"ERASER" (1996)

Who must do the hard things? He who can.

Chinese maxim Attributed to Confucius

FADE IN:

ONTHE FACE OF A KILLER

He'sa professional. He's businesslike, but not unpleasant.

We hear the metallic ZING.of the KNIFE he i~ sharpen~ngo.s.

The KILLER holds the KNIFE up, it's wicked and gleaming ••• There are muffled noises o.s.

We see.the KILLER has been addressing a MAN, JOHNNYc, who kneels in front of him, hands and feet tied, mouth taped. There is another victim, DARLEEN, Johnny's wife, similarly tied and gagged. There are two more people in theroom, KILLER #2 and KILLER #3, the back-up men. They'rearmed .

.. ¥••

With his eyes, JOHNNY C is pleading desperately_as the KILLER undoes JOHNNY'S belt and unzips his pants•..

JOHNNY C squirms into fetal position on the floor ••.

OUTSIDE THE HOUSE -NIGHT

ST~LKER 1 SP.o.v. THROUGHA WINDOW - THE LIVING ROOM

JOHNNY C tries to crawlaway from the KILLER. We're looking over the shoulder of KILLER#3, who sits in an armchair •••

KILLER f3

Sits by the openWINDOW, as a THIN METAL TUBE with a LOOP OF WIRE at.the end comes through the window above his head •••

SWOOSH! The loop ofWIRE comes down over his head, tightens, and KILLER #3 is pulled out of his chairand out through the open window. There is a CRACKING SOUND, then silence •••

KILLER #2

HEARS something in thehou·seand goes to investigate •••

..

SWOOSH! -he is grabbed from.behind and whipped out of sight. There isa CRACKING NOISE o.s., then silence ••.

THE KILLER

Has barely enough time to draw hisGUN as he sees .•.

THEMAN IN BLACK

Coming right at him. Heleaps toward the KILLER, rolling as he hits the floor and the KILLER fires •••

... and theMANIN BLACK emerges from his roll, springing fromdown low, hitting the KILLER in the middle, gripping his gun hand,taking him down •.•

••• theMANIN BLACK has the KILLER pinned, leaning on the KILLER'Swindpipe with his elbow. A silent qu~stion burns in theKILLER'S eyes •••

•.. and theMANIN BLACK leans decisively on the KILLER'S windpipe, killing him.

From their prone position on the floor, the astonished JOHNNY C ani DARLEEN watch the MAN IN BLACKas he glides out the door, leaving them where they lie •••

He returns a moment later with a BLACK BAG slung over his shoulder. Quickly, he pulls out a POLAROIDCAMERA and a "HEAD AND SHOULDERS" SHAMPOO BOTTLE.~.

Without a word he drags JOHNNY cover to DARLEEN, arranging them like sacks of flour. He flips the top off theSHAMPOO BOTTLE .••

... and he squirts them with blood. DARLEEN struggles insanely as he squirts the blood onto her face,onto the floor around her, and lots of blood ontoJOHNNY c.•.

The MAN IN BLACK looks through his CAMERA,arranges the two "bodies" with his foot, and shoots two PHOTOS,the FLASH going off. Then he leaves them on the floorand heads outside again, returning with another BAG andsome CLOTHES.

JOHNNY C and DARLEEN look on, terrified as theMAflIN BLACK studies the POLAROIDS. Satisfied, he kneelsdown close to their faces, and in a strangely compelling whisper•••

He cuts her bonds and RIPS the tape from hermouth. Before she can scream, theMAN IN BLACKputs a hand over her mouth.

It's his voice, she'll do what he says. DARLEEN runs upstairs. He cutsJOHNNY C's bonds.

And the MAN IN BLACK is out the door again,before the bewildered JOHNNYC can rip the tape from his mouth .••

The 1'1ANINBLACK swings the AMBULANCE around, jumps out and opens the hatch as JOHNNY C looks on, wide-eyed. The side of the AMBULANCE.reads: "KENDALL COUNTY GENERAL - EMS"

1'1ANINBLACK Take this end. \

He indicates a big dark object in the back of the AMBULANCE. JOHNNY c realizes with a start that it's a plastic BODY BAG, with A body in it, but the MAN IN BLACK is already dragging it out of the VAN and into the HOUSE, so JOHNNY C grabs his end and assists. The BAG reads: "COUNTY MORGUE"

There is a second BODY BAG in the AMBULANCE, and the two men bring it into the HOUSE as well •••

The MAN IN BLACK unzips the BAGS to reveal the CORPSES inside. They are a naked MAN and a naked WOMAN, rough matches in age and size for JOHNNY C and DARLEEN. The WOMAN is black, though .•.

'DARLEEN (reading the toe tags) "John Doe, smoke inhalation, Jane Doe, drowning ..• "

He has tossed them clothes, which, when unfolded, turn out to be UNIFORMS~ EMS for DARLEEN, POLICE for JOHNNY c. The MAN IN BLACK drags the bodies of the KILLERS to the AMBULANCE, returning wi~h'a KNAPSACK and a can of GASOLINE, which he starts pouring over the living room

Halfway into her UNIFORM, DARLEEN screams •••

From the knapsack he produces a bundle of objects that could be highway flares, or sticks of dynamite. They have little RED LIGHTS. These are MAGNESIUM FUSES. The MAN IN BLACK puts several of these in the corners of the room •••

s

TheMAN IN BLACK upends the SAFE, drops in the various wallets,credit cards, billfo:ds etc. that DARLEEN has gathered, fills the safe withGASOLINE

JOHNNYC REACTS at the sound of SIRENS in the distance •••

TheMAN IN BLACK punches a miniature KEYPAD•••

•.. andone of theMAGNESIUM FUSES ignites furiously. He strips off hisBLACK CLOTHING to reveal an EMS.UNIFORM underneath. He tosses his BLACK CLOTHES into the inferno as he hustlesJOHNNY C and DARLEEN out the door.

