : space shuttle launched , base closings , escape from mental hospital and especially the obituaries . Specifically : `` Industrialist Ernest Hariman Drowns . '' Jerry flips through 100s of cards on big Rolodexes as he cross - references data . Jerry pulls cards , lines them up . The first connection : the dates of six Space Shuttle launches and six earthquakes all coinciding . Jerry lets out a low whistle . Never too jaded to be shocked . Jerry types the text of an article , crosses out mistakes . He handcranks copies off an old drum mimeograph . The hand drawn logo : lips whispering into an ear . The title : `` Conspiracy Theory . '' Jerry writes out five labels . Addresses from across America . Jerry slaps the labels on the newsletters .

EXT. STREET
    The sun comes up . Jerry drops the newsletters into a mailbox . He starts across the street , then stops , looks back with dread . He steps back over , checks the slot . Everything went down . Jerry starts away , then stops again . As he looks back .

EXT. JUSTICE DEPARTMENT - NYC OFFICES - DAY
    Jerry passes through the metal detectors . He stops to stare at the blindfolded Status of Justice . As a FEDERAL COP steps over to join him .
    JERRY
    Smart girl.
    FEDERAL COP
    How's that, sir?
    JERRY
    She's got a blindfold on.
    FEDERAL COP
    Do you have an appointment here, sir?
    Jerry continues to stare .
    JERRY
    Depends on your definition.

INT. JUSTICE DEPARTMENT - OUTSIDE CONFERENCE ROOM - DAY
    The morning meeting yet to begin . Lawyers wait as , THROUGH the glass , treadmill girl Liza Sutton argues with brusque department head WILSON . It 's a screaming match , though on this side of the glass their VOICES are MUFFLED THUMPS . Liza waves her arms . Wilson shakes his head emphatically . As they continue to argue , a YOUNG LAWYER arrives being shown the ropes by an OLDER LAWYER .
    OLDER LAWYER
    This is the conference room. We start 9 AM sharp. Usually.
    The argument in the conference room has gotten so vociferous , that people have stopped pretending not to watch .
    YOUNG LAWYER
    Wow. How long till I can talk like that to Mr. Wilson?
    OLDER LAWYER
    About a thousand years. That's Liza Sutton. You heard of the federal judge? Tom Sutton? Assassinated a few years ago?
    YOUNG LAWYER
    By that cult leader who's in prison, right? Ezekiel Walters. The one who blew up the Citibank Building.
    OLDER LAWYER
    None of it ever proven. But Sutton did deny Ezekiel a writ of habeas corpus. Anyhow, Liza is Sutton's daughter.
    A commotion down the hall . Jerry . The cop from downstairs and a second one try everything short of violence to usher him out .
    JERRY
    I'm an American and I demand to see Liza Sutton!
    CONFERENCE ROOM Wilson and Liza are nose - to - nose . THROUGH the glass , the head of every lawyer turns from them to Jerry . Like deftly executed synchronized swimming , Liza and Wilson ca n't help but notice . Jerry . Liza shakes her head in despair .
    WILSON
    Ah, your psychotic is here.
    LIZA
    Not today.
    Liza crouches down on the floor behind the chair .
    LIZA
    Tell him I'm on vacation. That I wo n't be back for two weeks.
    WILSON
    I do n't know if you're the best lawyer I've got or a high school sophomore.
    Wilson shakes his head , exits . OUTSIDE CONFERENCE ROOM As Jerry struggles with the guards who are definitely getting more physical .
    WILSON
    Get him out of here.
    CONFERENCE ROOM Liza peeks out . They 're hurting Jerry now . As Liza sighs . OUTSIDE CONFERENCE ROOM They drag Jerry back . Liza appears .
    LIZA
    It's okay! Let him go!
    The guards hesitate . Wilson nods . As they let Jerry go .
    LIZA
    Jerry, you are a restraining order waiting to happen.

INT. JUSTICE DEPARTMENT - LIZA'S OFFICE - DAY
    In its own way as cluttered and overflowing with files as Jerry 's apartment is . At her desk , Liza watches Jerry pace . The door is intentionally open . Liza 's secretary JILL keeps a protective eye from the outer office .
    LIZA
    I do n't see the connection.
    JERRY
    Come on! Six major earthquakes in the last three years? The space shuttle in orbit for every one of them?
    LIZA
    ( incredulous . )
    Testing some top secret seismic weapon.
    JERRY
    Not testing. Using. Nukes are passe. This is the weapon of the future.
    As Liza exchanges a look with Jill , Jerry pauses to look at a framed photo on a credenza . Liza , 20 , in full riding gear , gracefully jumping a horse over a set of rails .
    LIZA
    I still do n't see what it has to do with the President.
    JERRY
    ( re : photo . )
    Do you still ride?
    LIZA
    Not for years.
    JERRY
    So why do you keep the picture up? You wish you had n't quit?
    LIZA
    Well, I - Jerry, the point. Get there. What does it have to do with the President?
    It takes him a moment to switch gears . Setting down the picture , he pulls out a map , unfolds it on Liza 's desk . A seismic survey map . He points as he talks .
    JERRY
    The President's in Europe. Tomorrow he'll be in Turkey. Right along this fault line. They launched the space shuttle yesterday.
    LIZA
    Motive?
    JERRY
    He's cutting funding for NASA. The milk cow of the aerospace industry. We're talking billions. Motive enough?
    LIZA
    NASA is going to kill the President of the United States with an earthquake.
    JERRY
    ( nods . )
    Not exactly the kind of thing a Secret Service Agent can throw himself on top of.
    Liza sighs . On another day , Jerry might have been welcome comic relief . Not today . As she folds his map .
    JERRY
    You going to warn him?
    LIZA
    I ca n't promise you anything.
    JERRY
    You think I'm crazy.
    LIZA
    I think you're different.
    JERRY
    You know, to be ` normal' and live in the ` real world,' to swallow Coca cola and eat Kentucky Fried Chicken, you have to be in a conspiracy against yourself. I ca n't lie to me, Liza. And the more I strip through the sham, the crazier I look to people like you. Ca n't you see that's what they're counting on?
    ( a beat . )
    You want to go out sometime?
    LIZA
    No.
    Jerry smiles , looks away , embarrassed in an appealingly boyish way . If he was n't crazy , the answer might be yes .
    JERRY
    I better get going.
    LIZA
    You do n't have to burst in here every time, Jerry. Just call and make an appointment.
    He nods , gathers his map . Halfway out , he looks back .
    JERRY
    What was your horse's name?
    LIZA
    Johnny Dancer.
    ( a beat . )
    You've been in my office ten times. How come you never asked me about that picture before?
    JERRY
    Was waiting till I knew you better. Johnny Dancer, huh? Sounds like a racehorse.
    Jerry heads out . Liza watches after him a beat as he goes .

EXT. 40TH STREET AND 7TH AVENUE - DAY
    Cordoned off with cops redirecting traffic . A lake . Big diesel pumps gush water into the gutters , and the sidewalks are sandbagged . All the same , water flows over Jerry 's sneakers as he flags down a passing PUBLIC WORKS GUY .
    JERRY
    Hey, do n't water mains usually go in the winter?
    D.P.W. GUY
    Summer, winter, all I know it it's beaucoup overtime.
    Something catches Jerry 's eye - a tan sedan parked inside the cordon . Official U.S. Government plates . As Jerry frowns , two suits , CLARKE and PIPER , exit the subway kiosk , head to the sedan . Jerry watches , then heads for his cab .

EXT. FEDERAL BUILDING (MANHATTAN) - DAY
    The sedan pulls up , double parks . As Piper and Clark head inside , Jerry pulls up across the street .

INT. FEDERAL BUILDING - LOBBY - DAY
    Jerry enters , watches Clark and Piper get on the elevator for the 14th to 25th floors . As the door closes , Jerry steps to a podium with a directory of the building 's occupants . He drops a finger onto a listing . Floors 18 to 22 are occupied by : the Central Intelligence Agency .
    JERRY
    Spooks. I knew it.
    LOBBY SURVEILLANCE CAMERA POV - JERRY Grainy black and white as Jerry exits . Is he being watched ?

EXT. DINER - DAY
    Jerry 's cab is reflected against the glass . THROUGH the window , we see Jerry at the counter . Standing , he throws a few bills down and exits . Jerry reappears in reflection , stops short as Piper is reflected on one side , Clark on the other . They grab Jerry . As he struggles Clark jams an air syringe against his neck . Jerry 's reflection goes slack . As they drag him into his cab , a single OLD MAN at the counter looks over , then back to his meatloaf as the yellow of the cab streaks away .

INT. DECREPIT HOSPITAL ROOM (GERONIMO) - JERRY - DAY
    Strapped to a chair in the middle of what looks like an old hospital room . Jerry 's groggy , starting to regain consciousness . As he comes round , we hear FOOTSTEPS APPROACHING from the hall . CLOSE ON JERRY Two men enter . They may or may not be Piper and Clark , but we only see their torsos as they move back and forth . We hear a CLOSET OPEN , EQUIPMENT being DRAGGED . Jerry knows he 's righteously fucked . But he also knows .
    JERRY
    I was right. Was n't I? I was right.
    ( a beat . )
    What was I right about?
    They do n't seem to pay him any mind .
    JERRY
    Are you guys from NASA?
    Without warning , one of the figures grabs Jerry 's head from behind , straps it to a slat he attaches to the back of the chair . Jerry struggles , but his head is immobilized . The second man goes about taping Jerry 's eyes open .
    JERRY
    I was wrong! I was wrong!
    Finished , they leave . Jerry struggles , then finally waits . A new set of FOOTSTEPS in the hall . Jerry 's eyes follow someone into the room and across from him . Jerry frowns .
    JERRY
    Do I know you?
    JONAS
    ( O.S . )
    Yes you do, Jerry. Quite well.
    WIDEN to include - JONAS Standing opposite Jerry . Genteel looking , professorial . There 's something calm , oddly soothing about him .
    JONAS
    Have you ever been in a place from which hope has gone? All that's left is patience. Everywhere. Like a fog.
    A beat as Jonas considers Jerry .
    JONAS
    I'm a very patient man.
    JERRY
    That's great. Good for you.
    JONAS
    Who have you been talking to, Jerry? Who else knows what you know?
    JERRY
    Could you be a little more specific?
    Jonas does n't answer . Instead , he methodically loads a syringe . Jerry watches with grave apprehension .
    JERRY
    What's that?
    JONAS
    Lysergic acid diethylamide. With a little kicker of my own. Surely it must be coming back to you by now?
    There 's nowhere to go , but Jerry still tries to go there as the needle descends . And then the plunge .
    JERRY
    What do I know?
    Jonas switches on a row of strobe lights . They flash into Jerry 's face . In between them , on a screen , images . JERRY 'S POV A man on fire . Kennedy with the waiter on the floor in the Ambassador . That guy in Vietnam being shot in the side of the head . Rhesus monkeys subjected to direct brain stimulation . Reagan catching it under the armpit . A slaughterhouse . And interspersed between it all , a rather official - looking photo of a middle - aged man we 'll call Mr. S . Then - JONAS is dancing back and forth before Jerry . The strobes freeze him like some club from the '70s . ROOM But Jonas is n't really dancing . He 's directly across from Jerry - profile - to - profile .
    JONAS
    Who else knows what you know?
    Slack - jawed , Jerry does n't answer . Jonas holds an electrode to Jerry 's leg , touches a second to his side . Jerry arches back as current flows . JERRY 'S POV as the ceiling melts and drops in heavy globs around them . ROOM Jonas cuts the flow .
    JONAS
    Who else knows what you know?
    Jerry 's only answers are the tears running down his cheeks . Jonas hits him again . Jerry jerks back so hard the chair snaps right off the floor and topples over backwards . Jerry 's left wrist and right leg burst through the straps which were holding them down . A wisp of smoke rises . Jonas sighs . He looks down at Jerry who moans , whispers .
    JERRY
    I'll tell you.
    Jonas smiles paternally , steps over . Jerry 's mouth moves , but we ca n't hear him . Mr. S flashes on the screen .
    JONAS
    ( crouching . )
    From your lips, to God's ear.
    JERRY 'S POV As Jonas leans in , his nose looks enormous . ROOM Grabbing Jonas ' shirt with his limited left hand , Jerry uses the only weapon he 's got . He bites Jonas on the nose . Blood pulses as Jerry 's teeth find an artery . Howling , Jonas tries to scramble out of reach . Jerry kicks him in the stomach with his free leg and then keeps kicking . It 's inarticulate , roughshod work , but he connects and Jonas feels it and each new kick as a little more fury than the last . Finally Jonas rolls away . Jerry half - crawls , half - rocks his way to a crouched position . Rising , he staggers into the window , the top of the chair smashing through the glass . Jerry stares down to the ground below . JERRY 'S POV As the earth rises and falls like a wave . The distance down is impossible to gauge . ROOM As Jonas staggers to his feet , Piper and Clark charge in . They move forward , but without warning , Jerry gathers what balance he has and heaves himself out the window .

EXT. SIDE OF BUILDING - DAY
    Partially obscured by trees , Jerry does a half - gainer from exactly two stories above the ground . The chair back takes the brunt of the landing . Wood splinters . ROOM Blood spurts between Jonas ' fingers . Clark and Piper draw their guns and rush to the window . GROUND Slats of wood hang at his elbows and knees as Jerry reels across the lawn . ROOM Clark and Piper FIRE .
    JONAS
    Do n't kill him! Get him!
    As Clark and Piper rush off .

EXT. STREET - DAY
    Jerry slogs , sinks into asphalt up to his knees . A truck sets a dumpster down on the street ahead . As it pulls away , Jerry dashes , grabs hold of a handle on the rear .

EXT. STREET TWO - SOME BLOCKS AWAY - DAY
    We see the truck approach . As it turns right , the centrifugal force flings Jerry off the back and into the oncoming lane . Several taxis slam on their brakes to keep from running him over . All Jerry sees is yellow .
    JERRY
    I'm one of you! I'm one of you!
    As one driver leans out one window , shouts at him in Hindu .

INT. JUSTICE - ELEVATOR - DAY (END OF DAY)
    Liza 's in the back next to , but not with , one of the Lawyers seen earlier . He seems nice enough .
    LAWYER
    So, you doing anything tonight?
    LIZA
    ( hefts briefcase . )
    Working.
    LAWYER
    Hmm, how about tomorrow night?
    LIZA
    Working.
    LAWYER
    Night after that?
    LIZA
    ( smiles . )
    Look, you're a nice guy, but I'm not really dating right now.
    LAWYER
    I'm not that good at ` no,' Liza.
    LIZA
    Too bad. Because I'm terrible at ` yes.'

INT. JUSTICE DEPARTMENT - LOBBY - DAY
    As the elevator doors open , Liza steps into her worst nightmare .
    JERRY
    ( O.S . )
    Liza Sutton! I need to see Liza!
    Jerry is being blocked by three FEDERAL COPS .
    COP# 1
    You do n't leave now, you're under arrest.
    As Jerry spots her .
    JERRY
    Liza! This is it. They just tried to kill me! I do n't know what I know, but it's big!
    They tangle him up , a few feet from his destination . Liza can see that something , real or imagined , has happened . In the struggle , Jerry wrenches free , taking one of the Cops ' .45 s with him . He waves them off with it .
    JERRY
    Get back!
    Everyone freezes . Stand - off city .
    LIZA
    Easy, Jerry. Easy.
    ( realizes . )
    There's blood on your shirt.
    Indeed , blood is splattered across his chest .
    JERRY
    I bit the bastard's nose off.
    LIZA
    You bit someone's nose off?
    JERRY
    Yes! Do n't let's get into this thing where I have to repeat myself!
    As one of the Cops moves to flank , Jerry aims the gun .
    JERRY
    ( to Cops . )
    It's a man without a nose you want, you dumb complicit sons of bitches!
    ( to Liza . )
    You've got to listen to me.
    LIZA
    Put down the gun and I'll take your statement. Okay?
    JERRY
    You're the boss. Just do n't make me repeat myself. I hate that.
    Liza sees blood dripping onto Jerry 's shoe . She looks to where he clutches his side , blood oozing out . To his face .
    LIZA
    Jerry, you're bleeding.
    Jerry takes his hand from his side , looks at the blood .
    JERRY
    I did n't even feel it till a few minutes ago.
    As Jerry 's distracted , one of the Cops moves in . He forces Jerry 's gun hand up while the other two Cops take him down . Jerry struggles till one jams a thumb into a pressure point in his neck . Jerry winces , collapses .
    JERRY
    Who are they? I do n't even know who they are. But it's on the tip of my tongue.
    And Jerry starts to sob . As Cop one cuffs him .
    LIZA
    One of you call an ambulance.
    A hesitation before one of them moves to do so . Liza pushes her way through the other two .
    LIZA
    Ease off of him.
    They back off a step , keep him covered . Jerry continues to sob , desolate . And Liza , despite herself , puts an arm around him , does what she can to comfort . Her life 's never going to be the same .

