CONSPIRACY THEORY



                    an original screenplay by

                         Brian Helgeland











                                            September 12, 1996















        FADE IN:

        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 don'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 don'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
                  Aren'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 can't take his eyes off the stroke.  As he blinks.

                                JERRY
                  I don't know.

                                                   FLASH CUT TO:


        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 doesn't see it.  The
        sound of conspiratorial WHISPERS fill the taxi.

                                                   FLASH CUT TO:


        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 can'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 don'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, doesn'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 gotta 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...

                                                   DISSOLVE TO:


        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
        can'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
                  won't be back for two weeks.

                                WILSON
                  I don'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 don'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 don'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 hadn'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 can'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
                  can't lie to me, Liza.  And the
                  more I strip through the sham, the
                  crazier I look to people like you.
                  Can'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 wasn't crazy, the answer might be yes.

                                JERRY
                  I better get going.

                                LIZA
                  You don'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, don'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.

                                                   CUT TO:


        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.  Wasn't I?  I was
                  right.
                         (a beat)
                  What was I right about?

        They don'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 doesn'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 isn't really dancing.  He's directly across
        from Jerry -- profile-to-profile.

                                JONAS
                  Who else knows what you know?

        Slack-jawed, Jerry doesn'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 can'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
                  Don'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.

                                                   CUT TO:


        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 don't leave now, you're under
                  arrest.

        As Jerry spots her....

                                JERRY
                  Liza!  This is it.  They just
                  tried to kill me!  I don'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' .45s 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!  Don'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 don'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 didn'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 don'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
                  don'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 doesn'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, didn'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 don'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.  Don't want to be dead.

                                LIZA
                  I'll see you tomorrow.

        As Jerry eases back into the mattress.

                                JERRY
                  Wouldn't bet on it.

        As Liza starts to go...

                                JERRY
                  Hey...
                         (as Liza looks back)
                  I can'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.

                                                   CUT TO:


        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...

                                                   DISSOLVE TO:


        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,
                  didn't you?

        Liza doesn'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 won'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 don'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 isn'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 can'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 gotta help me.

                                LIZA
                  I can'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 (returning his keys, pockets the
        cuffs) as Lowry and Jonas turn the corner.

                                LOWRY
                  Which way did he go?

                                LIZA
                  I don't know.  Didn'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 don'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 won'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
                  wasn'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 won't
                  hold that against me.

                                JONAS
                  Only on the football field.

        That's as charming as Jonas gets.  The sparring
        continues.

                                LIZA
                  I didn'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 won'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?

                                                   DISSOLVE TO:


        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 don'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.)
                  Don'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, don'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.  Can't see Jerry in back.

                                LIZA
                  Agent Lowry.

                                LOWRY
                         (shrugs; sheepish)
                  Wasn'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 doesn't like the sound of that.


        INT./EXT. BMW/CROWN VICTORIA

        Liza smiles, but isn'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?  Wasn'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 haven'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 didn'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
                  wouldn't be?

                                LIZA
                  You're certifiable.

                                JERRY
                  You wouldn't be sitting here if
                  you didn'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 don'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 doesn'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 don't know who the main
                  character is?

                                JERRY
                  I've never read it.  I just --
                  Every time I see one I buy it.  I
                  don't know why exactly... Wanna
                  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 don'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
                  Don'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 didn'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 don't know
                  how that's possible.

                                JERRY
                  So what's the question?

                                LIZA
                  How is it possible?

        Jerry doesn'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, don'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 don'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 don'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.

                                                   CUT TO:


        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 gonna 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 don'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 doesn'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 needn'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 shouldn'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.

                                               IMMEDIATE CUT TO:


        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.

                                                   CUT TO:


        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 haven'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 didn'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.

                                                   CUT TO:


        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 doesn't make sense.

                                WILSON
                  It makes perfect sense.  Field
                  work is not our oeuvre.

                                LIZA
                  I don't like it.  Something's
                  wrong.

                                WILSON
                  Dr. Jonas thought you might be
                  inclined not to cooperate.  Why is
                  that?

                                LIZA
                  We don't know who Jonas is.  We
                  don'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
                  Can'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 can't be traced.

                                LIZA
                  Well, I've been tracking them down
                  all morning.