JOHNNY C and DARLEEN struggle to complete their OUTFITSas FLA.'1ESerupt in thewindows of thehouse. The MAN IN·BLACK givesJOHNNY C a GUNBELT, with holster and GUNS. • A look passes betweenhim and JOHNNY c, then •••

SIRENS,-BLARING,a FIRE TRUCK and TWO POLICE CRUSIERScome roaringup the driveway .••

••• asFLAMESwhip around them •••

FLAMES lick the GASOLINE inside. It EXPLODES in a fireball

EXPLOSIONS rock the HOUSE as FIREMEN come rushing up. When he speaks to the FIREMEN, the MAN IN BLACK becomes what they expect - a hick county EMS worker - in appearanceand voice, it's a startling transformation •••

BOOM! another explosion of FLAME from the HOUSE

And the MAN IN BLACK jumps behind the wheelof the AMBULANCE, wJJ:h.JOHNNYC.and DARLEEN inside,and drives off into the night. ·

With a desperate look, JOHNNY C pulls hisPOLICEMAN'S GUN on the MAN IN BLACK, who grins·. mirthlesslyandkeepsdriving.

JOHNNY C looks at.the gun, it's gotta beempty •••·No, it's loaded all right, but there's something about theMAN IN BLACK, the commanding competence, the awesome self-possesion of the man. JOHNNY c hesitates •••

••. then begins to cry softly.The MAN IN BLACK drives •••

QUICK CUTS AS:

The AMBULANCE pulls into amammoth JUNKYARD, where mountains of rusted cars loom ominouslyin the darkness

The MAN IN BLACK uses a giant crane to lift the AMBULANCE, still carrying the bodies of the three KILLERS, dropping it neatly intoa giant machine.•.

JOHNNY C and DARLEEN and theMAN IN BLACK have changed clothes once again, and jump intoa waiting car and pull away as we see •••

The GIANT MACHINE extrudes tiny shreds ofwhat used to be the AMBULANCE and theKILLERS .••

EX~. DULLES INTERNATIONALAIRPORT• 7AM

Daybreak over Washington •••

In a COFFEE SHOP, JOHNNY C andDARLEEN, now heavily disguised, wait anxiously~ver donuts and coffee as •••

The MAN IN BLACK, now dressed anonymously,hovers in a BAGGAGE CLAIM AREA. He sees what he came for, a PROSPEROUS-LOOKING COUPLE,he slides up to them and, smooth as can be, he lifts the man'sWALLET.••

At a TICKET WINDOW,the MAN IN BLACK uses what is obviously the man'sCREDIT CARD to buy THREE TICKETS ..•

The CREDIT CARD goes intoa coffee shop dwopster...

The MAN INBI.ACK,JOHNNY C and DARLEEN, all in disguise board an AIRPLANE, sitting separately•••

In a CAB,the PROSPEROUS-LOOKING MAN searches for his wallet •••

As The MAN INBLACK and hi!Itwo charges slip into aCAR in the LONG-TERMPARKING LOT and pull away •••

The MAN IN BLACK flashes hisBADGE to a YOUNG U.S.MARSHAL who waits at attention in anOPEN ROOM •••

The MAN IN BI.ACKtakes outa MAGIC MARKER and a pack of yellow POST-ITNOTES and writes a NUMBER on each of two sheets. For the benefit of theYOUNG MARSHAL, he sticks 11 526 11onJOHNNYC,and11 527 11onDARLEEN.Again, there's that voice .••·

From theway he turns to walk away, we see this whole ep~sodehas been distasteful to the MAN IN BLACK.

The YOUNG U.S. MARSHAL watches him walk away withcuriosity and admiration, then says to.JOHNNY C and DARLEEN:

••• andweFOLLOW her back to the ERASER'S table ••• ••• but theERASER has vanished.

The ERASER sits alone in a terminal waitingroom. This is more his speed. People pass by, nobody looks at anybody. He blends in, he's nobody again. He checks his watch.

A PAY PHONE IN T..iEAIRPORT- AMINUTE LATER

The ERASER stands at a pay phone, a piece of paper with a LIST in his hand, and the PHOTO SURVEILLANCEDOCUMENT on the WOMAN, #109. His chameleon's voice is flat,characterless.

Palm trees sway in the b.g. A SIGN indicates:

"LAKE KISSIMMEAND ORLANDO MUNICIPAL BUILDING DEPARTMENTOF MOTOR VEHICLES"

...·· ~-

As it is pushed down the corridor,we see today,'scopy of the ORLANDO SENTINEL. On the FRONT~AGE is the.obligatory PHOTO OF DISNEY WORLD that thisp_aperalways seems to run •••

FOLLOWING THE NEWSPAPER·

As it is taken off the CART andhanded around an office •••

VOICE (o.s.) Thanks Ray •••Jackie, Marie's paper's here, put it on her desk forme will you?

And we follow the NEWSPAPER asJACKIE carries it into an inner office without knocking •••

THE ERASER

He REACTSas he sees his WAITRESS. Strangely,she looks a bit like theWOMAN in the PHOTO, #109. She's not as pretty, but the type is thesame - dark bangs, bright smile •••·

He nods. He doesn't ask, but•••

And she flashes a showy diamond ENGAGEMENT RING.

She's an effervescent, in-your-face, real-lifeoverload, and the ERASER seems to withdraw even more into his silence .••

Her VOICE is trailing off •••

She indicates her stomach, she's just noticeably pregnant .••

And we FOLLOW the WAITRESS as she moves to theBAR ...

·a

The MAN IN BLACK,the "ERASER," walks/among the·CROWD. Sunlight. Couples. Kids. Real life. It's lovely, but •••

The ERASER doesn't belong here. In his non-descript, suit and shadesi in his deep air of melancholy solitude,he ·couldn't stand out more if he were painted blue.

AN OUTDOOR BISTRO- 11 LEPAPILLION"

As the ERASER is seated and handeda MENU by a MAITRE D1 • The MAITRE D' returns with aGLASS OF WATER.