INT. ROOSEVELT HOSPITAL - WAITING AREA - NIGHT
    A definite inner city feel . Liza stands out in her smart , stylish business suit . She sits in a plastic chair , tries not to scream into her cell phone .
    LIZA
    I need the files tonight. Have them sent to my apartment. I do n't give a rat's ass what you're doing! Hello? Damnit!
    Phone 's dead . Sitting beside Liza , fidgety in the early stages of withdrawal , is DOLLY , a 20 - year - old prostitute .
    DOLLY
    Sucks, huh?
    Liza does n't even look over . Dolly holds up a pager .
    DOLLY
    You should get one of these. Then use a pay phone. Cell phones can be traced.
    LIZA
    I'm not doing anything illegal.
    Dolly looks her over .
    DOLLY
    Yeah. Right.
    A bedraggled DOCTOR enters , scans the waiting faces .
    DOCTOR
    Who's here for Jerry Fletcher?
    LIZA
    ( standing . )
    I am.
    The Doctor steps over .
    DOCTOR
    He's lucky. Bullet passed clean through his side, did n't touch anything vital. He lost some blood, but he should be fine.
    LIZA
    When can I talk to him?
    DOCTOR
    They're moving him to the police ward. Maybe in twenty minutes.
    LIZA
    But -
    The Doctor 's already on his way out . Liza sits back down .
    DOLLY
    You're lucky. I had a boyfriend get shot in the stomach. Now he takes a dump through a plastic tube. I guess that's life, huh?
    Liza reaches into her day planner , pulls out a crisp $ 100 bill , holds it out to Dolly .
    LIZA
    It's yours. Just go sit someplace else.
    Dolly looks at her a beat . Plucking the bill from Liza 's fingertips , Dolly gets up and moves .

INT. HOSPITAL - POLICE WARD - HALLWAY - NIGHT
    A cop reads the paper at the end of the hall . He barely looks up as Liza walks down , steps into . ROOM 322 Liza enters as a NURSE injects a syringeful of `` something '' into Jerry 's IV . Jerry 's strapped to the bed .
    JERRY
    What's that?!
    NURSE
    Something to help you sleep.
    JERRY
    I do n't want to sleep! I want to be checked out!
    LIZA
    You're under arrest.
    Jerry looks over at Liza as the Nurse exits .
    JERRY
    What's the charge?
    LIZA
    You were there, Jerry. Figure it out.
    He nods . Is quiet a moment .
    LIZA
    If you could remember who shot you and where it happened, it might help.
    Jerry 's suddenly fighting to keep his eyes open .
    JERRY
    What a day. Wish I could tell you so it made sense.
    He tries to sit up . She eases him back down .
    LIZA
    Just relax.
    JERRY
    Switch the charts.
    LIZA
    What?
    Jerry 's as serious as a guy about to pass out can be .
    JERRY
    Switch'em. Or I'll be dead by morning. Do n't want to be dead.
    LIZA
    I'll see you tomorrow.
    As Jerry eases back into the mattress .
    JERRY
    Would n't bet on it.
    As Liza starts to go .
    JERRY
    Hey.
    ( as Liza looks back . )
    I ca n't control it. It's just, something that happened.
    LIZA
    What is?
    JERRY
    Love.
    They look at each other a moment . Then , as Jerry 's eyes flutter .
    JERRY
    Switch'em.
    A long sigh and Jerry 's out . Liza starts out , then stops , laughs at herself as she realizes what she needs to do . Stepping over , she switches the chart at the foot of Jerry 's bed with that of his unconscious roommate . This guy 's handcuffed to the bed frame . Liza looks at Jerry a beat , sighs , then exits .

EXT. LIZA'S APARTMENT BUILDING - WINDOW - NIGHT
    Back on the treadmill . Liza practically sprints . Her teeth grit . Driven near collapse . Like she 's punishing herself . As we PULL BACK , leaving her to her demons .

INT. HOSPITAL - POLICE WARD - HALLWAY - DAY
    The next day . Liza , arriving , stops short as an orderly flanked by a COP , wheels a sheet - covered body out of 322 .
    LIZA
    What happened?
    COP
    Guy came in with a gunshot wound, but he died of a heart attack. Go figure.
    Fearing the worst , Liza pulls back the sheet . It 's Jerry 's roommate . The guy who got Jerry 's chart .
    COP
    Are you Miss Sutton?
    Liza looks up , nods .
    COP
    They said send you downstairs.
    LIZA
    Who?
    COP
    The F.B.I., the C.I.A.. You name the initials and they're down there.
    LIZA
    Any special reason?
    COP
    All I know is, they said to send you and the body to the basement.
    They think the dead guy is Jerry . Liza eyes the door .
    LIZA
    I'll be right down.

INT. HOSPITAL - ROOM 322 - DAY
    Jerry sits in bed , one hand cuffed to the bed rail .
    LIZA
    People do have heart attacks.
    JERRY
    Sure. You switched the charts, did n't you?
    Liza does n't answer . Jerry jubilant . This is big .
    JERRY
    It's okay. The guy traded bullets with some old man in a liquor store. He had it coming.
    LIZA
    You expect me to believe what, that someone came in here last night. Gave that guy. something that stopped his heart?
    JERRY
    You switched the charts ; you tell me.
    LIZA
    I got to get downstairs. The C.I.A., they want to see your body.
    JERRY
    Really?
    She nods . Jerry regards the cuff , then her .
    JERRY
    I wo n't be here when you get back, but I'll be in touch. And thanks.
    LIZA
    For what?
    JERRY
    You saved my life.
    LIZA
    Heart attacks happen.
    Liza exits . Jerry thinks , smiles . He dips his hand into his oatmeal , smears it across his chin , onto his chest .

INT. HOSPITAL BASEMENT - DAY
    Liza steps off the elevator , is met by AGENT LOWRY . Darkly handsome , Lowry is all business with a twinkly in his eye .
    LOWRY
    Ms. Sutton? Agent Lowry, F.B.I.
    They shake hands . Both impressed with each other .
    LOWRY
    We're waiting for jurisdictional problems to be cleared up. This guy Fletcher's something else.
    LIZA
    Tell me about it.
    LOWRY
    While we walk.
    ( they move briskly . )
    D.C. police want him for assault. Secret Service for counterfeiting and we're tracking him on a string of bank robberies. No one knows what the C.I.A. wants him for.
    LIZA
    Wait -
    OPERATING THEATER Lowry enters ahead of her . The body is here . All backs are to Lowry and Liza . Wilson from Justice looks back over his shoulder . The other five are CIA . One man stands a bit apart . Lowry points him out , whispers into Liza 's ear .
    LOWRY
    Guy's a C.I.A. shrink. Here to I.D. Fletcher. They knew each other somehow.
    LIZA
    You do n't understand -
    Lowry shushes her . The sheet is pulled away to reveal Jerry 's roommate . His back still to us , the CIA PSYCHIATRIST is not happy .
    PSYCHIATRIST
    This is n't him.
    WILSON
    ( turning . )
    Liza?
    The Psychiatrist takes the chart from the foot of the bed .
    LIZA
    I was trying to tell, um, Jerry, I mean Fletcher, he's -
    Liza stops short as the Psychiatrist turns around . His nose is bandaged . His eyes look right through her . It 's Jonas ! Jerry 's man with no nose .
    JONAS
    ( PSYCHIATRIST . )
    He's what?

INT. HOSPITAL - ROOM 322 - DAY
    Covered in oatmeal , Jerry clutches his chest , groans . Three nurses , two orderlies and an INTERN surround him .
    INTERN
    He's having a heart attack!
    The Intern tugs on the handcuff .
    INTERN
    Where's that goddamn cop?!
    ( giving up . )
    Get a crash cart in here!
    JERRY
    No! Get me to the crash cart!

INT. HOSPITAL ELEVATOR - DAY
    Liza , Jonas , Lowry , Wilson and the CIA agents get into the elevator . Liza ca n't take her eyes off Jonas 's nose . He looks over at her . It 's unnerving .
    LIZA
    Can I ask you something?
    JONAS
    A dog bit it.
    LIZA
    Excuse me?
    JONAS
    You were going to ask about my nose. The poor animal is slated to be destroyed today.
    LIZA
    And you feel bad for it?
    JONAS
    It was my dog. Let me ask you a question. How long have you been acquainted with Jerry?

INT. HALLWAY - OUTSIDE ROOM 322 - DAY
    A crash . The Intern staggers back out the door and into the wall . Jerry exits - wearing a johnny which flaps as he dashes down the hall . Bouncing along behind him is the bed 's side rail which he 's still cuffed to .

INT. 3RD FLOOR HALLWAY - ELEVATORS - DAY
    Jerry pounds on the down button . PING ! The doors on the middle elevator open to reveal Liza , Jonas , et . al . They spot Jerry the same moment he spots them . Jerry drives the rail into one agent 's gut , staggering him . The second agent trying to exit catches the rail in the teeth . The elevator doors close . ELEVATOR Lowry reaches for the control panel . But he 's too late . As the elevator starts up , Lowry slaps the emergency stop . Then they pull the doors open . The various agents climb out , step down to the 3rd floor hallway below . Jerry is nowhere in sight . But from the hallway to the right of the elevators , a SHOUT and a CRASH . Everyone heads that way . NURSES ' STATION A nurse stands over an upended Med - Cart . She looks up at Liza and the suits charging around the corner . Points . PILLS CRUNCH under their feet as they take off in pursuit . HALLWAY TWO Jerry pulls a chair cover , hops up and punches a ceiling panel loose . Then he continues down the hall . The gang round the corner , stop short at the chair and panel . Jonas motions two agents up .
    JONAS
    The rest of you go room to room! I want dogs! I want motion detectors! I want heat sensors!
    As Jonas moves off , Lowry mutters to Liza .
    LOWRY
    Is this guy a psychiatrist or a field agent?
    HALLWAY THREE A row of beds against the wall . An orderly dumps a load of laundry down a laundry chute . He leaves . Jerry exits a bathroom , heads over . Gripping the lip of the chute , he 's just swung a leg inside when the room COP appears around the corner , gun drawn .
    COP
    Put your foot down.
    JERRY
    If you knew what really happened to Serpico, you'd be doing everything you could to help me out.
    COP
    ( closing . )
    Put your damn foot down.
    Obliging , Jerry swings his leg back over . But he sets his heel on a laundry cart , shoves it hard into the Cop . It gives Jerry a chance to swing the bed rail into the Cop whose gun skitters away as he tumbles back . Jerry tries again to jump down the laundry chute , but the Cop is there , grapples with him . Jerry finally head - butts him . As the Cop falls back , releasing Jerry , Jerry falls down the chute . He jerks to a stop as the bed rail forms a crossbar over the mouth of the chute . LAUNDRY CHUTE Jerry dangles from his wrist . That hurt . Jamming his back against one side of the chute , his feet against the other , he inches his way up . As he grips the edge to get out , a face looms ! Liza . Jerry loses his grip again , drops , jerks to another joint - wrenching stop . HALLWAY THREE Liza stands beside the semi - conscious Cop , looks down at Jerry . He looks up at her . At her mercy .
    LIZA
    He says a dog bit his nose.
    JERRY
    Arf. You got ta help me.
    LIZA
    I ca n't promise you anything.
    Liza turns , hears PEOPLE COMING her way . Deciding , she takes the key ring from the cop 's belt , finds the handcuff key . She slides it into the cuff on Jerry 's wrist . They share a long look . Click . Jerry drops . Liza 's left holding the rail . She turns , sees the beds by the wall . LAUNDRY ROOM Jerry lands hard in a hamper . HALLWAY THREE Liza tends to the Cop -LRB- returning his keys , pockets the cuffs -RRB- as Lowry and Jonas turn the corner .
    LOWRY
    Which way did he go?
    LIZA
    I do n't know. Did n't see him.
    As the Cop starts to sit up groggily .
    LOWRY
    No way we can shut a place this size down quick enough.
    JONAS
    You have a half - naked man chained to a bed rail. Just cover the exits.
    Lowry nods , heads out . Liza follows .
    LIZA
    I'll come with.
    Jonas looks over at the lone bed rail , then across at the laundry chute . Finally at Liza 's retreating back .
    JONAS
    You.
    Liza stops , looks back . Jonas crooks a finger at her .
    JONAS
    Keep me company.

INT. HOSPITAL - LAUNDRY ROOM - DAY
    Jerry the doctor . In his scrubs , pulls on a paper hair net .

INT. HOSPITAL EXIT - DAY
    Two cops on watch at the exits . Three tired interns on the way out when Jerry joins them . Just one of the guys .
    JERRY
    Did you see that spleen? I never saw a spleen like that ever.
    The cops do n't give them a second look as they exit .

EXT. HOSPITAL - DAY
    Odd looks from the interns , but Jerry 's home free .
    JERRY
    It was unbespleenable!

INT. HOSPITAL CAFETERIA - DAY
    Jonas dips a tea bag , stares across at Liza who grinds out a cigarette in an overflowing ashtray . He watches as she goes for her pack , realizes that was her last butt .
    JONAS
    So he thinks NASA is plotting to kill the President?
    LIZA
    You already asked me that. Why do you insist on making me repeat myself?
    JONAS
    And you have no idea where he lives?
    LIZA
    You've asked me that one three times.
    JONAS
    Here's a fresh one. Why you? Your colleague Mr. Wilson says Jerry wo n't speak to anyone else. That seems oddly possessive behavior to me.
    LIZA
    I'm sorry. What was the question again?
    JONAS
    Why you?
    LIZA
    Honestly? I think he has a crush on me.
    JONAS
    A charming term. Now, why him?
    LIZA
    Excuse me?
    JONAS
    Jerry's visits to your office. Why do you tolerate them? Why him?
    LIZA
    A year ago I was leaving work late one night. Two guys tried to mug me. It was horrible. Jerry came out of nowhere. To my rescue. Then he started coming to see me.
    ( smiles . )
    Could've been a storybook if he was n't crazy. At first I did my beat to avoid him. But there's something inside Jerry and.
    ( shrugs . )
    Jerry made me see it. He made me see him. That make sense?
    Jonas nods . As he tends to his tea , Liza notices he wears a Harvard alumni ring .
    LIZA
    You went to Harvard?
    Jonas nods . Liza gestures toward the ring .
    LIZA
    May I?
    Jonas offers his hand so she can get a closer look : three open books with the letters VE - RI - TAS .
    LIZA
    Veritas. Truth. What is it they say about truth?
    JONAS
    The truth shall make you free.
    LIZA
    That's it.
    ( releases his hand . )
    I went to Yale. I hope you wo n't hold that against me.
    JONAS
    Only on the football field.
    That 's as charming as Jonas gets . The sparring continues .
    LIZA
    I did n't know the C.I.A. had psychiatrists.
    JONAS
    We're very specialized.
    LIZA
    Brain washing, mind control, that sort of thing?
    JONAS
    Re - educating trained killers in the ways of polite society. Making sure the men who've gone over the edge wo n't hurt anyone. That sort of thing.
    Jonas takes a sip of tea , watches her over the rim .

INT. HOSPITAL - ROOM 322 - DAY
    A cop at the door . Liza flashes her ID , enters . She heads to the nightstand , opens it . There 's a key ring , a pack of gum and a worn paperback copy of Catcher In the Rye with the familiar crimson and gold cover . Liza flips through it . Certain passages are highlighted , others blacked out .
    LOWRY
    ( O.S . )
    Catcher In the Rye?
    Liza looks up as Agent Lowry enters .
    LOWRY
    That's the book Hinkley had on him when he shot Reagan.
    LIZA
    I was just thinking that.
    COP
    ( leaning in . )
    You remember that Arab guy who shot the Rabbi a few years back?
    ( as they look over . )
    I was one of the arresting officers. He had a copy of the goddamn thing too.
    ( smiles . )
    You know that expression, it must be the water. Well, maybe it's the book.
    As the Cop laughs it up , Lowry and Liza exchange a look .
    LOWRY
    Thanks for your input, officer.
    The Cop shrugs , exits . Lowry picks up the keys and gum .
    LOWRY
    Gum, keys and a book.
    ( checks keys . )
    Car. Maybe apartment. This is an odd one.
    Of the three keys , one is long and narrow .
    LIZA
    Safety deposit box.
    As Lowry nods , three of Jonas ' CIA suits enter . As one confiscates the gum and book , another holds his hand out for the keys . Lowry gives them over . As they exit .
    LOWRY
    You're welcome!
    ( shrugs to Liza . )
    Spooks. So, you want to compare notes on this guy.
    LIZA
    No. Not yet.
    Something catches Liza 's eye . She steps to the nightstand . A word is scratched into the side by the bed . Geronimo . Lowry picks a fork off the floor . Just the right size .
    LOWRY
    Geronimo? What's that?

EXT. HOSPITAL - EARLY EVENING
    Liza exits , starts for the street . A long day . She fishes a small tape recorder from her briefcase , switches it on .
    LIZA
    Jerry Fletcher. Apparently, a major desperado. Subject of a multi - jurisdictional task force manhunt. I do n't buy it. He might be nuts, but there's something. good about him.
    Liza suddenly reacts in shock to something ahead .
    LIZA
    No!
    Liza dashes forward . We see her car at the curb - a BMW sedan . A traffic control officer has just finished shoving a ticket under the wiper . Liza arrives shouting , as they roll away . Liza grabs the ticket , pissed , frustrated . But after a moment , she gets in the car .