                                JERRY
                  You haven'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 haven'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 isn'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
                  couldn't even kill Sunny von Bulow
                  there.  Harriman drowned, but it
                  wasn'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 don't break in the summer!
                  Do you know what building is right
                  over this spot?  Harriman Tower.
                  Their sub-basement was flooded!
                  He didn'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 don'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
                  don't think I am, but...

                                LIZA
                  Jerry, I --

                                JERRY
                  What if I reached a point where
                  you didn'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
                  Don't do this to yourself.  Jerry.
                  You don't love me.

        Jerry shakes his head.

                                JERRY
                  You're wrong.  Since I met you, I
                  don't dream about holes anymore.

                                LIZA
                  Holes?  I don'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 isn't normal and you can't
                  expect me to respond to it and you
                  can't expect me to feel the same
                  way.
                         (long beat)
                  Can you?

                                JERRY
                  I would never hurt you, Liza.
                  Think whatever you want, but don't
                  think that.

                                LIZA
                  I don't.  I know you wouldn't.

                                JERRY
                  I thought you -- Why -- Love ruins
                  everything, doesn'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 won'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.

                                                   FLASH CUT TO:


        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 isn'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 isn'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
                  wasn'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 don'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 wasn'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 don'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 don'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 doesn't answer.  Liza looks at the photo.  Jonas'
        watches -- the observer.

                                LIZA
                  When they found him, he was
                  holding his wallet.
                  But he hadn'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 don'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 didn'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 don'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 (the
        beacon) 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 doesn'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 hadn't
                  told you what I did.  But I can't
                  help the way I feel.  You don't
                  hold that against me, do you?

                                LIZA
                  No.  That wouldn'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 don'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.

                                                   DISSOLVE TO:


        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 didn't die.  If he had
                  died, everybody would know what
                  Johnny's middle name was.

        Jerry smiles, but she doesn'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, doesn't like this at all.  For the third
        time.

                                LIZA
                  Where are we going?

        Jerry doesn't answer.

                                LIZA
                  Where?!

        Jerry pulls over, stops alongside the woods.


        EXT. ROADSIDE - WOODS - NIGHT

                                JERRY
                  Haven'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, can'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 don't understand.

                                JERRY
                  Where were you the day he died?

                                LIZA
                  At a horse show.

                                JERRY
                  That's the last time you rode,
                  isn'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 don'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
                  Can't give you the details because
                  I can'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 don'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 couldn't do it.  If that's
                  love, it's not so bad.
                         (a beat)
                  I found a part of myself that day.
                  I couldn't go back.

                                LIZA
                  Back where?

                                JERRY
                  To Jonas.  I didn't know that at
                  the time.  Didn'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.  Don't you see?  Your
                  father wasn't trying to keep
                  Walters in prison.  He was looking
                  into getting him out.  He didn't
                  believe the official story.

                                LIZA
                  Why not?

        Jerry looks away, can'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 don'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 shouldn'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 shouldn'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 doesn'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 haven't moved in
                  yet.

                                                   CUT TO:


        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 can'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 doesn't move, doesn'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 doesn'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 doesn'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 haven'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
                  Don't go home.  And don't go to
                  work.  Either one could be bad.

                                LIZA
                  What do you suggest?

                                LOWRY
                  That you come with me.

                                LIZA
                  I don'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 don'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...

                                                   CUT TO:


        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...

                                                   CUT TO:


        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...

                                                   CUT TO:


        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 isn'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 gotta 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 doesn'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.  Gotta 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,
                  didn'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 (armed with the 9mm) 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
                  Don'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 won't go
        any further.  It's out of sight.


        DEAD END HALLWAY

        CLEETs #3 and #4 move up.


        DUMBWAITER

        The door won'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
        isn't good.

                                LIZA
                  Help!  Somebody help me!

        He just looks up at her as she cradles his head.

                                LIZA
                  Don't die on me, Jerry.  Okay?

                                JERRY
                  I can't promise you anything.

        She cries at the allusion, takes his hand.

                                LIZA
                  You've been my best friend for
                  years and I didn'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
                  Don'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 don'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...

                                              DISSOLVE TO:


        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 didn'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.

                                                   CUT TO:


        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 doesn'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 didn'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 don'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 don't know...

                                JERRY
                  Then screw you.  I'll rot.

                                LOWRY
                  Alright.  You can see her.
                         (as Jerry smiles)
                  But she can'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