The ERASER opens theMENU, finds an ENVELOPE. He opens the ENVELOPE to find threeflimsy DOCUMENTS inside, each with a DIGITAL COLOR PHOTO. Each reads: "WITNESS SURVEILLANCE UPDATE" "WEEK ENDING9/311 •

ANGLE ON THE UPDATES

TWO feature MEN,the third, a WOMAN. After scanning the MEN's UPDATES, theERASER ·does the strangest thing:

He crumples thetwo MEN'S UPDATES and pushes them both into his GLASS OF WATER, stirring them witha spoon. The UP[)ATES DISSOLVE instantly,leaving a clear GLASS OF WATER .

.. ,

The ERASER lingerson the WOMAN'S PHOTO. She is identified as fl09. It's blurry,but we can see she's pretty, with dark bangs and a bright smile in the sunlight of the photo.

A SURVEILLANCESUMMARY appears at the bottom o{,·1:hepage:

"SUBJECT #109 Status: Singl~, lives alone, employed. No knownLCN or other criminal contacts. No change from last report''

THE ERASER

As he stares at thePHOTO of the WOMAN •••

THE PHOTO -11 1109 11

••. itseems to come to life,the light seems to shimmer, and the woman's smile brightens to high-beam •••

And MARIE'S HANDS take the NEWSPAPER and open it expertly to the CLASSIFIED ADS, and we ANGLE ON AN AO which indicates:

"BOX 502- GREEN LIGHT"

J~CKIE (o.s. cont.) So? Did you win?

ANGLE ON "MARIE"

The NAMEPLATE on her desk says MARIE G. ALVAREZ, DEPUTY COMMISSIONER: LICENSES She is a pretty young woman with a bright smile and dark bangs, she's #109•••

kind of young woman of whom people say: "what a shame,such a pretty face." Her looks aren't helped by her dull,Lane Bryant size 14 generic-professional-woman suit.

Get out. Marie, don't play with me. Did you?

MARIE lets JACKIE wonder fora beat, then JACKIE smiles •••

And as JACKIE leaves, we see the smile on MARIE'Sface .••

Themoon is rising over the mountains that ring the city .••

THE ENTRANCE TO A NONDESCRIPTAPARTMENT BUILDING - NIGHT

.. ~

As the ERASER exits aTAXI and enters the building ...

The ERASER walks to his door, keys the lock, ent~rs...

He turns on a LIGHT-inan almost barren room ...'

He takes off his jacket, hangs it on a plain folding chair. Removing the SURVEILLANCE PHOTO of the WOMAN with ·theBANGS, again. Then he lays it on the bare kitchen table.

Wait ••• There's something in the darkened ROOM behind him, he whips around •••

A MAN is sitting in the dark. The MAN calmly lights a CIGARETTE, and as he inhales, the.red glow lights his face.

Only then do we see the THROWING KNIFE in the ERASER'S hand.

The ERASER maintains a suspicious poise •••

The MAN, SAMARITAN, calmly looks around as he continues smoking his cigarette •••

SAMARITAN stands, and comes into the light. They are two of the same breed, powerful, alert, professional. ~

Yet their styles are poles apart. While the ERASER is a. facil~/actor, the "real" man speaks with a quiet authority.

The "real" SAMARITAN never stops acting. Equally at ease with the grand gesture or the one-on-one seduction, SAMARITAN casts a spell, and he has the frighteningly clear eyes of a born mindreader. ,9 ,••••

The apartment, the "safe house".speaks volumes'aboutthe ERASER'S life: Bare walls; a couple of folding chairs; shades. drawn;a table; a bed. There isa REFRIGERATOR. There is a CLOCK RADIO on the floor. That's about it.

SAMARITAN opens the bottom of the REFRIGERATOR,revealing nothing but FIVE OR SIX TWO-LITER DIETCOKE BOTTLES ••• As he does, the ERASER sneaks a nervous glimpse at thePHOTO of #109 on the kitchen table •••

Up •••

Closing the bottom, SAMARITAN opens the freezer section on top, revealing nothing but a single bottle ofSTOLI .••

As SAMARITANturns toward the TABLE and the PHOTO, the ERASER takesa challenging tone to distract him •••

He hands the ERASER two SURVEILLANCE PHOTOS. The ERASER is stunned. Again his eyes find the PHOTO of #109.·

SAMARITAN'S eyes seem to see right through the ERASER .••

SAMARITAN·(cont.) Or Gardner? Or me? There's ten of us in the field.

·15

The ERASER has moved to the TABLE, and as he speaks he casually picks up his JACKET, seemingly to put the SURVEILLANCE PHOTOS in the jacket pocket. Then he drops the jacket on the TABLE, covering the PHOTO of1109•••

SAMARITAN· We'll assume they are, and-alert,and live-contact and re-plant every last singer.

SAMARITAN smiles his wolfish smile •••

The ERASER aoes a take •••

SAMARITAN smiles •••

SA¥..ARITANputs hisarm around the ERASER'S shoulder •••

The ERASER indicates his BATHROOM.

He grabs his JACKET (and thePHOTO), heads for the BATHROOM.

His smile vanishes as theERASER drops the PHOTO into the SINK, turns the faucet and watches as itDISSOLVES, the smiling face of #109 runningdown the drain.

The ERASER stands before the mirror and tries to put on his game face. It's harder than he anticipated. Then •••

THE ERASER

Exits the BATHROOM to join SAMARITAN,the game face is on.

RAIN beats down as the ERASER andSAMARITAN hustle toward a SMALL JET. They are met byTWO DEPUTY U.S. MARSHALS, LOURDES ROBLES and BETTINACANONERO, late 20s, tough, eager war dogs. SAMARITAN grins as he shouts over the storm.

The ERASER seems to smile atSAMARITAN'S grandstanding.

,

Inside the plane is a high-techcommand post.

The ERASER uses a MOBILE PHONE,reading a CODEl?,.·LIST.