INT. BMW - STREET - EARLY EVENING
    She gets in grumbling , STARTS the ENGINE . As six fanned - out parking tickets rise from the back seat behind her , she spots them in the rearview . Liza jumps , her grip on the steering wheel the only thing keeping her from hitting her head on the roof .
    JERRY
    ( O.S . )
    They've been coming all day. Nothing I could do about it.
    As she recovers .
    LIZA
    How'd you know this was my car?
    JERRY He lies across the back seat , staring up .
    JERRY
    Lucky guess. Um, I'd feel a lot less naked if we could get outta here.
    LIZA
    ( O.S . )
    Do n't tell me you're naked back there.
    JERRY
    Figure of speech. Could we go?
    BMW Liza takes the tickets . Deciding , she hits the gas , starts through the intersection .
    JERRY
    What took so long? You were in there all day.
    LIZA
    That's how long it takes to turn a hospital inside out. A lot of people are after you, Jerry.
    JERRY
    Dead or alive, they'll stick me in there with Oswald. Another lunatic acting alone,
    LIZA
    Oswald was an assassin. You're not an assassin, are you, Jerry?
    JERRY
    If you're worried about the President, call and warn him about the Space Shuttle.
    LIZA
    Right. Sit up so I can see you.
    JERRY
    Uh uh, do n't want them to see me.
    LIZA
    Them who?
    JERRY
    Change lanes. Then watch your rearview.
    Liza does so . Looking in the mirror , a set of headlights , maybe three cars back , move as well . Liza frowns , turns left , eyes on the mirror . A beat and the car follows her .
    JERRY
    Flat, wraparound headlights?
    LIZA
    Yeah.
    JERRY
    Crown Victoria. F.B.I. car. A legitimate tail.
    LIZA
    As opposed to?
    JERRY
    People more serious about their work. You know how to drive this thing or do you just like looking good in it?
    LIZA
    You mean I should speed up and try and lose them?
    JERRY
    Yes.
    LIZA
    That's how a man would do it. I'm not a man.
    JERRY
    I noticed.
    Liza stops in the middle of the street . Jerry stays low .
    JERRY
    What are you doing?
    STREET The Crown Victoria has slowed considerably . Liza sticks her arm out of the window of the BMW , motions it forward . CROWN VICTORIA Lowry at the wheel . Knows he 's been made . No use trying to get out of it now . Shaking his head , he rolls forward . STREET Lowry pulls up alongside Liza . Ca n't see Jerry in back .
    LIZA
    Agent Lowry.
    LOWRY
    ( shrugs ; sheepish . )
    Was n't my idea.
    LIZA
    Jonas?
    LOWRY
    It's his show for now. Look, you want to get some dinner? Inter - Agency cooperation and all?
    JERRY in the back . He does n't like the sound of that .

INT./EXT. BMW/CROWN VICTORIA
    Liza smiles , but is n't biting .
    LIZA
    When I'm ready to compare notes, I'll let you know.
    LOWRY
    Your call. Have a good night.
    Lowry puts it in gear and takes off . Relieved , Jerry sits up , watches the taillights fade away .
    LIZA
    See? Was n't that a lot easier than squealing tires and knocking over trash cans?
    JERRY
    Nothing is easy.
    LIZA
    How long have we known each other, Jerry?
    JERRY
    Six months. Eleven days.
    LIZA
    Till today, I have n't believed a word. Now, I'm curious. Six months, eleven days. I'm going to give you one more hour to impress me. Where to?

EXT. NEW YORK NEWS - NIGHT
    Flip watches from his wheelchair as the BMW pulls up . It takes him a minute to recognize .
    FLIP
    Jerry? You did n't show last night. First time ever. Had me worried, boy.
    JERRY
    Sorry, Flip.
    ( re : Liza . )
    Got sidetracked.
    Flip glances at Liza , thinks he understands . As he winks at Jerry , Liza rolls her eyes to the heavens . Flip retrieves a double stack of newspapers and magazines .
    FLIP
    Saved you last night's, too.
    JERRY
    Flip was a hero in Vietnam.
    FLIP
    Sure was. Pounded the V.C. for this Greek cat named Ari Onasis.
    Flip smiles as he wheels back over . He likes Jerry .

INT. RESTAURANT - NIGHT
    Jerry and Liza by the window . Jerry hands her the front page of The New York Times . As Jerry scarfs bread .
    JERRY
    Just look at it. Ten seconds and you'll be scared out of your mind.
    As Liza scans the paper , a waiter sets a small salad in front of her and a big bowl of spaghetti and sausage in front of Jerry . He digs in like a five - year - old .
    JERRY
    ( re : salad . )
    You worked all day for that? Lettuce, tomatoes, no dressing. That's what, you're punishing yourself, right?
    She looks up . An odd beat . Is Jerry on to something ?
    LIZA
    You have the right to ask me certain personal questions?
    JERRY
    ( slurps noodles . )
    Yeah. I think so.
    Liza hands him back the paper .
    LIZA
    Nothing scary there. Sorry.
    JERRY
    Oh, well, maybe to the untrained eye.
    ( scans it . )
    Hmm. Ahh.
    ( raises eyebrows . )
    Ooooo.
    Liza waits as Jerry spreads out the paper .
    JERRY
    More about life on Mars. From a rock they found on the South Pole. Explain that one to me. But maybe we should go to Mars and find out? How much do you think that's going to cost?
    LIZA
    What is it with you and the space program?
    JERRY
    And look here. Cease fire in Chechenia. That's good for the banks who lent the government money, but bad for the guys selling them weapons.
    ( scanning article . )
    Listen to this, some gas company in Colorado. Their researchers have been blocked from testing a fuel additive. They've accused the E.P.A. of, quote, ` turning a blind eye to the future.'
    Jerry grabs a dollar bill from the tip of the adjacent table . He turns it over , points out the `` eye '' above the pyramid .
    JERRY
    Well that's the eye right there. Money. And all the power and misery it brings with it. It's a plot to take over the world. The Master Conspiracy. Can take a lifetime to pull off.
    LIZA
    Do they have a secret handshake?
    Jerry takes her hand . He shakes it , employing various complex machinations . Finished , he regards her intently .
    LIZA
    That's it?
    JERRY
    I have no idea.
    She laughs . He got her that time . But after a beat .
    LIZA
    So why are they after you?
    JERRY
    I'm not sure. I think I figured something out.
    ( lowers voice . )
    It must've been in my newsletter.
    LIZA
    What newsletter?
    Jerry crosses his lips with his finger , shushes her . He motions her forward so he can whisper . She leans in . At that moment - a GUNSHOT ! In one motion , Jerry stands , throws his chair through the plate glass window . As GLASS RAINS down , he 's already got one foot out on the sidewalk . He reaches back for Liza .
    JERRY
    Come on!
    Then Jerry sees the waiter , standing nearby , a bottle of wine in one hand , a popped cork in the other - the source of the sound . Jerry looks back to Liza .
    JERRY
    So I'm a little jumpy. Who would n't be?
    LIZA
    You're certifiable.
    JERRY
    You would n't be sitting here if you did n't halfway believe me.
    LIZA
    Believe you about what?
    Jerry shrugs . As the manager storms over , Liza peels off a hundred dollar bill .
    LIZA
    ( re : window . )
    Will that cover it?
    He shakes his head . As she peels off a few more .
    JERRY
    You know that hour you gave me to impress you? How much of it is left?

INT. JERRY'S VILLAGE BROWNSTONE - HALLWAY - NIGHT
    Liza enters by a window at the fire escape . Jerry follows . His side is obviously bothering him .
    LIZA
    You okay?
    JERRY
    Flesh wound. No big deal.
    Jerry heads for the door to his apartment .
    LIZA
    I still do n't think we had to park a mile away.

INT. APARTMENT 202 - LIVING ROOM - NIGHT
    Jerry and Liza enter . Closing the door behind them , he switches on the light . Liza looks from the filing cabinets to the silvery particle board covering the walls .
    LIZA
    Is this supposed to protect you from aliens?
    Jerry does n't answer as he locks the door , picks the empty beer bottle up off the floor .
    JERRY
    You know why the Grateful Dead are always on tour?
    LIZA
    Surprise me.
    JERRY
    The whole kit and caboodle of'em are British Intelligence agents. Spies. Jerry Garcia had a double - o rating. Just like James Bond.
    Jerry sits the beer bottle on the doorknob , turns , heads off . Liza looks at the bottle , then , `` a la Bond '' .
    LIZA
    Garcia, Jerry Garcia.
    As he moves to follow . FILE LABYRINTH They snake their way through the towering files .
    JERRY
    You want something to drink?
    LIZA
    Um, coffee. If that's okay?
    Jerry looks back over his shoulder , smiles .
    JERRY
    Coffee's our friend.
    KITCHEN Liza watches as Jerry unchains the refrigerator . He misinterprets the look on her face .
    JERRY
    I keep the beans in the fridge. They stay fresher that way.
    As Jerry removes one of the stainless steel containers , Liza reads some of his magnetic poetry off the door .
    LIZA
    Must language produce a thousand knives and not recall a whisper?
    ( then another . )
    I love the delicate shadow of she wanting me to be.
    Liza smiles at Jerry who looks up sheepishly from the container . He 's having trouble with the lock .
    JERRY
    Forgot the combination. You want some grapefruit juice?

INT. JERRY'S BEDROOM - NIGHT
    Jerry enters with Liza . The photo of Lennon gives her pause . She looks at the surrounding files then watches as Jerry turns the mimeograph drum , starts printing something .
    JERRY
    If my universe had a hub.
    LIZA
    This would be it?
    Jerry nods . Liza steps to the drafting table where Jerry has done several rough , but competent sketches of horses in motion . There 's a book open to a photo of a horse and rider jumping a rail . Liza closes it , reads :
    LIZA
    Equitation.
    JERRY
    I've been reading up on it.
    LIZA
    ( re : sketches . )
    Are these yours?
    Jerry nods , embarrassed . As he staples some papers together , Liza stops short . In the margin of one of the drawings are two small profile sketches of her . Eyes closed , it looks like she 's sleeping .
    JERRY
    Here it is. Conspiracy Theory.
    ( proudly hands it over . )
    It just went out Tuesday. Third issue this year. I bet I struck a nerve. Pissed someone off.
    LIZA
    ( scans contents . )
    ` The Space Shuttle's Seismic Secret'. ` The Oliver Stone - George Bush Connection'.
    ( looks up . )
    Oliver Stone?
    JERRY
    Stone is their spokesman. You think if someone really had all that information and a national podium to shout it out from that they'd let him do it? Stone's a disinformation flunky. The face that he's alive says it all.
    LIZA
    Can you prove any of this?
    JERRY
    Absolutely not. A good conspiracy is an unprovable conspiracy. If you can figure it out, they screwed it up.
    Liza flips through , reads the lead - in to one story aloud .
    LIZA
    ` On July 8, 1979, security forces under control of the Trilateral Commission abducted the fathers of all American Nobel Prize winners. The men, many of them octogenarians, were forced at gunpoint to ejaculate into small plastic bottles. The sperm collected is now under study in a laboratory beneath the headquarters of the Rand Corporation in Santa Monica, California.'
    JERRY
    Pretty scary, huh?
    LIZA
    Yeah. how many subscribers do you have?
    JERRY
    ( embarrassed . )
    Just five. It's the economy. You think maybe one of them is not who they seem?
    LIZA
    You got a list?
    Jerry nods , goes about digging one up . Liza steps to a bookshelf and fifteen different copies of The Catcher in the Rye .
    LIZA
    You're a Holden Caulfield fan.
    JERRY
    Who?
    LIZA
    Holden Caulfield? Catcher in the Rye?
    JERRY
    Never heard of him.
    LIZA
    You have ten copies of the book, but you do n't know who the main character is?
    JERRY
    I've never read it. I just - Every time I see one I buy it. I do n't know why exactly. Wan na hear my favorite part?
    Strange . As Liza nods , Jerry opens to a particular page .
    JERRY
    ( reads . ) '
    I keep picturing all these little kids in this big field of rye. And I'm standing on the edge of some crazy cliff.'
    FRONT DOOR - BEER BOTTLE Nothing until , almost imperceptibly , the door knob moves .
    JERRY
    ( O.S . )
    ` If they're running and they do n't look where they're going I have to come out from somewhere and catch them.'
    JERRY 'S BEDROOM
    JERRY
    ( finishing . )
    ` That's all I'd do all day. I'd just be the catcher in the rye.'
    FRONT DOOR - BEER BOTTLE The BOTTLE FALLS as the knob turns . JERRY 'S BEDROOM A brief look between them before Jerry hits a switch which kills the lights , then pulls her down alongside him .
    LIZA
    It probably fell by itself.
    Jerry puts a finger over her lips .

EXT. ADJACENT BUILDING - ROOFTOP - NIGHT
    Two black - clad snipers aim at Jerry 's window , OPEN FIRE .

INT. JERRY'S BEDROOM - NIGHT
    Liza stifles a cry as tear gas canisters CRASH the WINDOW . FRONT DOOR It 's bludgeoned open . Light streams from the hallway . BUILDING HALLWAY Ten black - clad assault team members dives for cover as their leader tosses in a CONCUSSION GRENADE . JERRY 'S LIVING ROOM Cabinets split at the seams as the air is rent by the THUDDING IMPLOSION . JERRY 'S BEDROOM A beacon shines through the shattered window , but they 're clear . Jerry shoulders the desk across the floor . He pulls a barely visible wire loop , opens a trap door in the floor .
    JERRY
    Go.
    As Jerry guides Liza down the hatch . LIVING ROOM The assault team enters military style . KITCHEN WINDOWS Smash as two commandos rappel their way inside . JERRY 'S BEDROOM Grabbing the subscriber list , Jerry drops down the hatch pulls the trap door shut behind him .

INT. DOWNSTAIRS APARTMENT - NIGHT
    Dark . Jerry lands alongside Liza on a mattress .
    JERRY
    Always rent a spare apartment!
    Standing , Jerry hauls down on a handle attached to another thin wire . Really putting his weight into it . JERRY 'S BEDROOM The desk slides back into position over the trap door . Just an instant before the assault team rolls in . DOWNSTAIRS APARTMENT Jerry dashes to a closet . Liza watches as he opens the closet door , strikes a waiting match . He lights a fuse which burns up toward a hole in the floor .
    LIZA
    What are you doing?
    JERRY
    Getting rid of my hub!
    Liza stops short . The white light from the fuse illuminates the Wonderwall . Liza stares at a 6x12 painted montage . One image dominates . In fact , it 's arresting . Bliss : Liza in full equestrian fear , hands outstretched , head thrown back . Astride a winged horse . It soars over a gate and up into the heavens . Jerry has eyes only for the fuse . As it disappears through the hole in the floor , it takes its light with it . The Wonderwall goes dark .

INT. JERRY'S APARTMENT - FILE CABINETS - NIGHT
    Branching off , the fuse runs into them , through them . Incendiaries ignite . FILE HALLWAY Bursting into flames . Everywhere . The assault team members shout , beat a retreat .

INT. DOWNSTAIRS APARTMENT - NIGHT
    Jerry pulls a jacket from the closet , starts to pull it on . It 's too dark to make out exactly what he 's doing . Liza grabs the matches , lights one . It casts a barely adequate glow on the wall .
    LIZA
    What is this?
    Jerry 's wearing a fireman 's greatcoat , pulls on a fireman 's helmet . Realizing what she 's seen , he 's very embarrassed .
    JERRY
    Do n't know. It was here when I moved in.
    The match burns to Liza 's fingertips . Darkness once again .

INT. JERRY'S APARTMENT - NIGHT
    No shortage of light up here . As the last man exit , it 's become an incinerator . White hot flame shoots out . Paint peels . The housing of the typewriter melts . A locked METAL CYLINDER on the kitchen counter EXPLODES in a shower of popcorn . Polaroids blister . But more than anything - files burn . As the sound of SIRENS builds .

INT. DOWNSTAIRS HALLWAY - NIGHT
    Smoke , but no fire . Six NYC firefighters escort squinting residents to the fire escape . A FIREMAN exits an apartment with a woman slung over his shoulder .
    FIREMAN
    Make a hole. Watch your backs.
    It 's Jerry . The woman is Liza . As a path is cleared . STAIRWELL Jonas and his men trot up the stairs led by a FIRE CAPTAIN . Lowry follows , looking like he wished he were someplace else . Jonas no longer wears the bandage , just a small strip which partially covers the stitches across his nose . They meet Jerry and Liza on the landing , cross right past them . Oblivious . Jerry and Liza continue down .
    LIZA
    Was that who I thought it was?
    JERRY
    ( FIREMAN . )
    Uh huh.
    LIZA
    Has this happened to you before?
    JERRY
    Never, but I've been practicing.
    LIZA
    ( beat ; then . )
    Who are you, Jerry?
    JERRY
    Just a guy trying to put out a fire.
    They continue down OUT OF SIGHT .