Across the aisle, SAMARITAN has roughly thesame set-up, and is making calls too. TheERASER steals a glimpse at SAMARITAN, who chooses this exact moment to look over at him. SAMARITAN smiles. Uncanny.

CUT 'l'O:

As LIGHTNING flashes here too ..•

As the PIANO PLAYER essays a syrupy "I WillAlways Love You," MARIE shares drinks with friendsfrom work - JACKIE, and VINCE an9 LEM,.a-coupleof good ol' boys. Everyone's had a drink or two, and they argue good-naturedly •••

MARIE~ something across the bar,and gets up .••

JACKIE REACTS as MARIE leaves the table

,/ (hopefully) Hey, still waters •••

MARIE huddles furtively witha good-looking MAN. They speak briefly. The MAN has dramatic news. Below the table, MARIE reaches for the MAN'S HAND,squeezing it tightly.

SAMARITAN and the two DEPUTIES sit intt.econference area of the small PLANE - a three-person cult of personality. The young DEPUTIES are mesmerizedby SAMARITAN'S dark glamour. The ERASER sits aloof.from this group,watching impassively.

·19

SAMARITAN· Ah, but it sneaks up on you. Take me. (he lights a cigarette) I was never close tomy father, no one was. He was. a government nobody inDC, a quiet little party hack who drank schnapps and hung out the flag on Decoration Day.·He died when I was thirteen. On his deathbed, he pulled me close and confessed that he'd been one of the men who poisoned Roosevelt.

He is met with stares of disbelief. The DEPUTIES look to the ERASER, whose face neither confirms nor denies •••

As SAMARITAN shakes his head "no"you can hear a pin drop •••

The DEPUTIES are on the·edgeof their seats, under his spell

And when SAMARITAN seestpat the DEPUTIES are hooked •••

The ERASER permits himself a small smile as the DEPUTIES REACT. Feeling stung, they tμrn to him •••

The ERASER shrugs. SAMARITAN addresses him •••

The ERASER gets up and heads for the GALLEY at the back of the PLANE. The young DEPUTIES.look perplexed •••

SAMARITAN leans in, lowering his voice •••

SA."'1ARITANhasagleam in his eye, there's more to the story.

SAMARITAN / Remember my lecture at the acade~y? "Procedure, Procedure, Procedure?" Remember the young Marshal who was so good, so naturally gifted •••

The realization dawns on CANONERO and ROBLES that they have heard of the ERASER. Despite themselves, they stare toward the darkened GALLEY and the lonely figure standing there.

-21

In the dim light of the GALLEY, theERASER sips a DIET COKE as he studies the SURVEILLANCE PHOTOS of"TESSITORE" and "CABRERA." SAMARITAN approaches, wearingan incongruous WHITE COWBOY HAT.

The sky and lake are slate, the dense trees blue-green.

A LARGE SECLUDED HOUSE ON THELAKE

We see this beautiful vacation home,with its own jetty and boats on the lake, from the point of view of •••

THE ERASER, SAMARITAN AND THEMARSHALS - IN THE WOODS

As they stalk up to the house. Silence. As they get close, SAMARITAN silently signals.forROBLES to take a position in the front of the house, and forCANONERO to position herself down by the water, near the jetty.

SAMARITAN and the ERASER approachth.ehouse obliquely. Silence. They pad across theLAWN, flattening themselves against the HOUSE, their movements perfectly matched.

Gliding to the FRONT DOOR, SAMARITANcovers them while the ERASER picks the LOCKS. They open the door soundlessly and slide in. Both men's GUNS are holstered.

As the ERASER and SAMARITAN stalk through the hallways of the ground floor. The house is big and looks un-lived-in. Dropcloths cover the f~rniturein beige-on-beige .••

They signal each other silently and splitup to cover two wings of the house •••

THE ERASER - CAMERA FOLLOWING

The ERASER moves down a HALLWAY.••

First DOORWAY, he sticks his head in,nothing, keeps moving •••

Second DOORWAY, nothing .••

Wait. Just past th.esecondDOORWAY, CAMERA REVEALS TWO ARMED GUNMEN, just out of theERASER'S line of sight.

Hunkered on the floor, behinda covered COUCH are THREE MORE GUNMEN, and with them isa bound and gagged WITNESS, the man the marshals are here to save.

THE ERASER

As he stalks the HALLWAY· Does he hear something ••?

Just then a GUNMAN EMERl~l~5behind him,andthe ERASER WHEELS and kicks the GUN up, bli(oretheGUNMAN can fire. And then things start happening quickly•••

The ERASER kills this Clr~tGUNMAN with a palm-heel strike to the nose. A second l,inntgesfromadoorway, leading with ·his GUN. He is dispatdh.H.iwitha single blow as well •••

More GUNMEN appear, and wo hearSHOTS from o.s. in the house

SAMARITAN

Is also suddenly confn"nt1.1dwitharmedGUNMEN. He too attacks them without d~~wlnghis GUN.

IN THE HOUSE - INTERCUT'rINGTHEERASER AND SAMARITAN

As the ERASER and SAM.Al~t'l'/\Nbattle thearmedGUNMEN,wesee how similar their fightin1Jstyles are:

SAMARITAN side-handt1.,nopponent in the throat,and the ERASER does thtlti.-,m.ewithone.of his foes •••

TlieERASER elbows thllside ofa GUNMAN'S head, and SAMARITAN uses a similarmove .••

Their technique is fluid .,ndstrong,and they are quick without rushing. They ,H"l1a~soremarkably quietand efficient at this deadl~'business. · ,,/

Is suddenly faced with twoGUNMEN •.Killing one, he is for a moment··vulnerable tothtl:1ccond,whenSAMARITAN appears and kills this second GUNMt\N,saving theERASER'S life.