EXT. JERRY'S NEIGHBORHOOD - STREET - NIGHT
    Jerry dumps the fireman 's coat in the trash , jumps in the BMW as Liza TEARS AWAY from the curb .

INT. JERRY'S APARTMENT - NIGHT
    Jonas and his men are walked through the smoldering ruins by a Fire Captain . He pauses at the silver on the walls .
    FIRE CAPTAIN
    See the aluminum stuff? Firewall. Guy designed it so he could turn the place into an incinerator. Leaves the rest of the building untouched.
    CIA AGENT
    ( stepping up . )
    Dr. Jonas, there's something else you should see.

INT. DOWNSTAIRS APARTMENT - NIGHT
    Illuminated with flashlights . Jonas enters , stares at the Wonderwall , mainly Liza , a moment before .
    JONAS
    In one hour I want to know what she eats, where she sleeps, the name of her gynecologist. Everything.

INT. LIZA'S APARTMENT - LIVING ROOM - NIGHT
    The door opens . Liza enters followed by Jerry . An awkward beat as Jerry looks suspiciously about .
    LIZA
    See? Home safe and sound.
    They stand there like two teenagers at the end of a date . Liza holds her copy of Conspiracy Theory .
    JERRY
    You gave me an hour ; now give me a day.
    LIZA
    Jerry, there's something I have to ask you. Actually about a hundred things, but we can make progress, if you answer one question. To my satisfaction.
    JERRY
    Shoot.
    LIZA
    It was that painting. The one on the wall.
    JERRY
    ( embarrassed . )
    I did n't mean for you to see it. It's like looking in someone's diary and taking it out of context. Know what I mean?
    LIZA
    It made me feel like you could see inside of me. And I do n't know how that's possible.
    JERRY
    So what's the question?
    LIZA
    How is it possible?
    Jerry does n't answer . He looks around . Trapped . Then he spots a particular doorway .
    JERRY
    Could I, um, could I look at something?
    Without warning for her answer , he walks into .

INT. LIZA'S APARTMENT - SITTING ROOM - NIGHT
    Big enough for a chair , bookshelves and a treadmill . Jerry steps onto the treadmill . Tentatively , like it might swallow him . He looks forward , then looks back . At . A framed 8X10 photo on the bookshelf : Liza , maybe 21 years old , in full equestrian gear holding the reins of her horse - Johnny Dancer . She stands beside an older man who surely must be her father . He 's also the `` Mr. S '' from Jerry 's bizarre strobe show . Liza stands in the door .
    LIZA
    I'll give you 100 bucks if you leave right now.
    JERRY
    ( steps to photo . )
    Is this your dad?
    LIZA
    That was him.
    JERRY
    ( picks up photo . )
    Is he dead?
    LIZA
    Please put it down.
    JERRY
    How'd he die?
    LIZA
    He was murdered.
    Liza tries to keep her cool ; it 's not easy . Jerry looks from the photo to the treadmill . It 's all suddenly clear .
    JERRY
    He's why you punish yourself.
    LIZA
    Not this again.
    JERRY
    You run with your back to the picture. Like you were trying to get away. Once in awhile you sing along with music, but mostly you punish yourself.
    LIZA
    ( realizes . )
    You watch me, do n't you?
    Jerry realizes he 's blown it . Liza looks out the window , down to the street .
    LIZA
    Where do you stand? In the alley? Do you sit in a car? Is it every night? What?
    Jerry counters by pointing out the horse in the photo .
    JERRY
    Johnny Dancer, right? You do n't ride him anymore, do you? Not since your dad died.
    LIZA
    Fuck you. I know you're crazy, but fuck you.
    Forlorn , Jerry sets the picture back down . The walls of books reminds him of something .
    JERRY
    Do you have a copy of that book I can borrow? Catcher? I do n't usually go this long without one.
    Liza closes her eyes , rubs them .
    LIZA
    You got your twenty - four hours. Just give me the next eight off.
    Jerry nods , exits in front of her . She stays put . A few moments pass before we hear her front DOOR OPEN and then CLOSE as Jerry leaves . Liza 's eyes flicker over to the treadmill . A moment and then .
    LIZA
    ( re : treadmill . )
    Fuck you, too.
    Liza turns , switches off the light .

EXT. STREET - OUTSIDE LIZA'S BUILDING - NIGHT
    A drizzle has started to fall . For a street lined with parked cars , it has a rather desolate feel . There 's a certain car - a Crown Victoria . A silhouette behind the wheel . Liza 's apartment is being watched . CROWN VICTORIA It 's Agent Lowry . And in the back seat AGENT MURPHY . They sit in silence , a relaxed , practiced state of alert . Murphy frowns at the RAINDROPS which SPLAT the rear window .
    MURPHY
    I'm gon na take a piss in the alley before it starts to pour.
    Lowry nods , keeps his eyes on the entrance to the apartment . Murphy opens the door . As he climbs out of the back seat , we see a black 9mm in a shoulder harness . A few moments pass . Agent Lowry leans forward to look up to the dark window of Liza 's apartment . Behind him , he hearts the back door open , Agent Murphy slide in the back seat . As Lowry leans back :
    LOWRY
    How's your bladder?
    The barrel of Murphy 's black 9mm is pressed squarely against the side of Lowry 's head .
    VOICE
    ( O.S . )
    Not bad.
    ( cocks hammer . )
    How's yours?
    It 's Jerry in the back seat ! But Lowry 's a pretty cool customer . He regards Jerry evenly in the rearview .
    LOWRY
    Lot of folks are looking for you.
    Lowry 's hand inches toward a .45 on the front seat .
    JERRY
    Then you must be the smart one. Hands on the steering wheel.
    A little nudge of the 9mm and Lowry does as he 's told .
    JERRY
    Thank you.
    LOWRY
    You're welcome. Where's my partner?
    JERRY
    I like that. A gun to your head and you ask about your partner. He's okay. May have a headache for a few days. Are you here with honorable intentions?
    LOWRY
    I'm not sure what you mean.
    JERRY
    You should think of me as Liza Sutton's guardian angel.
    LOWRY
    That's ironic. Because we're here to protect her from you.
    JERRY
    You're here because you figured I might show up.
    LOWRY
    It seemed like a possibility. What about your intentions? Are they honorable?
    JERRY
    I'm not a violent man, Mr. Lowry. Not by nature, anyhow. But if you hurt Liza in any way, I'll kill you. Does that seem honorable?
    LOWRY
    Well, I do n't know if -
    Jerry creases the back of his head with the gun barrel . As Lowry slumps unconscious , Jerry starts out , then pauses .
    JERRY
    Are you pretending?
    It sure does n't seem so . Till Jerry cocks back the hammer .
    LOWRY
    ( all but motionless . )
    Yes.
    Jerry whacks him again . Jerry 's about to go when the front door to Liza 's building opens and Liza steps out in her running gear . Jerry crouches , but he need n't bother . She 's not looking his way . As she takes off down the street :
    JERRY
    Shit.
    Jerry pulls Lowry over to the passenger 's seat , then climbs into the driver 's seat . He starts the car , then rolls out after her . LIZA runs . Looks every inch the athlete as she moves . Her feet splash through the growing puddles as she 's off the curb and on the street . CROWN VICTORIA - JERRY Jerry `` talks '' to Lowry as he drives , shadowing Liza .
    JERRY
    She should n't be outside at night. What's she doing?
    ( looks to Lowry . )
    I know you can hear me.
    LIZA cuts through a gap in the wall and enters Central Park . CROWN VICTORIA - JERRY As he stops short , Lowry slams into the dash . He turns , rides along looking for a place to turn into the park . And then she 's gone from sight . Jerry abandons Lowry and the car in the middle of the street and takes off on foot . PARK - LIZA Moving between the trees . Elusive . Tireless . PARK - JERRY Gasping . It takes everything he 's got to keep her in sight . He strips off his jacket to lighten the load . STREET As Liza exits the park , continues on her way , unaware that behind her . Jerry collapses against the wall . Taking each breath like it was his last , he watches as she disappears from sight . Finally , as he staggers out of the park .

INT. BARNES AND NOBLE BOOKSTORE (MANHATTAN) - NIGHT
    Jerry down the aisles . Getting desperate . Finally , the classics section . Moby Dick . Pilgrim 's Progress . Of Mice And Men . Bingo ! The Catcher In The Rye . One copy left . Jerry grabs it . Whew . CASH REGISTER The clerk waits as Jerry steps up , hands him the book .
    JERRY
    Been a long day.
    The clerk nods , picks up a scanner , runs it over the bar code on the back of the book .

INT. COMPUTER SURVEILLANCE ROOM (SOMEWHERE) - NIGHT
    Three bleary - eyed TECHNICIANS sit up and take notice as an alarm goes off on one of several computer screens .
    TECH #1
    Somebody bought one!
    The second Technician watches as city grid maps flash across his computer screen . It narrows to a single street .
    TECH #2
    Barnes and Noble. McKinley Avenue.
    Tech # 3 grabs a radio mic .
    TECH #3
    CLEET code 115. Location is 11 - 546 McKinley. Barnes and Noble. Keep collateral damage minimum.

INT. BARNES AND NOBLE - NIGHT
    The clerk hands Jerry his bag , thanks him . Jerry starts out . Throwing the bag in the trash , he 's out the door .

EXT. BARNES AND NOBLE - NIGHT
    Jerry walks down the street , reading . A popular area , there are still quite a few people about . Suddenly the pages flutter in Jerry 's hand . Trash swirls at his feet . He stops , slowly looks up as he hears the HELICOPTER . Black , no running lights , equipped with a sound damper . It descends quickly over the intersection . Silky black cords drop . Traffic snarls as CLEET COMMANDOS slide down . Four of them . Plainclothed with discreet com - headsets . Wearing jackets , we catch glimpses of the equipment slung on their hips , including machine pistols . Each has a 2X3 piece of paper taped to his wrist . Like NFL quarterbacks with the plays , except the papers are photos of Jerry . The helicopter is gone so fast some people have n't even noticed . The commandos disperse into the crowd , refer to their wrists as they advance in Jerry 's direction . Jerry hightails it the opposite way , tries not to attract attention . He pulls up in front of a movie theater as a second chopper swoops in to drop four more commandos at the south intersection . The street has been sealed off . Jerry stands there a beat , not sure what to do . Something makes him look across the street where CLEET # 1 pulls up , looks over at him . As CLEET # 1 refers to his wrist photo , Jerry dashes into the theater .

INT. FLIGHT DECK - THIRD HELICOPTER - NIGHT
    In a hurry . The skyline whizzes past as Jonas listens in on his headphones .
    CLEET #1
    ( V.O . )
    I repeat. Target has entered the theater.
    JONAS
    Oswald tried the same tactic, if I recall.

INT. THEATER - NIGHT
    Nearly a full house . Jerry sits near the front , nervously looking back over his shoulder , watching the aisle . Four CLEETs appear silhouetted at the entrance . As they start down , checking faces . As the manager drones , people head for the aisles . Jerry moves for the emergency exit . Sticking out like a sore thumb as the emergency door opens and a shadowy figure steps inside the alcove . A CLEET commando . He spots Jerry , starts forward .
    CLEET #3
    ( into com - set . )
    He's in the third theater.
    Jerry starts back through what 's been an orderly proceeding .
    JERRY
    Bomb! There's a bomb in here!
    As the cry of `` Bomb ! '' gets taken up , panic spreads . No one gets trampled , but the shoving is fierce . As the CLEETs fight their way down , Jerry heads for the rear exit . A few other patrons go that way as well .

EXT. ALLEY - BEHIND THEATER
    Jerry exits with a solid head - start , but as he turns there 's a CLEET in the alley . Checking faces - not looking Jerry 's way yet . Jerry keeps close behind another patron , then darts out , swings the CLEET face first into the wall . As the CLEET draws his machine - pistol , Jerry slams his face once , twice into the wall . As the CLEET drops , Jerry makes eye contact with a woman who watches aghast .
    JERRY
    I did n't like his looks. Did you?
    As she shakes her head `` no , '' Jerry continues on his way .

EXT. THEATER - NIGHT
    A big crowd . As police cars pull up , the CLEET commandos exchange a look . Removing their headsets , they disperse , dissolving into the crowd like they were never even here .

INT. LIZA'S APARTMENT - BEDROOM - NIGHT
    She 's asleep . All seems peaceful . Then , low WHISPERING . It STOPS , STARTS again . Low , conspiratorial , cabalistic . Liza tosses , turns in her sleep . A shadow seems to pass over her . But as she wakes up , the WHISPERING FADES . Liza sits up , a bit spooked . She cocks her head , listens . Was that a click in the other room . Unsure , she gets up , heads for the door . LIVING ROOM Filled with long , dark shadows . Liza steps out , puts a hand on the light switch . Steeling herself , she switches them on . The room is empty . SITTING ROOM Liza sticks her head in . Empty . BATHROOM Lights go on . No one here . Liza slowly pulls back the shower curtain . Nothing . She switches the lights off . LIVING ROOM Liza returns from the kitchen , something in her hand . Stepping to the door , she first checks to make sure it 's locked . Then she balances an empty bottle upside down on the knob . She looks at it a second , shakes her head .
    LIZA
    I'm turning into Jerry.
    Switching off the lights , she exits for the bedroom .

EXT. JUSTICE DEPARTMENT - BINOCULAR POV - DAY
    as Liza starts up the steps . Being watched .

INT. SURVEILLANCE VAN - DAY
    Two surveillance drones monitor Liza 's movements . BINOCULAR POV - SURVEILLANCE VAN Someone 's watching the watchers . CLOSE ON JERRY Observing the van through a pair of binoculars . It 's difficult to say where he is .

INT. ACROSS STREET - COFFEE SHOP - DAY
    Jerry stands at the window , looking through a small telescope .

INT. JUSTICE DEPARTMENT - WILSON'S OFFICE - DAY
    Wilson looks across his desk to where Liza stands .
    WILSON
    I've been given a cease and desist on all matters relating to Jerry Fletcher. We're not to discuss him with the press, the N.Y.P.D., anyone. Building police are to arrest him on sight and we're to report any attempt he makes to contact you.
    LIZA
    This does n't make sense.
    WILSON
    It makes perfect sense. Field work is not our oeuvre.
    LIZA
    I do n't like it. Something's wrong.
    WILSON
    Dr. Jonas thought you might be inclined not to cooperate. Why is that?
    LIZA
    We do n't know who Jonas is. We do n't know who it is we're cooperating with.
    WILSON
    I've had a lot of credentials flashed in my face, Liza. What I saw yesterday, I know not to ask questions. We're out. Shut off. Terminated. Understood?
    LIZA
    - Understood.

INT. JUSTICE DEPARTMENT - HALLWAY - DAY
    Liza strides down the hall . LAWYERS , seen earlier in the conference room , are talking . One looks over as Liza nears .
    LAWYER
    Liza, settle a bet for us.
    LIZA
    ( snaps . )
    What do I look like to you? Switzerland?
    They all lean a little closer to the wall , make sure she has room to pass . As Liza passes her secretary , Jill .
    LIZA
    Any messages?
    JILL
    Nothing so far, Liza.

INT. LIZA'S OFFICE - DAY
    Liza enters , she looks at her equestrian photo a moment , then BUZZES the INTERCOM .
    LIZA
    You're sure?
    JILL
    ( V.O . )
    ( over intercom . )
    Not a thing.
    Sighing , Liza opens her briefcase , pulls out the Conspiracy Theory newsletter and Jerry 's subscriber list . Sitting at her desk , she turns on her computer .

EXT. ACROSS FROM JUSTICE BUILDING - SIDEWALK - DAY
    Lunchtime . A big crowd on the street . Among them - Jerry . He wears a baseball cap , heads right for the van .
    JERRY
    Ca n't see the forest for the trees.
    He holds a six inch length of steel rebar and a coil of wire cable . He passes the van . No one in the front . At the rear quarter , Jerry bends down to tie his shoes .

INT. SURVEILLANCE VAN
    The DRONES hunch over a speaker as a reel - to - reel records . We hear a TELEPHONE RING , a WOMAN 'S VOICE say `` Hello ? ''
    LIZA
    ( V.O . )
    ( over speaker . )
    I'd like to speak to Mr. Ketcham.
    WOMAN
    ( V.O . )
    This is Mrs. Ketcham.

INT. LIZA'S OFFICE - DAY
    Liza 's on the phone , unaware it 's a party line .
    LIZA
    Hi, Mrs. Ketcham. Your husband subscribes to our newsletter. I'd like to ask him if he'd like to renew his subscription.

INT. SURVEILLANCE VAN - DAY
    Where they listen , unaware of Jerry .
    MRS. KETCHAM
    ( WOMAN ; V.O . )
    My husband's dead. He was killed two nights ago in a car accident.

EXT. SIDEWALK - SURVEILLANCE VAN - DAY
    On one end , the cable is sinched around the middle of the length of the rebar . Jerry slides the bar through the center hole of a manhole cover . The other end has a loop which he attaches to the van 's undercarriage . Shoes tied , Jerry rises , continues on his way .

INT. LIZA'S OFFICE - DAY
    Liza crosses the name Ketcham off the subscriber list . There 's just one name left : Henry Finch . In St. Louis . Liza looks up as her office door opens and Jill carries in a bouquet . Sunflowers - seven of them .
    JILL
    They just came for you.
    Liza opens the car : Go out front . Take the westbound bus . Liza stands , grabs her cell phone off the desk .
    LIZA
    Jill, I'm expecting a call from the post office in St. Louis. Transfer it to me when it comes.

INT. SURVEILLANCE VAN - DAY
    The Drones watch as Liza exits and heads for the bus stop . As Drone # 1 moves up into the driver 's seat , Drone # 2 makes a call .
    DRONE #2
    Subject is on the move.

EXT. BUS STOP - DAY
    A bus pulls up and Liza gets on .

EXT. SURVEILLANCE VAN - DAY
    Facing the other way . As it pulls out , the wire unspools . INSERT - INSIDE MANHOLE The wire whips up until the piece of rebar hits the hole . STREET The 155 pound manhole cover pops loose , bounces along behind the van . As the van pulls a U - turn , the MANHOLE whips around , SLAMS in the door of a parked car . VAN Drone # 1 checks the side mirror , spots the manhole cover bouncing along behind . He HITS the BRAKES . The van stops , but the MANHOLE keeps coming . It SLAMS the rear of the van , tears a three - foot gash before CLANGING to the ground . Drone # 2 jumps out , tries to lift the manhole to thread the rebar out . As he struggles , Drone # 1 hits the HORN .
    DRONE #1
    We're losing her!
    Giving up , Drone # 2 gets back in the van . They take off . The MANHOLE CLANGS along behind them , sideswipes a car . That draws the attention of a police cruiser coming the opposite direction . As the cherry lights flip on , the manhole takes out the cruiser 's windshield . As the van turns the corner , the manhole wraps around a pole . As the rear axle tears free of the van .

EXT. BUS STOP #2 - DAY
    Jerry waits as the bus approaches , stops . Down the street , the cops approach the van . Smiling , Jerry boards the bus .

INT. BUS - DAY (ROLLING)
    Jerry walks to the back , sits beside Liza .
    JERRY
    Did you see the van back there?
    LIZA
    ( turning . )
    What van?
    JERRY
    Never mind. You'd think I was making it up.
    LIZA
    Where'd you get your subscribers?
    JERRY
    I put an ad on a computer bulletin board. I log on at the library so I ca n't be traced.
    LIZA
    Well, I've been tracking them down all morning.
    JERRY
    You have n't been bothering them, have you?
    LIZA
    They're dead. Four out of five anyhow. All in the last 24 hours. One car accident, two heart attacks and a stroke.
    JERRY
    Jesus. It's my fault. They drew a black line over me and now I'm passing it on.
    ( realizes . )
    I'm passing it to you, too.
    LIZA
    I'll be fine. Let's worry about Henry Finch. P.O. Box in St. Louis. He's the last on the list. I have n't been able to reach him yet.
    JERRY
    Maybe you better not try. I worked so hard to keep quiet. Like a mouse. I should have realized.
    LIZA
    Realized what?
    JERRY
    Henry Finch. That they monitor everything. That it was only a matter of time. And now four people are dead.
    Liza reaches into her pocket , takes out the newsletter .
    LIZA
    Elaborate on ` they,' okay?
    JERRY
    There are all kinds of groups, all kinds of initials. But they're all part of two warring factions. One : families that have held wealth for centuries. They want one thing. Stability. Group Two : the boat rockers. Eisenhower's military industrial complex. They want instability. It's a trillion dollar a year business. When there is n't a hot war, they make a cold one.
    LIZA
    Cold War's over, Jerry.
    JERRY
    So now they feed us terrorists. To create fear. How much do you think an airport security system goes for? Then multiply it by every airport in the country.
    LIZA
    And you think Group One is at war with Group Two.
    JERRY
    Latest casualty? Ernest Harriman. You heard of him?
    LIZA
    Sure. One of the richest men in America until he died a few days ago.
    JERRY
    His obituary was in every paper. But not one of them said he was murdered.
    LIZA
    Murdered?
    JERRY
    Right here in Manhattan.
    LIZA
    It said in the paper he drowned in a swimming pool. In Newport.
    JERRY
    Nobody dies in Newport. They could n't even kill Sunny von Bulow there. Harriman drowned, but it was n't in Newport.
    LIZA
    Where then?

INT. 7TH AVENUE SUBWAY STATION - DAY
    Jerry and Liza stand amidst the hustle and bustle .
    JERRY
    Right here. In the 7th Street subway station.
    LIZA
    What was he doing down here? A billionaire waiting for the subway? Why not drown him in a bus? Why drown him at all? Why not shoot him? Is the hitman from the lost world of Atlantis? I mean, come on.
    JERRY
    I see the big picture and you stumble around in the details.
    LIZA
    They're big details, Jerry.
    JERRY
    Do you watch the news? Read the paper. Last week, this whole place was underwater.
    LIZA
    A water main broke.
    JERRY
    They do n't break in the summer! Do you know what building is right over this spot? Harriman Tower. Their sub - basement was flooded! He did n't die in a pool. Call the coroner in Rhode Island! Ask if the water in his lungs was chlorinated!
    LIZA
    Okay, I will.
    JERRY
    You will?
    LIZA
    If that's what you want. Yes.
    She means it sincerely . She 'll help . Jerry 's touched .
    JERRY
    I do n't know what to say.
    ( blurts . )
    I love you.
    LIZA
    What?
    A spontaneous moment . Jerry 's barely sure he said it .
    JERRY
    I - It's like, I resolve to call you up 1000 times a day. To ask you if you'll marry me in some old - fashioned way.
    ( shrugs . )
    Everything you do is magic.
    LIZA
    Those are song lyrics, Jerry.
    JERRY
    I know that. I'm just - I'm nervous. I reached out and grabbed the first thing out there. I know they're song lyrics. And I know how I feel.
    LIZA
    I like you, Jerry. A lot.
    JERRY
    Oh, Christ, here it comes. Look, I know you think I'm crazy. I do n't think I am, but.
    LIZA
    Jerry, I -
    JERRY
    What if I reached a point where you did n't think I was crazy anymore? If I was normal.
    LIZA
    If you were eating Kentucky Fried Chicken and drinking Coca - Cola again.
    JERRY
    Yeah. Would you, I mean, could you love me then? If I was normal. Maybe?
    LIZA
    Do n't do this to yourself. Jerry. You do n't love me.
    Jerry shakes his head .
    JERRY
    You're wrong. Since I met you, I do n't dream about holes anymore.
    LIZA
    Holes? I do n't know what you're talking about.
    JERRY
    Yesterday you were wondering about the wall. How it was possible.
    LIZA
    Now's not really the time to get into this -
    JERRY
    It's Geronimo. Love. It lets you see things. It gives you insight. I've loved you since the first time I saw you.
    After a long beat .
    LIZA
    And when was that? Was it that night I got mugged? Or was it before then?
    Jerry looks away .
    LIZA
    Answer me. Was the first time you saw me the first time I saw you? Was it? You've been following me around. Do you see how that could be disconcerting to me? That's not love, Jerry. It's obsession. And it is n't normal and you ca n't expect me to respond to it and you ca n't expect me to feel the same way.
    ( long beat . )
    Can you?
    JERRY
    I would never hurt you, Liza. Think whatever you want, but do n't think that.
    LIZA
    I do n't. I know you would n't.
    JERRY
    I thought you - Why - Love ruins everything, does n't it?
    Jerry starts off through the crowd .
    LIZA
    Jerry? Come back.
    Jerry starts to run . Liza starts after him , but she runs into a commuter , then another . Jerry 's lost in the crowd . The subway is about to leave . As Jerry gets on , Liza spots him . The doors close . The train rolls . She moves alongside , tries to get his attention , but he wo n't look over . SUBWAY TRAIN Jerry finally looks back . He sees Liza an instant before entering the tunnel , then a row of white strobe lights on the tunnel wall . Jerry tries to blink them out as the sound of conspiratorial whispers fill the train . He looks about . It 's all suddenly unreal . Certain passengers turn their heads , leer at him . SUBJECTIVE POV Mr. S . Mr. Sutton . Liza 's father . Standing at a white horse fence . His BACK TO us as whoever it is comes up from behind . As a pistol is raised INTO FRAME , the WHISPERING GROWS IN VOLUME . Mr. Sutton turns and somewhere along the way , it BECOMES A SCREAM .

INT. 7TH AVENUE SUBWAY STATION - DAY
    Liza stands there , curses herself as the last of the train is swallowed by the tunnel . This is n't how she meant things to turn out . Then , her CELL PHONE RINGS . She takes it from her pocket , flips it open .
    LIZA
    Hello?
    JILL
    ( V.O . )
    Liza, we got a call from the P.O. in St. Louis. The mail for Henry Finch is being forwarded. Right here to Manhattan.
    LIZA
    Where?

EXT. FEDERAL BUILDING (MANHATTAN) - DAY
    The same place where Jerry followed Clarke and Piper in the beginning . As Liza enters .
    JILL
    ( V.O . )
    The International Fund For Mergers and Acquisitions.

INT. FEDERAL BUILDING - LOBBY - DAY
    Liza steps to the building 's directory , slides a finger across . The Central Intelligence Agency occupies the 18th to the 22nd floors . Just like Jerry saw . Liza drops her finger down . The 24th floor - The International Fund For Mergers and Acquisitions .

EXT. 24TH FLOOR - HALLWAY - DAY
    Liza gets off the elevator , heads over to the door to the I.F.M.A. What 's really behind here ? Liza takes a breath , grabs the doorknob to find out .

INT. INTERNATIONAL FUND FOR MERGERS AND ACQUISITIONS  DAY
    A group of bureaucrats pass by discussing interest rates . Liza steps over to a RECEPTIONIST .
    LIZA
    I'm here to see Henry Finch.
    RECEPTIONIST
    Who?
    LIZA
    Henry Finch.
    The Receptionist looks her over a moment .
    RECEPTIONIST
    Is he expecting you?
    Jackpot ! Liza , dropdead official , flashes her credentials .
    LIZA
    I'm Ms. Sutton with the Justice Department. Could you tell Mr. Finch I need to see him at once.

INT. HALLWAY - DAY
    A SECRETARY leads Liza past cubicles full of clerks going about business . They come to a door . Finch . They enter . FINCH 'S OFFICE No one 's at the desk , but the door to the adjoining bathroom is open . Liza can hear WATER RUNNING in the SINK .
    SECRETARY
    He'll be right with you.
    The Secretary exits , closing the door behind her . Liza watches the bathroom door , apprehensive as she hears the WATER TURN OFF . A prolonged moment before . Dr. Jonas exits the bathroom . He looks at her , smiles .
    JONAS
    If you're as impressed to see me as I am to see you, you're very impressed indeed. How's Jerry feeling this morning?
    LIZA
    Fine. What the hell is going on?
    JONAS
    Please, sit.
    Liza sits across from the desk . Jonas watches her closely .
    JONAS
    What I'm about to tell you is partially documented. The Freedom of Information Act saw to that. But much more of it is n't. For reasons which will soon be regrettably clear, I'm going to share - secrets - with you. Repeat any of it and you'll simply bestow the title of ` paranoid' upon yourself.
    LIZA
    Truth'll set you free. I'm listening.
    Jonas smiles sadly , turns his alumni ring around his finger .
    JONAS
    Years ago, I worked for the C.I.A. in the M.K. ULTRA program. Are you familiar with it?
    LIZA
    It was mind control. Manchurian Candidate kind of stuff, right?
    JONAS
    A vulgar pop term, but yes. Take an ordinary man and turn him into an assassin. That was our goal.
    LIZA
    Ask what you can do for your country. That kind of thing.
    JONAS
    ( ignores comment . )
    M.K. ULTRA was terminated in 1973. But not the research. It was renamed. EX CATCHER.
    LIZA
    As in Catcher in the Rye?
    JONAS
    I am impressed. We used the distinctive cover as a sort of mental flash card.
    Jonas steps over , his tone growing more confidential .
    JONAS
    We experimented with hallucinogens. We used electro - shock to produce a vegetative state. We conducted terminal experiments in sensory deprivation.
    LIZA
    Terminal?
    JONAS
    As in ` resulting in death.' We pushed the envelope until it was n't even an envelope anymore.
    LIZA
    If I had any idea what to charge you with or how to prove it, I'd arrest you right here.
    JONAS
    Me? I was a minor missionary, a heretic really. But where else could a red - blooded American boy lie, cheat, steal and kill with the sanction and blessings of the All - Highs? Besides, now I'm trying to pay my penance.
    LIZA
    Missionary? Penance? You talk about it like it was a religion.
    JONAS
    It was. It was.
    Jonas says it almost sadly .
    LIZA
    Jerry told me he bit your nose.
    JONAS
    And what did I say?
    LIZA
    A dog.
    JONAS
    My dog. One I intend to put to sleep. Extrapolate from there.
    LIZA
    These things you're talking about. You did them to Jerry?
    JONAS
    Yes, that's right.
    Liza looks at Jonas with revulsion . A moment .
    LIZA
    Why do n't you continue with your religious experiences?
    Jonas smiles , nods in acquiescence .
    JONAS
    M.K. ULTRA, EX CATCHER, it all ended the moment John Hinckley shot Ronald Reagan.
    He sees her eyes widen .
    JONAS
    It was n't us. The science had been sold. Pandora's Box opened. My children were taken from me and employed by the private sector. Jerry was one of them.
    A long beat as they consider each other . We hear the CLOCK TICK on the credenza .
    LIZA
    I'm still listening.
    JONAS
    Jerry is dangerous. Jerry has killed -
    LIZA
    I do n't believe you.
    Jonas looks a bit melancholy as he smiles , shrugs .
    JONAS
    Belief is immaterial. What's important is the truth. It's been my job to find Jerry. I'm very much responsible for him.
    LIZA
    If this was a spy novel, your next words would be something like I now know too much to live. Why are you telling me all this?
    JONAS
    So you'll believe what I tell you next. Because I need to find Jerry. And I do n't think I can do that without you.
    Jonas reaches into a file on his desk , hands Liza a worn , creased wallet - sized photo .
    JONAS
    Do you recognize this?
    It 's a smaller version of the photo of Liza and her father that Liza keeps behind the treadmill . Liza 's stunned .
    LIZA
    Where'd you get it?
    JONAS
    You do recognize it then?
    LIZA
    It was my father's. Kept it in his wallet. He was murdered -
    JONAS
    I know the story. A federal judge. He denied a man in prison an appeal for a new trial.
    LIZA
    Not a man. Ezekiel Walters.
    JONAS
    Walters had nothing to do with your father's murder.
    LIZA
    You sound so sure.
    Jonas does n't answer . Liza looks at the photo . Jonas ' watches - the observer .
    LIZA
    When they found him, he was holding his wallet. But he had n't been robbed.
    ( to Jonas . )
    The only thing missing was this photo. Where did you find it?
    Jonas picks up a keyring , holds up an odd - shaped key .
    JONAS
    In Jerry's safety deposit box.
    LIZA
    I do n't understand.
    Jonas is coldly paternal as .
    JONAS
    Jerry killed your father, Liza. And he's been obsessed with you ever since. It's not even really his fault. The blame is mine. I'm sorry.
    Liza looks up at the ceiling , the walls . Like a bird in a cage as it sinks in . She blinks out a tear . Another . No place to hide . Jerry .
    LIZA
    It all makes sense. Oh God. He killed him. Jerry killed him.
    Liza gulps a breath , covers her mouth with her hand . She 's going to be sick . Jonas sees it . Like he 's done it before , he turns his trash can over , dumps the contents , hands it to her empty . PHOTO OF LIZA AND HER FATHER TIGHTEN ON it as we hear LIZA RETCH . Painfully . Like glass was coming up .