Nodding, the ERASER and HJ\M.ARITANsplit uponce again ••• •••The ERASER heads out:iidoas•••

SAMARITAN bursts in an,i:lt?CSTHREEGUNMEN dragging the struggling WITNESS to.._.-u:dthe back door that leads to the jetty. Seeing SAMARIT,!\NJrawinghisGUN, the LEAD GUNMAN does an astonished TAK~.

LEAD GUNMAN

2.4

SAMARITAN drops and fires,taking out the GUNMEN.' The WITNESS looks like he could wet himself with relief •••

•.. andSAMARITAN walks over to theLEAD GUNMAN, who's mortally wounded but c9~scious,and using the GUN still clenched in•·'theGUNMANIshand,SAMARITAN calmly puts two bullets into the WITNESS'S head .

••. SAMARITAN~dmires his handiwork,then WHEELS to see •••

ROBLES standing outside. on the porch,looking through the window. Her GUN is drawn,·aimed at him,she has see·n the whole thing •

caught in the act, but thenPOW! ROBLES is hit. Several of the GUNMEN, pursued by theERASER are making a run for the jetty, and one of them has just shotROBLES •••

••. asSAMARITAN whips outside to the. porch to kneel at ROBLES'S side he yells to theERASER .•.

ROBLES'S eyes are closed,she's covered in blood, but as

silen~~accusation. Holding her as if to give her mouth-to- mouth; SAMARITAN places his hand over hermouth and nose, smothering her in a shockingly intimate kiss of death ...

••• and her eyes widen in panic,and then her struggling subsides, and she dies.

The ERASER catches and kills theGUNMAN who shot ROBLES.

It looks more like a slaughter-house thana vacation house. SAMARITAN stands over the deadWITNESS and the dead DEPUTY.

Inside the ERASER, huge alarm bells are ringing: the whole thing doesn't smell kosher. He keeps his game face on •••

SAJ1ARITANflips the LEAD GUNMANover with his foot.

The ERASER is now poker faced .••

The ERASER doesn't answer. SAMARITAN searches his eyes.

SAMARITAN is smiling, looking right through theERASER •

(cont.to CANONERO) Deputy,our witnesses have their runmoney?

2&

SAMARITANsmiles as the ERASER hustles off to ••.

Out of sight of the other-s,theERASER ·pulls outa CELLULAR PHONE ina cold sweat. He hesitates for a long moment. He can't call,he must call.

It's a,-mornentof truth forhim .••He dials.

SAMARITANAND CANONERO

SAMARITANpulls CANONERO close to him. SAMARITAN lifts his head, as if sniffing the breeze. He smiles and ~hispers•••

He's on the phone.

CANONERO REACTS a~ this, but SAMARITAN purrs seductively .••

She nods. Silently,he warns her to keep poker-faced.

ANGLE ON A lCI'l'CHENTABLE-APHONE ANSWERING MACHINE

As the ERASER'S MESSAGE comes in. Nearby we can see a copy of theORLANDO SENTINEL.

There is a loudCRASH o.s., and CAMERA MOVES to discover MARIE is in theKITCHEN, she has heard the MESSAGE, and without even waiting for it to finish she is desperately sweeping some things into an OVERNIGHT BAG .••

ANGLE ON HER DRESSER - QUICK SHOT

The top of her DRESSER is covered with ID CARDS, DRIVER'S LICENS~, CREDIT CARDS and PASSPORTS. They go into the BAG.

This is MARIE'S HOUSE. As CRASHING SOUNDS continue .•.

BACR 'l'OTHEERASER IN THE BIG BOUSE ON THE LAlCE

He hangs up the phone, hoping no one h~s heard or seen him.

He rejoins SAMARITAN and CANONERO, who look at him with ominously pleasant expressions. Oh boy.••

SAMARITANwears his WHITE COWBOY HAT in the GALLEY at the back of thePLANE. CANONERO approaches with a piece of PAPER (the phone trace) •••

SAMARITANstudies the PAPER, smiles, yesss! He hands it back to her and silently indicates that she should eat it. She looks uncertain, starts to put it in her mouth •••

•.. and he stops her,he.was joking,ha-ha, little joke there,.andhe takes the PAPER and gestures for her to be cool as theERASER approaches.

SAMARITANsmiles as he hands the ERASER a CAN of DIET COKE.

SA.\(.ARITANopens theFREEZER andwe seeTWO WHITE ICE CUBE TRAYSand ONE BLUE ONE. He scoops some ICE CUBES from the BLUETRAY, putting them in a GLASS for the ERASER-..•

And SA.¥.ARITAN watches as theERASER returns tol)-i"sseat •••

THE ERASER

The ERASER briefly examines the CAN OF DIET COKE, just the habit of a cautious man, then opens and pours it into the GLASS and drinks a sip, then another. The ICE CUBES tinkle in theGLASS.••

A strange look crosses his face, he fe~ls dizzy,drowsy •••

•.. he shakes it off fora second,realizing in horror that he's· been drugged! He stares at the can of DIETCOKE, it looks normal, untampered-with •••

•.• TheICECUBES tinkle ••• the ICE CUBES •••

Trying not to make his alarm obvious, he searches out of the corners of his eyes for SAMARITAN, but••• The ERASER is losing his struggle to stay conscious .••

SAMARITAN

Has been watching from the GALLEY,watching the top of the ERASER'S head. Now, he smirks in satisfaction as the ERASER'S head lolls to one side- the ERASER is out.

SAMARITAN nods to CANONERO,who hustles to the COCKPIT.

As CANONERO ENTERS and gives_ thePILOT instructions .••

THE ERASER

Hunches over in his seat, unconscious,as CANONERO slips the GUN from the holster under theERASER'S jacket .••

Wait ..• As CANONERO walks away,the ERASER'S eyes flick open - he's been awake, he's struggling to stay thatway ..•

THE ERASER'S HANDS

The ERASER has been painfully digginga set of KEYS into his palm, 9rawing blood, to help him fight the drug's effect .••

'

....·

~he purple-orange light ofdawn can be seen through the windows of the plane. The ERASER still looks unconscious.