INT. OFFICE - CLOSE ON BUSINESS END OF TELESCOPE - DAY
    Jerry on the other end . He stands at a half - washed window with a bucket of soapy water and a squeegee , stares up the street at . TELESCOPE POV - BLINDFOLDED JUSTICE PAN DOWN the building TO the street . Two operatives wait in a black sedan . PAN UP and ACROSS the street . Two more operatives in a second black sedan facing the opposite direction . The VIEW SWINGS AROUND . TELESCOPE POV - HELICOPTER Black . On a helipad two blocks away . An eight member plainclothed CLEET unit milling . The VIEW SWINGS again TO an adjacent rooftop . Two last operatives stand at the edge , headphones on , scanning the area with parabolic microphones . JERRY Smiles grimly .
    JERRY
    At least someone's finally taking me seriously.
    Spotting something below , Jerry raises the telescope . TELESCOPE POV - STREET A truck shaped like a slice of pizza pulls up . As the pizza guy climbs out . JERRY Checks his watch , smiles . Pizza 's right on time . He turns , starts out . A hand clamps down on his shoulder .
    VOICE
    ( O.S . )
    Hey!
    WIDEN to include a BIG MAN . As Jerry balls a fist .
    BIG MAN
    ( gesturing . )
    You call that a clean window?
    JUSTICE DEPARTMENT - WILSON 'S OFFICE - DAY Wilson and Liza and Jonas and various hovering aides sit in silence . Waiting for something to happen . Liza jumps as the door opens . WILSON 'S SECRETARY steps in with the pizza .
    WILSON'S SECRETARY
    Ms. Sutton's pizza, sir.
    LIZA
    I did n't order. a pizza.
    As Liza realizes , Jonas is already waving the Secretary in . He grabs the box , sets it in front of Liza . She looks at Wilson , then opens it . Pepperoni . With a note on top .
    LIZA
    ( reading . )
    Go to the northeast corner. Call a cab. Bring the pizza.
    ( looks up . )
    Then there's a poem.
    ( reading . )
    Roses are red, violets are blue, if the Pope goes to Washington, I would, too.
    WILSON
    What the hell does that mean?
    As Liza hands Wilson the note .
    WILSON
    Somebody find out if the Pope's scheduled to visit Washington?!
    As people scramble , Jonas looks across at Liza .
    JONAS
    If you're up to it, I'd like to follow him. See where he goes.
    WILSON
    No, hold on. I do n't think -
    LIZA
    It's okay. I'm game.
    JONAS
    ( re : pizza box . )
    I want this box rigged with a beacon!

EXT. JUSTICE DEPARTMENT - DAY
    Liza exits carrying the pizza . MOVE WITH her as she heads to the NE corner . She has no sooner raised her hand when a Yellow Cab pulls up at the curb . Jerry behind the wheel .
    JERRY
    Where to, lady?
    Liza hesitates a beat , then gets in on the passenger side .
    LIZA
    You tell me.
    The cab rolls . A sedan follows ; the second pulls a U - turn .

EXT. HELIPAD - DAY
    The helicopter lifts off .

EXT. COMMAND VAN - PARKED BEHIND JUSTICE - DAY
    A big box van . Jonas and Wilson enter . A dot -LRB- the beacon -RRB- flashes on a city grid . They roll .

EXT. YELLOW CAB - HELICOPTER POV
    Driving the city grid . There are other taxis down here , but not so many that they 'll be lost .

INT. HELICOPTER - COCKPIT - DAY
    The PILOT flies . His SPOTTER is on the radio .
    SPOTTER
    Rolling east. Fender number 1301.

INT. SEDAN ONE - ROLLING - DAY
    One of the Operatives on the radio .
    OPERATIVE
    We're on him. Seventy - five yards back.

INT. COMMAND VAN - ROLLING - DAY
    Wilson and Jonas listen as the OPERATIVES AND the SPOTTER TALK BACK AND FORTH .

INT. YELLOW CAB - ROLLING - DAY
    Liza instinctively sits as close to the door as possible . Not noticing , Jerry grabs a piece of pizza , eats .
    JERRY
    It's good. Have some.
    She waves him off .
    JERRY
    How'd they like that thing about the pope? I made it up. Threw it in there to get'em going.
    Liza does n't answer . It 's no longer cute . She anxiously starts to check the side mirror . Catches herself .
    JERRY
    You look great.
    LIZA
    ( flat . )
    Thanks.
    Liza looks away , can barely stand this .
    JERRY
    Are you okay? I wish I had n't told you what I did. But I ca n't help the way I feel. You do n't hold that against me, do you?
    LIZA
    No. That would n't be fair. Where are we going, Jerry?
    JERRY
    It would be a lot easier for me to show you instead of tell you. But first things first.
    Jerry checks his rearview mirror , looking for the car . Liza feigns ignorance .
    LIZA
    What is it?
    JERRY
    There's a car following us. Probably another one flanking us the next street over.
    Jerry leans forward to look upwards through the windshield .
    JERRY
    And somewhere up top, a chopper.
    Liza looks up as well , her acting convincing .
    JERRY
    They think they're so smart. Actually, they are.

EXT. HELICOPTER - DAY
    1000 feet above . Tough to lose .

EXT. YELLOW CAB - ROLLING - DAY
    The light ahead goes yellow . The cab speeds up . Red light . The car ahead stops . The cab weaves around , squeezes the intersection just ahead of the cross traffic .

INT. SEDAN ONE - DAY
    Turns into the oncoming lane to follow , but is forced back .
    OPERATIVE
    He made us!

INT. HELICOPTER - COCKPIT - DAY
    No problems up here .
    SPOTTER
    We've got him. He's headed for the bridge.
    Down below and ahead , the Queensboro Bridge .

EXT. SEDAN TWO - ROLLING - DAY
    Flanking as Jerry thought , they turn left ahead of where Sedan One is stuck in traffic .
    OPERATIVE #2
    We're on him!

INT. COMMAND VAN - ROLLING - DAY
    Watching the blip , Jonas gets on the air .
    JONAS
    Jonas to ground units. The helicopter has him. Hang back and let him think he lost you.

INT. SEDAN TWO - ROLLING - DAY
    Following orders , they slow .

INT. YELLOW CAB (QUEENSBORO BRIDGE) - SUNSET
    They turn onto the ramp for the bridge . Headed for the lower section of the double - decker .
    LIZA
    We're going to Queens?
    JERRY
    Not today.

INT. HELICOPTER - COCKPIT - SUNSET
    They watch as the Yellow Cab disappears from sight .
    SPOTTER
    On the bridge. Lower level.
    As they ZOOM over it .

INT. YELLOW CAB (BRIDGE) - SUNSET
    Halfway across it . Without warning , Jerry locks it up , whips the wheel around . Liza screams as the cab slides sideways .

EXT. BRIDGE - BRONX-BOUND LANES - SUNSET
    HORNS BLARE . The cab blocks traffic . Jerry exits , shouts for Liza to follow . The grabs the pizza box , joins him at the center guardrail .
    LIZA
    Now what?
    JERRY
    This way.
    Jerry climbs over the median , drops over to the other side . He holds out his hand . She pauses , then takes it . As she goes over , she drops the pizza box . She reaches for it , but Jerry pulls her along .
    JERRY
    Forget it! I'll buy you another one!
    MANHATTAN - BOUND LANES already slow with commuters . Across the lanes , an abandoned car , it 's rear end up on a jack . Jerry raises a cautionary hand to traffic , starts across with Liza in tow . He steps over to the abandoned car .
    JERRY
    After you.
    ( as she hesitates . )
    It's okay. I'm the one who left it here.
    LIZA
    Where are we going, Jerry?
    JERRY
    Connecticut.
    LIZA
    What's in Connecticut?
    Jerry takes her arm , guides her in .
    JERRY
    I do n't mean to be mysterious, but you'll know when we get there.
    Jerry , behind the wheel , STARTS the CAR . Suddenly , he stares to the left , transfixed . Liza follows his gaze , but the only thing apparent are the three red - and - white smokestacks of the Con - Edison plant . But before Liza can ask , Jerry snaps out of it . The front - wheel - drive digs in . The jack spits loose and the rear end hits the asphalt . As they blend into traffic .

EXT. HELICOPTER - SUNSET
    Waiting over the Jersey - end of the bridge , no idea of what 's going on . The Spotter realizes .
    SPOTTER
    Drop down.
    They drop , see that no more cars are coming off the bridge .

EXT. BRIDGE - SEDAN TWO - SUNSET
    Stopped in traffic . The helicopter Spotter on the radio .
    SPOTTER
    ( V.O . )
    Something's wrong. We're going in.
    The Operatives get out of the sedan , rush forward .

EXT. HELICOPTER - SUNSET
    Hovering low , deploying its CLEET unit onto the bridge .

EXT. QUEENSBORO BRIDGE - SUNSET
    The abandoned car drives off the bridge . Jerry and Liza go completely unnoticed . PULL BACK AS they become a very small needle in a very big haystack .

EXT. HIGHWAY - NIGHT
    The CAR WHIZZES past the `` Entering Connecticut '' sign .

INT. CAR - NIGHT
    Jerry drives . The RADIO PLAYS SOFTLY . Liza sits as far over as possible . Quiet , then finally .
    JERRY
    Ted Bundy. David Berkowitz. Richard Speck.
    The names just hang in the air . Liza is scared . Finally , curiosity gets the best of her .
    LIZA
    What about them?
    JERRY
    How come serial killers have two names, but lone gunman assassins have three. John Wilkes Booth. Mark David Chapman. Lee Harvey Oswald.
    LIZA
    ( after a beat . )
    John Hinkley. The guy who shot Reagan. He only had two names.
    JERRY
    ( without hesitation . )
    Reagan did n't die. If he had died, everybody would know what Johnny's middle name was.
    Jerry smiles , but she does n't smile back . As he concentrates on his driving . Liza eases her little cell phone out of her pocket . Holding it at her side , half - turning away from Jerry , she flips it open , turns it on . Enter a pre - dial code : `` WILSON '' flashes across the display . As Liza holds her thumb over the ear speaker - holes .

INT. WILSON'S OFFICE - NIGHT
    As Wilson and Jonas and the team confab , the PHONE RINGS . Wilson 's SECRETARY answers it in the b.g.
    WILSON'S SECRETARY
    Mr. Wilson's office. Hello? Hello?
    As she hangs up .

INT. CAR - NIGHT
    Liza sees the light go out on the phone . Shit . She glances at Jerry , hits redial .

INT. WILSON'S OFFICE - NIGHT
    As the PHONE RINGS again .
    WILSON'S SECRETARY
    Mr. Wilson's office. Hello?
    She moves to hang it up again when suddenly , Jonas grabs her wrist . He takes the PHONE , listens . CELLULAR CRACKLES , ROAD NOISE . Jonas knows .
    JONAS
    It's her. The line's open. Get a trace on it.
    As they go into action .

INT. CAR - NIGHT
    Liza sticks the live - line phone between the seat and the back .

EXT. HIGHWAY - NIGHT
    The abandoned car takes the exit for `` Bumps River Road . ''

INT. ABANDONED CAR - NIGHT
    Liza sits up , does n't like this at all . For the third time .
    LIZA
    Where are we going?
    Jerry does n't answer .
    LIZA
    Where?!
    Jerry pulls over , stops alongside the woods .

EXT. ROADSIDE - WOODS - NIGHT
    JERRY
    Have n't you figured it out yet?
    Liza stares into the woods , knows what 's in there .
    LIZA
    My father's house.
    JERRY
    Come on.
    Liza takes a last look at the cell phone antennae sticking out from the seat and follows Jerry out . They head into the woods , he a bit behind her .

EXT. BARN - NIGHT
    The trees thin . Liza and Jerry step out , start to walk along the side of an old barn .
    JERRY
    How do you really know there's gold in Fort Knox? Just because they say so? We should go to Tennessee and demand to see it.
    LIZA
    You go. Send me a postcard.
    They continue , Liza nervous as hell . Her eyes dart ahead . LIZA 'S POV An old well at ground level . Covered over with boards , some of which are rotten . BARN A plan taking shape , Liza heads toward the boards . Jerry 's nervous , ca n't keep his mouth shut .
    JERRY
    You know who was the first President to be assassinated? George Washington. His doctor bled him to death.
    They near the rotten boards . Jerry 's behind and to Liza 's right . She 's leading him into a trap .
    JERRY
    There's a fraternity of secrecy. And anyone trying to expose it is labeled a hopeless paranoid.
    As she 's about to skirt the edge of the well , Jerry suddenly leaps forward , grabs her . She nearly screams .
    JERRY
    Watch out!
    Jerry gestures at the rotting boards , thinks he saved her .
    JERRY
    You could've fallen down there.
    He releases her , then stares at the distant silhouette of a house . She 's really scared .
    LIZA
    What's your middle name, Jerry?
    Jerry looks over , cocks his head kind of funny .
    JERRY
    What do you mean? Liza?
    As he takes a step toward her , Liza takes two steps back .
    JERRY
    Liza?
    LIZA
    Did you kill him?
    JERRY
    Is that what they told you?
    LIZA
    Did you kill my father?
    Jerry shakes his head . Liza wants to believe him , but .
    LIZA
    Then why did you have his picture in your safe deposit box?
    JERRY
    He gave it to me.
    LIZA
    I do n't understand.
    JERRY
    Where were you the day he died?
    LIZA
    At a horse show.
    JERRY
    That's the last time you rode, is n't it? Do you think it was your fault? Is that why?
    LIZA
    Did you kill my father?!
    JERRY
    No! But they trained me to. M.K. ULTRA. EX - CATCHER. America works. Get rid of the crazy people, the lone gunmen, and the system still works.
    Liza tries to stop his rant before it takes over .
    LIZA
    Jerry. Please. You do n't understand. I have to know. It's all I think about. Do you have any idea what it's like not to know?
    JERRY
    Yeah. I know what it's like.
    LIZA
    Then tell me what happened.
    JERRY
    Ca n't give you the details because I ca n't remember. I went to court to kill him. At the Ezekiel Walters hearing. I was supposed to shoot him at the press conference. You were there. That's the first time I saw you.
    LIZA
    ( sarcastic . )
    Love at first sight?
    JERRY
    I do n't know what it was. All I know is I had a gun in my hand, but when I saw you standing with him, I could n't do it. If that's love, it's not so bad.
    ( a beat . )
    I found a part of myself that day. I could n't go back.
    LIZA
    Back where?
    JERRY
    To Jonas. I did n't know that at the time. Did n't know who he was.
    ( beat . )
    But I knew inside, whoever he was, he'd send someone else. So I started watching your father. I wanted to keep him safe.
    There 's a sincerity in Jerry 's voice that 's hard to ignore .
    LIZA
    Someone else might call it stalking. My dad felt it. He started carrying a gun.
    JERRY
    He kept it in the side table in the front hallway.
    ( off her look . )
    He showed me. I visited a few times. Then one of Jonas's guys visited. When I arrived, your dad was dying.
    LIZA
    Why? What do these guys have to do with Ezekiel Walters?
    JERRY
    Walters was their fall guy. Blow up a building and blame a nut. Create fear. Do n't you see? Your father was n't trying to keep Walters in prison. He was looking into getting him out. He did n't believe the official story.
    LIZA
    Why not?
    Jerry looks away , ca n't answer .
    LIZA
    Why not, Jerry?
    JERRY
    ( a whisper . )
    Because he believed me.
    A raw honesty to the words . Stunned , she only has one question left .
    LIZA
    How'd you get the picture?
    JERRY
    Your father, he was dying. He was worried about you. He took your picture out to look at it. He called you his baby.
    Liza starts to softly cry .
    JERRY
    I told him I'd keep you safe. I took the picture and I've been watching you ever since.
    ( a beat . )
    Please do n't cry.
    Liza looks at Jerry . He looks like he 's on the verge of tears himself . She 's not afraid of him anymore . But more important than that .
    LIZA
    I believe you.
    JERRY
    You do?
    She nods . They embrace . Just a lost soul and a lonely one trying to comfort each other . Suddenly , Liza pulls away .
    LIZA
    You got to get out of here. My cell phone's on. Back in the truck.
    JERRY
    They'll trace it.
    LIZA
    I'm sorry.
    JERRY
    ( smiles . )
    It's okay. You. You thought I was bad.
    WHITE LIGHT hits them from the woods on one side . Then from the house on the other . Jerry grabs Liza 's hand to run , but GUNFIRE RIPS into the FENCE beyond them .
    VOICE
    ( O.S . )
    Hands behind your head!
    A third light . This one from a helicopter descending . Blinded by lights , Jerry knows there 's nowhere to run this time . He raises his hands , laces them behind his head .
    VOICE
    ( O.S . )
    Step away from him, Ms. Sutton!
    Jerry squints over at her .
    JERRY
    Is his gun still in the hall table?
    Liza nods .
    JERRY
    Go get it. And when you got it, keep going.
    VOICE
    ( O.S . )
    ( closing . )
    Step away, Miss Sutton!
    Members of the CLEET Unit step in . Two from either side . They grab Jerry , cuff him and start him toward the helicopter .
    LIZA
    Wait a minute -
    CLEET # 1 shoves her back . Jerry dips , drives his shoulder into CLEET # 1 's back . He looks back over his shoulder at Liza . Not worried about himself .
    JERRY
    Go get it.
    The CLEETs pound him . The chopper touches down , the door thrown open . As Wilson gets off , Jerry is hustled past him and onboard .
    WILSON
    Liza, are you alright?
    Wilson looks back as the CHOPPER MOTOR REVS , the skids lift off the ground . In the doorway , Jonas waves goodbye . The helicopter rises - revealing CLEET # 5 , Clark and Piper standing beyond . They hold 9mms . As CLEET # 5 SHOOTS Wilson TWICE in the chest , Liza turns and runs for the house . They FIRE at her , then give chase .

INT. HELICOPTER - FLIGHT DECK - NIGHT
    Jerry struggles . Jammed into a corner , he watches after Liza , his face pressed against the glass .
    JONAS
    You've embarrassed me, Jerry. You've made certain people take notice of me who should n't.
    Jerry 's not listening . He only has eyes for Liza . Down below , her legs churn her toward the house .
    JONAS
    We've arranged for you to take the blame. Everyone knows how you've been harassing the poor girl.
    JERRY
    ( ready to burst . )
    Liza!
    JONAS
    You should n't watch, Jerry. It's a moment without hope.
    JERRY
    ( chokes it out . )
    You've never seen her run.
    Liza disappears as darkness swallows the scene . Helpless , hopeless , Jerry pounds his forehead against the glass . Jonas watches , amused , till Jerry finds the strength to lunge at him . As Jerry 's driven down to the deck .

EXT. BARN - NIGHT
    Liza turns the corner , runs alongside with CLEET # 5 closing . Liza throws a look back over her shoulder then ahead . The rotten planking covering the well looms . Liza skirts one side , but CLEET # 5 steps right into the middle of it . CRASH ! As he disappears down .

EXT. CORRAL FENCE - NIGHT
    Liza runs . As Clark closes , she jerks back the gate to the hot walker , continues as the aluminum bar catches Clark in the teeth . As he drops . FURTHER BACK Piper steadies his aim on the fence , sites through a scope . INFRARED POV - LIZA Running away FROM us , but an easy target . PIPER Confident , his finger squeezes . INFRARED POV As Liza is suddenly blotted out by a big green shape . CLARK Mouth smashed , he 's gotten up on shaky legs , only to have the back of his head blown off by Piper . BACK TO SCENE Piper does n't get a second chance as Liza disappears from view .

EXT. LIZA'S FATHER'S HOUSE - NIGHT
    Liza hits the front steps . In stride , she picks up a porch CHAIR , flings it THROUGH a PICTURE WINDOW . Piper follows behind as she enters .

INT. LIVING ROOM - NIGHT
    Dark . Much to Liza 's advantage . She makes it to the hall as Piper trips over a hammock . HALLWAY Liza pulls open the drawer of the hall table , fishes out a .38 , turns just as Piper turns the corner . Caught by surprise , he goes down as Liza FIRES all SIX ROUNDS . She HITS another SIX EMPTY CHAMBERS before she stops pulling the trigger .

EXT. LIZA'S FATHER'S HOUSE - NIGHT
    Reloading , Liza looks out through the broken window . It 's quiet . Peaceful even . The helicopter is gone . Just the CRICKETS . She disappears back inside .

INT. HALLWAY - NIGHT
    Liza goes to the phone on the side table , dials a number .
    OPERATOR
    ( V.O . )
    Federal Bureau of Investigation.
    LIZA
    I need to speak with an Agent Lowry.
    OPERATOR
    ( V.O . )
    The office is closed for the evening. Is this an emergency?
    LIZA
    Do you have an Agent Lowry in your New York office?
    Liza closes her eyes , sure the answer will be no .
    OPERATOR
    ( V.O . )
    Yes.
    LIZA
    ( opens eyes . )
    Then this is a goddamn emergency.

INT. NEW YORK APARTMENT - STUDY - NIGHT
    Seen FROM BEHIND . A MAN sits in a leather chair reading the paper . A PHONE on a stand beside him RINGS .
    MAN
    ( answering . )
    Lowry.
    OPERATOR
    ( V.O . )
    Agent Lowry, it's Lynn Matthews at the Bureau. I hate to disturb you at home, but I have a Liza Sutton on the phone from the Justice Department. She says it's an emergency.
    The CAMERA ARCS AROUND to reveal FBI AGENT LOWRY . About 60 , paunchy with white hair . Not our Lowry , but the Lowry .
    MAN
    Never heard the name. Put her through.

INT. SURVEILLANCE ROOM (SOMEWHERE) - NIGHT
    Our Agent Lowry waits with phone in hand as technicians monitor the call . OVER a SPEAKER :
    OPERATOR
    ( V.O . )
    Go ahead, Miss Sutton.
    LIZA
    ( V.O . )
    Agent Lowry?
    A Technician nods to Lowry as he switches him over .
    LOWRY
    Liza, what can I do for you?

INT. NEW YORK APARTMENT - STUDY - NIGHT
    The Man holds the phone to his ear .
    MAN
    Hello? Hello?

INT. 12TH FLOOR - ELEVATORS - NIGHT
    The doors open . Lowry , Liza , six `` FBI '' agents and a building SECURITY GUARD step off . Badges on jackets , MOVE WITH them as they stride the hallway with purpose . Suite 1203 . I.F.M.A. Lowry and Liza wait impatiently as the Guard keys the door . Guns drawn , they burst in .

INT. INTERNATIONAL FUND FOR MERGERS & ACQUISITIONS  NIGHT
    Stop short . The place is empty . The dividing walls are even missing . The only thing that 's here are some ladders , tarps and painting materials . Liza is stunned .
    SECURITY GUARD
    I told you. They have n't moved in yet.
    JERRY Strapped to a metal chair in front of blinding white lights . Only now , it 's really happening . Jonas steps over , an electrode in either hand . Jerry 's chin is down on his chest . He 's already been through the ringer .
    JERRY
    Monkey finger. Shoot Coca - Cola.
    Gently , Jonas slides one of the electrodes under his chin and lifts his head .
    JONAS
    Who else knows what you know?
    Jerry just blinks back at him .
    JONAS
    Liza Sutton is dead.
    JERRY
    Then I ca n't be hurt anymore.
    Jerry squeezes his eyes shut . As tears roll down his cheeks , Jonas fires up the juice .
    JONAS
    ( looming . )
    I'll be the judge of that.
    CLOSE ON JERRY 'S HAND OVER the CRACKLE of ELECTRICAL CURRENT , the strap snaps taut as Jerry tries to reach through the ceiling for the moon .

INT. DECREPIT HOSPITAL ROOM - NIGHT
    A sink and dirty mattress on the floor . Two CLEETs drag in Jerry . Unconscious , he 's dumped on the floor by a narrow heating duct . They leave , lock the door behind them . Jerry does n't move , does n't make a sound . A rag doll .

EXT. DECREPIT HOSPITAL - DARKENED WINDOW - NIGHT
    We hear the sounds of the CITY , but it 's impossible to tell where we are . Practically a show , Jonas stares out the window . A CLEET appears vaguely over his shoulder .
    CLEET
    She got away.
    JONAS
    Good God. Find her.

INT. FEDERAL BUILDING - 12TH FLOOR - ELEVATORS - NIGHT
    No luck . As the mystery agents pile back onto the elevator , Liza takes Lowry 's arm .
    LIZA
    Can I talk to you a second?
    LOWRY
    ( to others . )
    Go ahead. We'll be right down.
    The doors close leaving just Liza and Lowry .
    LIZA
    Do you believe me?
    LOWRY
    Yeah, I do.
    LIZA
    I want to believe you, too.
    LOWRY
    What do you mean?
    Liza points her father 's .38 into his face .
    LIZA
    Who's the Deputy Director of the F.B.I?
    LOWRY
    You think we have time to fool around like this? Come on.
    He tries to move on , but she cocks back the hammer .
    LIZA
    The Deputy Director.
    Lowry shrugs . He does n't know .
    LOWRY
    What gave me away?
    LIZA
    Nothing. I was just making sure. So, who are you?
    Lowry looks at her , grimly shakes his head .
    LIZA
    I'm going to find Jerry. I'm - Who are you? One of them?
    Liza looks ready to pull the trigger .
    LOWRY
    I'm, it really does n't matter. Think C.I.A. and exponentiate. I'm a government employee and I've been watching Jerry for awhile.
    LIZA
    And Jonas?
    LOWRY
    He's why I watch Jerry. Jerry's the bait for Jonas.
    LIZA
    He's shown himself. Why have n't you arrested him or killed him or done whatever it is you do?
    LOWRY
    Jonas builds assassins for a living. Several of whom may be in place already. We'd like to kill a few birds with one stone.
    LIZA
    Where do you think Jerry is?
    LOWRY
    No idea. Honest. What are you going to do?
    LIZA
    I'm going to find him. Because he'd find me.
    LOWRY
    Do n't go home. And do n't go to work. Either one could be bad.
    LIZA
    What do you suggest?
    LOWRY
    That you come with me.
    LIZA
    I do n't think so.
    She coldcocks him , the .38 across the back of the head . As Lowry goes down , Liza heads for the stairwell . As she disappears , Lowry gets up , clutching the back of his head . She should have double - checked .
    LOWRY
    ( as he follows . )
    I do n't get paid enough for this.

INT. JERRY'S BUILDING - DOWNSTAIRS HALLWAY - NIGHT
    Ready for anything , .38 in one hand and a flashlight in the other , Liza walks the hall . She stops at a door draped with Arson Investigation Site tape . She wrenches down a nailed 2x4 , steps between the others . Enters .

INT. DOWNSTAIRS APARTMENT - NIGHT
    Liza closes the door behind her , shines the light . Debris has fallen through a hole in the ceiling . Liza steps through the rubble to the Wonderwall . Sooty , singed , partially curled at the edges of the paper it was done on . Liza shines the light . She 's as taken with it now as the first time . The more she stares at it the more frustrating it becomes . Fighting back tears , growling back her anger , Liza grabs a corner and tears , then tears again , trying to destroy this thing which affects her so . When she 's done , the Wonderwall hangs in tatters . And as Liza tries to get a hold of herself , she realizes . There 's a second painting behind the first . Liza pulls down the tatters of brown butcher paper which made the first . The second is the POV of a room . In fact , it 's entitled : `` In My Room . '' In the b.g. , a window . F.g. , a sinister chair with straps , hooks and other exaggerated apparatus for keeping someone sitting there . Discarded , macabre syringes litter the floor . A flashing light partially obscures a face reflected in a mirror . Jonas ? The whole effect is unnerving , but tells Liza nothing more . Until . she takes a second look at the window . It 's blocked by three red - and - white - striped bars . As Liza runs her hand over them .

EXT. QUEENSBORO BRIDGE - NIGHT
    Liza pulls her BMW over to the side , gets out and goes to the rail . She stares across at the three red - and - white smokestacks of the Con - Ed plant . The view through the window in Jerry 's room . Liza scans the riverfront buildings on Roosevelt Island across from the plant . There are only a few that would match and one stands out from the rest .

EXT. HOSPITAL - NIGHT (LATE)
    A few lights burn , all on one half of the building . A security board at the desk , the doors are chained and padlocked shut . Liza stops across from a brass inlaid letters which identify it as . `` Germaine O. Nicols Mental ospital . '' The `` H '' is missing from `` Hospital . '' Liza is about to continue when . enlightenment ! Running her hand along , she alters the letters , blacking some of them out : `` Germaine O. Nicols Mental ospital . ''
    LIZA
    Ger - o - ni - m - o.

EXT. BACK OF HOSPITAL - KITCHEN DOOR - NIGHT
    An institutional foods truck unloads . As the driver passes with the hand truck , Liza slips in the building .

INT. HOSPITAL - KITCHEN - NIGHT
    The cook grumbles by . Liza ducks behind a dishwasher , looks across at a roach . As it twitches an antenna .

INT. MENTAL HOSPITAL - HALLWAY - NIGHT
    A nurse disappears , turning around a corner . Liza pads her way along . Looks into a room . ROOM Three middle - aged men asleep on their backs , mouths agape , sleep obviously no release .

INT. NURSE'S DESK - NIGHT
    The charge nurse dozes as Liza creeps by .

INT. ROOM TWO - NIGHT
    Three WOMEN this time - two asleep , one rocking back and forth on her knees .
    WOMAN
    Hey naw - ne naw - ne. Hey naw - ne naw - ne. Hey naw - ne naw - ne.
    A horrific sight . Liza turns from it and into . HALLWAY TWO She turns right into an ORDERLY . Standing square , hands on his hips .
    ORDERLY
    Can I help you?
    Collecting herself , she reaches into her pocket for her ID .
    LIZA
    I'm with the Justice Department.
    As she produces and hands over a $ 100 bill , he eyes the .38 in her hand .
    LIZA
    I need to see any new patients you've gotten in the last twelve hours.
    ( eyes him eyeing . )
    You can say I threatened to shoot you.
    ORDERLY
    Sounds like you got it covered. Come on.

INT. DECREPIT HOSPITAL ROOM - NIGHT
    Jerry 's still lying on the floor where he was left . But he 's starting to stir . Feeling like he was already dead , maybe even wishing he was .

INT. 2ND FLOOR - HALLWAY THREE - NIGHT
    The Orderly leads Liza to a door .
    ORDERLY
    In here. White guy in his 30s.
    He opens the door and they step into . ROOM THREE There 's a white guy in his mid - 30s . He looks up . Wild . Straight - jacketed . Not Jerry . Liza 's reached the end of her rope . She just shakes her head .

INT. DECREPIT HOSPITAL ROOM - NIGHT
    Balled up . Fetal . Not really all there . Head pressed to the cement , he tries to sing to himself .
    JERRY
    Blue moon. Blue moon.

INT. 2ND FLOOR - HALLWAY THREE - NIGHT
    Liza just stands there , leaning on a rail on the wall . The Orderly is n't sure what 's going on , but he knows it 's bad .
    ORDERLY
    You okay?
    Liza starts down the hall with the Orderly following .
    ORDERLY
    We got some new patients last week. You want to see them?
    Liza waves them off . It 's hopeless . She stops at a chicken - wired window at the end of the hall , looks out . Light 's about to break and Jerry 's out there somewhere .
    ORDERLY
    Look, I got ta get back to work.
    She turns , grabs his arms .
    LIZA
    Did you hear that?
    ORDERLY
    What?
    Liza looks up at the air duct . Pulling a laundry cart over , she climbs up , presses her ear against the grill .
    JERRY
    ( V.O . )
    ( singing . )
    Blue moon. Blue moon.
    LIZA
    Jerry? Jerry.

INT. DECREPIT HOSPITAL ROOM - NIGHT
    We hear LIZA 'S DISTANT `` JERRY , '' but it does n't register with Jerry . He 's all inside now .
    JERRY
    Blue moon.
    LIZA
    ( V.O . )
    ( singing back . )
    You saw me standing alone.
    Jerry 's eyes open . He heard that . Maybe . He sings .
    JERRY
    Without a song in my heart.
    LIZA
    ( V.O . )
    Without a love of my own.

INT. 2ND FLOOR - HALLWAY THREE - NIGHT
    As Liza sings into the vent , the Orderly thinks he may have a new customer .
    JERRY
    ( V.O . )
    Blue moon.
    LIZA
    ( joining . )
    You knew just what I was there for.

INT. DECREPIT HOSPITAL ROOM - NIGHT
    Jerry moves closer to the vent as the two of them sing their `` duet . '' She 's alive . It finally , really sinks in .
    JERRY
    Liza?
    LIZA
    Where are you?

INT. 2ND FLOOR - HALLWAY THREE - NIGHT
    Liza , now joined by the Orderly , listens as .
    JERRY
    ( V.O . )
    Here. North wing. First floor.
    Liza looks to the Orderly for help .
    ORDERLY
    The north wing's closed off. This way.
    GALVANIZED DOOR A heavy locking bracket riveted to the door . The Orderly smacks the padlock with a fire extinguisher . Once , twice . The lock flies off . Liza pushes the door open to a dark hallway . The windows are boarded over . Foreboding .
    ORDERLY
    This is as far as I go.
    LIZA
    Get the police down here.

INT. DECREPIT HOSPITAL ROOM - NIGHT
    Jerry has crawled his way over to the sink .
    JERRY
    Diversion. Need a diversion.
    Hands cuffed , he pulls himself up , leans heavily on the lip . As an afterthought , he stares into the mirror .
    JERRY
    Liza's coming. Got ta look sharp.
    Jerry runs a hand through his hair , collapses .

INT. DECREPIT HALLWAY ONE - NIGHT
    A CLEET on patrol . He passes a doorway into an abandoned room . As he turns a corner , Liza steps out of the room , continues the opposite way .

INT. DECREPIT HOSPITAL ROOM - NIGHT
    His feet braced against the wall , Jerry pulls on a PIPE under the sink . It GROANS , CREAKS , and then SNAPS . Water geysers up . Jerry sputters out of the way .

INT. DECREPIT STAIRWELL - NIGHT
    Liza makes her way down .

INT. DECREPIT HALLWAY TWO - NIGHT
    A CLEET GUARD outside a door . He looks down as water pools at his feet . Turning , he sees it runs from under the door . There 's a 5x5 - inch window on the door , but the view is blocked by a hard , white surface . The Guard raps the glass .
    GUARD
    What's going on there?!
    ( off no answer . )
    Where's the water coming from?

INT. DECREPIT HOSPITAL ROOM - NIGHT
    Jerry holds a toilet lid over the glass . Another RAP .
    GUARD
    ( V.O . )
    Answer me!
    The BOLTS BEING SLID BACK . Jerry stumbles as the door is pushed open . The Guard enters , leading with his 9mm .
    JERRY
    You had to see for yourself, did n't you?
    GUARD
    ( re : sink . )
    Where'd you think that was going to get you?
    The Guard is unaware that Liza has appeared in the doorway behind him . Jerry smiles .
    JERRY
    Right where we are now.
    The Guard steps forward to let Jerry have it . He freezes at the HAMMER CLICKING back on the .38 .
    LIZA
    Drop it.
    Cursing himself , the Guard lets the 9mm slip to the floor .
    LIZA
    Turn around.
    The Guard turns . As he does , Jerry raises the toilet lid , cracks it down over the top of the Guard 's head . The exertion sends Jerry sprawling , as well . He looks up .
    JERRY
    So, what do you think? Is something going on here or what?