No, he isn't. Without moving, the ERASER opens his eyes. He steals a glance out thewindow at the woods racing beneath him, searching for the lights of Atlanta •••wait.•• What's that up ahead ••?

A look of horror crosses the ERASER'S FACE •••

THE ERA~ER'S P.O.V - OUT THE WINDOW

Impossibly,rising from the Georgia pines up ahead in the dawn light; there is what seems to be a CASTLE, a huge, medieval CASTLE with spires and turrets ..•

••. and,just as impossibly,a giant DOME •••

••• Disney World.

THE ERASER'SFACE

Disney World! You can see the horrible conclusions falling silently into place in his mind. They're flying over Disney World,and their destination isn't Atlanta, it's Orlando.

Forced to act,and act~, the ERASER balls his.fists once or twice to test his strength •••Then, shakily, he gets up from his seat,yawning theatrically. SAMARITAN is still wearing thatWHI.TECOWBOY HAT.

S~RITAN AND CANONERO

As they exchange furtivelooks of alarm, but•••

THEERASER

Quicklywalks past them, up the aisle to the BATHROOM. He feels their eyes on his him, watching, wondering .••

THE ERASER IN THE BATHROOM

With the door closed he takes several deep, heaving breaths. There~, no time, he knows what he has to do .••

On the inside of the BATHROOM DOOR is a printed DIAGRAM with safety instructions and EMERGENCY EXITS marked- inRED. He looks for the legend that indicates: "PARACHUTE STORAGE" right by the EXIT nearest the BATHROOM. /

;,

He looks in the mirror, steeling himself. Theri~..

THE BATHROOM DOOR

It opens. The ERASER exits the bathroom, spots A PARACHUTE just where it should be, next to the EMERGENCY EXIT over the WING. He checks SAMARITAN'S seat. The HAT is still visible over the top of the seat •••

He edges toward the PARACHUTE, just a few fe~t more •••

SAMARITAfl(o.s.) Rolls Royce whisperjet engines with chrome alloy blades. Think about it son.

THE ERASER'S P.o.v. - SAMARITAN

The HAT is still at the SEAT, butSAMARITAN EMERGES from the GALLEY to the left of him, smiling confidently •••

THE ERASER

Leans toward the PARACHUTE. Why is SAMARITAN smiling? Wait sornething's missing. Where'sCANONERO ••?

Behind him. CANONERO is positioned behind him in theaisle. She makes no overt move, but theERASER is boxed in •••

The E~SER looks around fora way out as SAMARITAN and CANONERO each take a step,maybe half a step closer to him.

The PLANE DIPS slightly, and theERASER seems to lose his balance, staggering towardCANONERO .••

No, with lightning speed he knife-handsCANONERO in the throat, and as her hands instinctively go up,the ERASER grabs her GUN from her belt holster •••

and in one motion CRACKS her across the cranium with. it, and she's OUT. He COCKS theGUN and spins around to see .••

SAMARITAN,with his GUN COCKED and levelled at him.

The ERASER struggles into the PARACHUTE•••

••• and pulls theLATCH on theEMERGENCY DOOR,and theres an explosive SOUND as the DOOR loosens and gets SUCKEDAWAY by the rushing air outside •••

QUICK SHOT - EXT. THE PLANE

As.the DOOR FLIES directly μp against the STARBORD ENGINE with a BANG before flying off into the darkness,seeming to prove SAMARITAN'S earlier assertion •••

BACK TO INT. THE PLANE - THE ERJ\SERAND SAMARITAN

The wind howls past the ·openDOOR as the. ERASER keeps his GUN on SAMARITAN •••

SAMARITAN smiles .••

The Famigliettis?

SAMARITAN nods with a smile.

3.3

This gets a rise out of the ERASER .••

The ERASER'S eyes blaze •••

And the ERASER shoots SAMARITAN square in the chest,and SAMARITAN is knocked to the cabin floor, smiling,because •••

come to this. He squir1t1sout of the line of fire •••

DOORFRAME next to his head EXPLODES, andwe see C2\NONEROis up and shooting at him •••

And th~·ERASER heaves himself out the DOOR,holding the bottom of the DOORFRAME, letting his body hang down below the line of the ENGINE ••.

..

The ERASER lets go! From his position at theb~ttom of the DOORWAY, he flies straight back, missing theENGINE and the TAIL, but BANGING up against the RADARANTENNA at the BOTTOM of the TAIL, and the GUN goes flying •••

And the ERASER is sent spinning. end over end into space .•• The ERASER is disoriented from the collision,and the sudden SILENCE, and as his HORIZON spins over and over,he grabs for the RIPCORD RING on his PARACHUTE •••he can't find it!

The silence is terrifying, as the ground seems toloom closer with every second, closer •••

He has it! The ERASER yanks the RIPCORD,an explosive SEAL ERUPTS, and the PARACHUTE is blown upwards •••

As heHOWLS silently in pain - one of the ERASER'S shots nicked hisNECK and EAR. Bleeding, he hobbles over to CANONE_RO and motions at her to check theRADARUNIT, to track theERASER'S flight. CANONERO checks it •••

It's snapped in the middle;and with only WIRES binding the brokenend to the main mast, it FLAPS crazily in the wind •••

As his silhouetted figure careens to earth at thee_nd·ofa surprisingly smallPARACHUTE.

THE ERAS·ERI SP. 0. V.-THETREETOPS

Trees,as far as you can see. No clearing, no water,just dark treetops rushingup at us. This is gonna berough •••

,

Impact..•

BACKTO INT. THE PLANE - SAMARITAN AND CANONERO

As SAMARITAN holds a BANDAGE to his injurednec;,k-;"CANONERO ·worksa series of switches on an instrument console.

·SAMARITAN we cap trace him!· I put a tracking device in his clothes. Find it.

SAMARITAN grabs the RADIO, punches in a code~••

·As the ERASER hangs at a really awkwardangle from his PARACHUTE harness, twenty feet off the ground, the shroud is tangled in the tree, and he's been knocked unconscious.

Wait, he's waking up. He begins to realize thejam he's in. He can't wriggle out of his harness withoutsome leverage, but there's no limb or tru~k nearby to push against. It's like hanging in a straitjacket. He kicks his legs ina. futile attempt to reach the tree-trunk.

He looks up at the sky, it seems brighter out. Uh-oh.

He checks his watch. What he sees makeshim redouble his efforts. He gets an elbow through the harness,the wrist ... got it, one arm free ..•

As BOOM! the ERASER comes crashing down out of the treetops, landing in a patch of bushes ...

As the ERASER comes out of the woods. His clothes are muddy and torn, he looks banged-up .

.. ,

He reaches the edge of the divided highway. Which way to go? There's a CAR or two on the other side of the divider, but none on his side. He checks the sun. Unfortunately, he needs to go the lonely way. So .••

......·

He begins to run, a good, boot-camp-style,on-the-double ·trotdown the shoulder of the road.

As the ERASER passes a SIGN that reads: "ORLANDO,HOTELS, AIRPORT - 5 MILES." A car is going hisway. He sticks out his thumb ••• yeah right, the car zooms past. The ERASER keeps on stepping •••

As the ERASER, still in his dirty, torn clothes,jogs past the entrance road to a huge MARRIOTTHOTEL •••

The ERASER tries to get in through theLOADING BAY, D..Qgood, the place has TWO SECURITY GUARDS. Before they see him,he turns away. Time_f~:r_plan1'B,"'Whichis •••

...-····•·

We see the ERASER'S EYES, checking the scene through the ~encing and shrubbery around the pool. ••

HIS P.o.v. - THE POOL AREA

There are perhaps fifteen or twenty PEOPLE, either in the POOL or sitting around on lounge chairs,but he sees •••

Two important things: An open serviceDOOR in the fence, and a TOWEL hanging o~ the FENCE •••

THE TOWEL - A MOMENT LATER

As an unseen hand whips it off the FENCE from outside .••

THE SERVICE DOOR TO THE POOLAREA -A MOMENT LATER

As the ERASER strolls through into thePOOL AREA, wearing nothing but the TOWEL. He takes his time,he belongs there. He N0~S casually to the LIFEGUARD ashe leaves•••

The ERASER waits for an ELEVATOR, sizingup TWO ~EN, SHORT and TALL, waiting with him. ELEVATOR arrives, .,theyget on.

ELEVATOR DOORS - ANOTHER FLOOR

As they open, 'Wesee the ERASER follow theTALL MAN out, and down the h~llway. He~eeps a good distance behind-him, looking up and dowftto make sure there'sno one else around.

A DOOR TO A HOTEL ROOM

As the TALL MAN gets to hisDOOR and pulls out his keys, we see him TURN as a voice says •••

THUNK! The TALL MAN goesdown and the KEYS go flying, and are caught by an outstrechedHAND ...

Uncannily, SAMARITAN has found theFBI GUY who made the remark, and his eyes bore holes in the haplessAGENT as the ether FBI GUYS nervously ease a half-stepaway•••

SAMARITAN takes a long draught'from a can of soda,then notices with a smile thatit's a can of DIET COKE.

CANONERO begins passing"outphotocopied ARTIST SKETCHES.

A cloud passes over SAMARITAN'Sface.•~

SAXARITAN loses consciousness and keels overfrom blood loss. CANONERO and theMARSHALS jump up to catch him ••.

•'i'

He no longer wears theTALL MAN'S CLOTHES. As he dials a number. We hear the. phoneRING, then a BEEPING sound, as from an answering machine:

We see the apartment is a SAFE HOUSE, a twin of the ERASER'S DENVERSAFE HOUSE - bare, functional, un-lived-in •••

MA:UE ALVAREZ stands before the bathroom MIRROR as the ERASER'S VOICE comes out of an ANSWERING MACHINE. She tugs at her HAIR, it's a wig, and it comes off •••

37 -· ·

THE KEYS - 10 MINUTES LATER

As we PULL BACK to see the ERASER, now dressed and cleaned- up, handing the KEYS to a PARKING ATTENDANT•••

A MAROON RENT-A-BUICK

Pulls out of the MARRIOTT with the ERASER at thewheel.

The room is full of DEPUTY U.S. MARSHALS, J:'BIGUYSandU.S. ATTORNEYS, but SAMARITAN is the man here. He speaks.asan EMS TECHNICIAN eyes his injured NECK, which seepsBLOOD .••

A VOICE IN THE ROOM Oh no ...·Not a Marshal .•?

SNICKERS are heard, mostly from the guys with FBIBADGES~ ••

The FBI GUYS cough and look at their shoes.

Quickly, she unbuttons her jacket and blouse, unzips her skirt, and peels them off to reveal the much slimmer woman beneath the padding •••

As the MACHINE clicks off, we PULL BACK to see that MARIE ALVAREZ isn't the only person in the SAFE HOUSE. Sitting across the room, playing with a BARNEY DOLL, is a slender LITTLE BOY of two or three.

MARIE looks at the LITTLE BOY, takes a deep breath, and then unties her real hair and begins to scrub her face vigorously at the sink.

In the midst of moderate mid-day traffic, the ERASER, now in a BLUE CAMARO, passes a sign: "LA.KEKISSIMME - 12 MILES." He's hauling ass... •

Suddenly.•. A POLICE SIREN behind him, he instinctively slows_down, he sees a PATROL CAR in his rear~view mirror •••

But the PATROL CAR goes muscling right by him, and pulls up to the CAR in front of him, forcing it to the shoulder •••

The ERASER breathes again, and keeps driving.

The ERASER looks around, then jumps up onto the SECURITY FENCING, vaulting over gracefully and silently.