INT. DECREPIT HALLWAY TWO - NIGHT
    Jerry -LRB- armed with the 9mm -RRB- and Liza exit . Liza slides the bolts back on the door . Footsteps and voices ahead . Jerry leans on Liza as they start their escape in the opposite direction . They 've just disappeared around one corner when Jonas and CLEETS # 3 and # 4 appear around the corner .
    JONAS
    Where's the guard?
    Slipping in the water , the CLEETS hurry forward . One of them looks through the window , scowls as the second unbolts the door . As Jonas sees the unconscious Guard and the toilet lid , he does not look happy .

EXT. GERMAINE O. NICOLS MENTAL HOSPITAL - NIGHT
    A man approaches from one end of the sidewalk . Flip , the black owner of the newsstand Jerry frequents . No longer wheelchair - bound . As he converges with Agent Lowry .

INT. HOSPITAL ENTRY - NIGHT
    The old security guard watches a little TV .
    TV ANNOUNCER
    ( V.O . )
    The President had left the area only moments earlier and is currently in Germany. Again, the quake in Southern Turkey measured seven - point - three on the Richter scale. Thousands are feared missing or dead.
    He looks up as from outside , Lowry shoulders back the door , exposing the chain . Flip cuts through it with a portable torch . Lowery bursts through , passing the sputtering old security guard . The whole entry takes about two seconds .

INT. INTERSECTING HALLWAYS - NIGHT
    Jerry and Liza make their way along . Ahead , a CLEET crossing the intersection . SHOTS are exchanged . Liza and Jerry hug the wall , move back the way they came . As the CLEET gets on his headset , they duck down . EAST HALLWAY Jerry , who knows where he 's going , motions Liza ahead .
    JERRY
    This way.
    Only a few steps and another CLEET ahead . More SHOTS FIRED and they duck down . SOUTH HALLWAYS Jerry takes Liza 's hand and they run . Left here . Right there . EAST HALLWAY Flip and Lowry , infiltrate . They exchange FIRE with a CLEET . INTERSECTING HALLWAYS The GUNFIRE is DISTANT here . Jonas gets the report from CLEET # 4 , who gets it over his headset .
    CLEET #4
    He's somewhere on the south side of the wing.
    JONAS
    ( thinks a beat . )
    I know where he's going.
    Jonas strides away , CLEETS # 4 and # 3 hurrying to keep up .

INT. ALCOVE/DEAD-END HALLWAY - DAWN
    They reach the end , a narrow alcove to the left .
    LIZA
    It's a dead end.
    A 2 - foot by 2 - foot sliding door on the wall . Padlocked . Jerry aims , SHOOTS the lock off . He opens the door to reveal a dumbwaiter .
    LIZA
    How did you know?
    JERRY
    I spent two years here. This used to bring the med - cart. Demerol. Phenobarb. It's Jacob's Ladder.
    Jerry hits a button on the wall . Nothing . No power . Liza looks back over her shoulder at distant gunfire .
    LIZA
    Something's going on back there.
    BOOM ! BOOM ! BOOM ! She spins as Jerry FIRES into the wall . He tears plaster back in huge chunks to reveal the dumbwaiter mechanism . A looped bicycle chain , running over teeth on a motor below and disappearing up a shaft above . He kicks the bottom loop off the motor .
    JERRY
    Get in. I'll pull you up to the fourth floor.
    LIZA
    What about you?
    JERRY
    Get up there and we'll get it back down here for me. Now.
    Liza thinks a beat , then nods and climbs inside .
    JONAS
    Jerry, you continually amaze me.
    Jerry and Liza freeze . The voice is close . Liza starts to climb out , but Jerry holds her back , whispers .
    JERRY
    Geronimo.
    He shoves her back , hauls down on the chain . The dumbwaiter starts up .
    LIZA
    Geronimo is down.
    JERRY
    It's up. Love gives you wings. You can fly away from here.
    LIZA
    Do n't do this.
    Jerry hauls down again . Liza disappears from view . He clutches his side in pain . Then he hauls again . DEAD END HALLWAY CLEETS # 3 and # 4 advance . DUMBWAITER jerking upwards . Liza despairing .
    LIZA
    Jerry!
    ALCOVE Jerry hauls harder . Faster . Hand over fist . Determined to get Liza out of there .
    JERRY
    Too good to be true. Last thing I do. Like life pounding eggs.
    Up , up , up , the dumbwaiter goes . Finally , it wo n't go any further . It 's out of sight . DEAD END HALLWAY CLEETs # 3 and # 4 move up . DUMBWAITER The door wo n't budge . Liza leans back , FIRES a ROUND at where she guesses the lock should be . She throws the door up . The 4th floor . As she squeezes out . ALCOVE Jerry holds the chain with one hand , FIRES through it with the 9MM . A tug and 60 feet of chain spools down at his feet . Liza 's away . As Jerry smiles , CLEETs # 3 and # 4 appear behind him , each FIRING once into his back . 4TH FLOOR - LIZA Reacting to the shots . Appalled at what must be happening .
    LIZA
    Jerry!
    ALCOVE Jerry hears her call , closes his eyes .
    JERRY
    Liza.
    Jerry drops his gun , corkscrews down into a broken heap . His eyes flutter up as Jonas looms over him .
    JONAS
    A patient man can accomplish anything.
    4TH FLOOR - LIZA Liza runs . DEAD END HALLWAY CLEETs # 3 and # 4 turn as Lowry and Flip approach . As they head down to the end of the hall , Jerry 's eyes flicker to the 9MM . As his hand inches that way . STAIRWELL Liza runs , possessed . Only this time she 's running to something and not away . She stumbles , slams into the wall at the landing , continues . DEAD END HALLWAY Jonas starts back for Jerry , stops short as he sees him , still on the ground , pointing the 9MM at him . CLICK . Jerry 's out of ammo . Jonas continues toward him . 1ST FLOOR HALLWAY Liza comes off the stairwell . Runs . CONNECTING HALLWAY CLEET # 3 goes down , SHOT by Lowry . # 4 makes a dash for it , is pursued by Flip . DEAD END HALLWAY Jerry , spitting blood , waits as Jonas calmly sets the barrel of his gun against Jerry 's forehead . The coup de grace is imminent . Jerry 's ready for it . LIZA Lungs ready to burst . She hurdles # 3 's body , turns the corner , screaming as she raises her father 's gun .
    LIZA
    No!
    Jonas looks back over his shoulder just in time for a bullet to drill his forehead above his left eye . He 's dead before he hits the ground . And Liza is at Jerry 's side . One look and she knows it is n't good .
    LIZA
    Help! Somebody help me!
    He just looks up at her as she cradles his head .
    LIZA
    Do n't die on me, Jerry. Okay?
    JERRY
    I ca n't promise you anything.
    She cries at the allusion , takes his hand .
    LIZA
    You've been my best friend for years and I did n't even know you were out there.
    JERRY
    Top pocket. Go on.
    Liza reaches in , pulls out one of the `` new '' $ 100 bills . It 's bloodstained .
    JERRY
    Remember when you gave me that? A hundred dollar bill to get lost?
    ( re : bill . )
    That's it. My lucky charm.
    As a tear rolls down Liza 's cheek .
    JERRY
    They changed Franklin's portrait.
    LIZA
    You think it's a conspiracy?
    JERRY
    Do n't know, but he looks a lot more like Rosie O'Donnel than Ben Franklin.
    Liza looks at the bill a moment , shakes her head , then :
    LIZA
    Fred Mertz. It's Fred Mertz.
    Jerry smiles . Liza smiles back . Then :
    JERRY
    ( almost apologetic . )
    I do n't know why I love you. But I know that I do.
    Liza lowers her head , her heart stripped bare .
    LIZA
    I love you, too.
    JERRY
    ( a sigh . )
    Now she tells me.
    Overwhelmed , Jerry squeezes his eyes shut . Liza turns back as Agent Lowry appears .
    LIZA
    ( desolate . )
    Help him. Please.

EXT. HOSPITAL - AMBULANCE - DAWN
    A madhouse . Police arriving in droves . Jerry in the back of the ambulance . Liza watches , horrified , as his body jerks as they defibrillate him . The back doors close .
    LIZA
    Wait! Wait for me.
    She 's restrained by Flip and Agent Lowry , tries to fight past them as the ambulance pulls away . Overwhelmed , Liza collapses . As they hold her up .

EXT. CEMETERY - DAY
    A beautiful day . Maybe not a bad place to end up after all . We COME UPON a particular stone , freshly turned earth on the grave . Jerry Fletcher . He did n't make it . Liza stands here all alone . Paying her last respects .
    LIZA
    ( softly . )
    You got away, Jerry. They'll never find you now.
    Her eyes well up with tears . Liza fights it off .
    LIZA
    ( deep breath . )
    Get a hold of yourself, baby.
    One last moment and then she turns and walks away . As she moves , the sound of FOOTSTEPS . On the FLOOR .

INT. STERILE HALLWAY (SOMEWHERE) - DAY
    Agent Lowry strides down the hall , full of purpose . At an intersection , he 's joined by Flip . The two of them continue , without speaking , to a door . They enter .

INT. STERILE ROOM (SOMEWHERE) - DAY
    His chest bandaged , tubes running in and out , Jerry looks up as Lowry and Flip enter . He 's weak , but very much alive . They look at him . He looks back as defiantly as his situation will allow .
    JERRY
    Flip. Howard Hughes gave you your legs back.
    Flip does n't even crack a smile .
    LOWRY
    You made your decision yet?
    JERRY
    I'm leaning toward no.
    LOWRY
    That's your option. Ours could be to keep you locked up for a very long time. In case you did n't know it, you're crazy.
    FLIP
    Not to mention the fact that everyone thinks you're dead.
    LOWRY
    We need you. We need what you know. To bring these guys down. Believe it or not, we're on the same side.
    ( as Jerry scoffs . )
    One thing's for sure. You do n't have a choice.
    Jerry stares back . That may be the truth .
    JERRY
    I'll do it. On one condition. I want to make sure she's okay.
    LOWRY
    We got someone watching her 24 hours a day. She -
    JERRY
    That's not what I mean. I want to see her.
    LOWRY
    I do n't know.
    JERRY
    Then screw you. I'll rot.
    LOWRY
    Alright. You can see her.
    ( as Jerry smiles . )
    But she ca n't see you.
    JERRY
    Whatever.
    Lowry and Flip turn to leave .
    JERRY
    Flip.
    ( as Flip looks back . )
    You're the closest thing I got to a friend around here. Tell me something. You think I'm crazy?
    FLIP
    Shut the hell up.

EXT. OX RIDGE HUNT CLUB (CONNECTICUT) - DAY
    Pastoral to say the least . Liza steps from her BMW , leans against the fence and watches as three lO - year - old girls on horses receive a riding lesson .

INT. OX RIDGE HUNT CLUB - BARN - DAY
    Liza moves along the well - maintained stalls . One particular HORSE WHINNIES excitedly as she approaches . Liza stops to look him over .
    LIZA
    J.D., I'm back. If you'll have me.
    He WHINNIES , stomps a hoof . Liza hugs him around the neck .
    LIZA
    Johnny.
    The horse has to be the fabled Johnny Dancer . Their moment is broken up by a rough - looking GROOM .
    GROOM
    Can I help you with something?
    LIZA
    You got a saddle around here? This is my horse.
    GROOM
    I've never seen you here before.
    Liza reaches into her jeans pocket , pulls out her trademark denomination : a $ 100 bill . But something hesitates inside her . She rubs her thumb over Franklin : Rosie O'Donnel or Fred Mertz ? She pockets the bill , looks up .
    LIZA
    Could you help me out? Please.
    GROOM
    ( a beat ; softens . )
    I think I can find a saddle for that horse.

EXT. ROAD - SURVEILLANCE VAN - DAY
    Pulled off the road . A view to the farm .

INT. SURVEILLANCE VAN - DAY
    Jerry sits with Lowry and Flip , scans with binoculars .
    JERRY
    I see her car, but - Oh.
    BINOCULAR POV - LIZA Riding Johnny Dancer out into the ring . She canters back and forth . Tentative at first , but gaining confidence .

INT. RIDING RING - DAY
    Liza pulls up , eyes a fence .
    LIZA
    I must be crazy.
    Deciding , she whispers something into Johnny 's ear .
    LIZA
    Geronimo.
    They 're off at a gallop . BINOCULAR POV - LIZA Picking her spot , Liza guides Johnny up and over . Fluid . A thing to behold .

INT. SURVEILLANCE VAN - DAY
    Jerry , holding his breath , lets it out in a long sigh , the sound of love . He smiles sadly , lowers the binoculars .
    JERRY
    She's okay.
    ( to Lowry ; grim . )
    Let's go.

EXT. SURVEILLANCE VAN - DAY
    It rolls down the road . Destination unknown .

EXT. OX RIDGE HUNT CLUB - FIELD - DAY
    Liza gallops out into the sun . Feeling it , remembering , realizing just how much she missed this . But now she has it again . A gift . Head back , she holds her arms out in hope and faith , very much like the painting on Jerry 's Wonderwall . FREEZE FRAME . FADE OUT . THE END

Summary: Conspiracy-theorist and New York City taxi driver Jerry Fletcher (Mel Gibson) continually expounds his ideas to Alice Sutton (Julia Roberts), a lawyer at the Justice Department. She humors him because he once saved her from a mugging, but is unaware he spies on her at her home. Her own work is to solve the mystery of her father (Bert Remsen)'s murder. Seeing suspicious activity everywhere, Jerry identifies some men as CIA workers, follows them into a building, and is captured. The interrogator injects a wheelchair-bound Jerry with LSD and questions him using torture. Jerry experiences terrifying hallucinations and flashbacks, panics, and manages to escape by incapacitating the interrogator by biting his nose and kicking him. Later, after being captured again, Jerry is handcuffed to a hospital bed and forced into a drug-induced sleep. Alice visits, and Jerry persuades her to switch his chart with the criminal in the next bed or he will be dead by morning. When Alice returns the next day, the criminal is dead, allegedly from a heart attack. The CIA, FBI and other agencies are there, led by CIA psychiatrist Dr. Jonas (Patrick Stewart), whose nose is bandaged. Meanwhile Jerry fakes a heart attack and escapes again and hides in Alice's car. The pair go to her apartment and Jerry accidentally reveals he's been watching her. Jerry confronts FBI agent Lowry (Cylk Cozart) and his partner staking out her place, and he warns them at gunpoint not to hurt her. Jerry sees their operatives rappelling down from black helicopters and hides in a theater, escaping by causing a panic. Alice calls each person on Jerry's newsletter mail-list and finds that all have recently died, except one. Jerry uses a ruse to get her out of the office, and then immobilizes the operatives watching her. During their escape he tells her that he fell in love with her at first sight, then flees on a subway train when she brushes off his feelings. She goes to see the last surviving person on the subscription list, and finds it is Jonas. He explains that Jerry was brainwashed during Dr. Jonas' time with Project MKUltra to become an assassin, and claims that Jerry killed her father. She agrees to help find Jerry, who sends her a message to meet him. He ditches the agents following them with a pre-arranged car transfer, and he drives her to her father's private horse stables in Connecticut, but meanwhile Alice secretly calls her office so that Jonas can track her phone. At the stables, Jerry remembers that he was sent to kill her father, but found he could not and had become his friend instead. Jerry tells Alice that he promised to watch over her before the judge was killed by another assassin. Jonas' men capture Jerry, and a sniper tries to get Alice, but she escapes. Meanwhile, Alice finds Lowry and forces him at gunpoint to admit that he is not FBI, but from a "secret agency that watches the other agencies". He says they have been using the unwitting Jerry to uncover and stop Jonas. Alice goes to the site of the smokestacks from Jerry's mural and sees a mental hospital next door. There she hears and talks to Jerry through a vent, and an attendant she had bribed shows her up to an unused wing. She breaks in and finds Jerry. As Jonas catches them, Lowry arrives with his men and attacks Jonas' men. Jerry attempts to drown Jonas, is shot by Jonas from under the water, and Alice, who has regained consciousness after being knocked out, shoots Jonas six times. After killing Jonas, Alice tells Jerry that she loves him before he is taken away in an ambulance. Some time later, a grieving Alice visits Jerry's grave and leaves a pin that he had given her. She returns to riding her horse that she had stopped riding after her father's murder. While watching Alice from a car with Lowry, Jerry keeps to his agreement to not contact her until all of Jonas' other subjects are caught. As they drive away singing "Can't Take My Eyes Off You", Alice finds the pin she had left at Jerry's "grave" attached to her saddle, and smiles as she continues riding.