As the ERASER rings the ·DOORBELL,once. twice .•• He's about to ring it again when the DOOR flies open and there stands MARIE ALVAREZ, newly slim and freshly scrubbed, with a big black AUTOMATIC PISTOL in her hand .••

The ERASER enters and they shut the door. She hasn't lowered her GUN, it's still aimed at his gut.

·40

Coming from the stoic, taciturn ERASER, this is pure gush. And in her jeans and sneakers,she does look great. She's combed out her hair and put on a little makeup for theroad. And apparently her real name is LEE.

The ERASER gently lifts away both sides of his JACKET, showing he's unarmed. He indicate~her GUN •••

Just then ...

And the ERASER does a startledTAKE as the LITTLE BOY, LEE'S son, CODY, shuffles into theroom with his BARNEY DOLL •

....

LEE quickly hides the GUN in her pocket,and with her eyes, implores the ERASER to play along.

She handles the transition very smoothly,she's good.

She looks to the ERASER for help.

Cody is shy, and grabs his mother's leg.

And he turns around and shuffles his little butt off to the other room. A cute, sleepy kid.

She closes the door behind him. Now it's just her and the ERASER. They look hard at each otherfrom across the room.

;,, ERASER How old is he?

The ERASER has just been slapped hard,and you c.~.nseehim trying not to show it. ~

And LEE starts opening the kitchenCABINETS. They're all empty. The ERASER gestures toward theREFRIGERATOR. She opens it. There are two TWO-LITER DIETCOKES. Period.

She opens the FREEZER. Sure enough, just a BOTTLE OF STOLI.

He doesn'tresporidas she opens the STOLIand takes a gulp, offers itsilently-to h1m, he shakes his head.

He tries tokeep his face impassive .••

LEE'S look of pure disgust could kill •••

Catching his breath, he quietly triesa different tack •••

LEE affects a bravado she doesn't feel.

This stops her for halfa beat .••

He sees shemeans business.

·44

LEE turns, then •••

She goes in the other room towake CODY •••

CUT 'l'O: '

SAMARI'J'.ANis rolled out ofSURGERYon aGURNEY, his.NECK is BANDAGED. Several MARSHALS, includingCANONERO walk briskly with the gurney •.SAMARITAN is groggyfrom anesthesia, but he barks at a SURGEON.

Sir, you've just had a severe gun- shotwound, major arterial surgery and general anes •••

SURGEON·. (patronizingCANONERO) If I give him a stimulant he's going to feel every bit of the pain. What is he, some kind of tough guy ••?

SUDDENLY,from his gurney, SAMARITAN grabs the SURGEON'S shirt and pulls him close •••

Woozily,SAMARITAN lets go and falls back to the gurney.

CUT 'l'O:

As The ERASER, LEE and CODY, each carrying small bags and CODY carrYirighis BARNEY DOLL hustle down the steps to the underground GARAGE.

LEE points to a flashy RED BMW. The ERASER doesa TAKE.

The ERASER heads for a CAR with a DUSTY FABRICCOVER. It looks like it's been here for years. He yanks off the cover, and we see th~t underneath there'sa used-looking GREY TAURUS, a car so common it's almost invisible.

He opens the TRUNK, and we see that this isno ordinary car. There's a GUN RACK, holding four AUTOMATICHANDGUNS, EXTRA CLIPS, an UZI and a SHOTGUN. Hmnun. There'sa FI'RST-AID KIT, BOTTLED WATER, CLOTHING.

As the ERASER in the TAURUS and LEE andCODY in the RED BMW go zooming away .••

We see LEE has opened the trunk of theBMW, and•.she pulls out a RED SUITCASE and hauls it oyer to theERASER.

LEE.lo.okson angrily. as theERASER rolls. down thewindows of her BMW and shoves it down an incline and intothe LAKE.

CODY watches, fascinated, as the BMW floats outtoward deeper water, then begins to sink, finally disappearing below the surface leaving only gently spreading ripples.

He grabs the RED SUITCASE and starts toward thelake .••

With a scowl, he starts to open the RED SUITCASE •••

Too late. He opens the RED SUITCASE. There are only two things inside.· One is an open box containing stacks of bundles of CRISP, NEW TWENTY-DOLLAR"BILLS. The other is a similar box of newly printed TRAVELLERSCHEQUES.

He picks up a bundle of TWENTIES. He sniffs·it,and REACTS slightly to the smell. He pulls off one of the bills,feels it, snaps it, holds it up to the light. He looks long and hard at LEEt and she stares back at him defiantly.

As·MARSHALS find the ERASER'S CLOTHES,using the tracking .device.

MARSHALS, including ROBLES, speak to theORLANDo POLICE and the TALL MAN whose clothesand money and CAR the ERASER took. .,,...-

A POLICE SKETCH of the ERASER is FAXED toPOLICE.••

At the ORLANDO AIRPORT,~SHALS find.theTALL MAN'S RENT-A-BUICK. MARSHALS prowl the airport,the roads •••

As the RED SUITCASE goes flying out the window of the speedingGREY FORD TAURUS and into aSWAMP •••

LEE, in the passenger seat, is furious,giving the ERASER the silent treatment. The ERASER drives.

Sullen silence from LEE. He looks at her, waiting. A battle of wills. Suddenly,he gives the STEERING WHEEL a good hard jerk, startling her into replying .••

The ERASER stares at the road ahead.

This brings her up short.

Food for thought as they drive .••

CANONERO andSAMARITAN drive up. There are TWO ORLANDO POLICE CARS at theseer)~•.CAMERA PULLS BACK TO REVEAL •••

In a row of identical houses,one HOUSE, "MARIE ALVAREZ'S" HOUSE,has been burned to the ground, and there is POLICE TAPE around the lot identifying it asa crime scene.

CANONERO andSAMARITAN walk up to the burn site.· A POLICE LIEUTENANT anda FIRE INVESTIGATOR approach.

SAMARITAN holds up hishand to stop the man.

SAMARITAN looks to CANONERO. CANONERO checks her NOTEBOOK.

The POLICE LIEUTENANT and the FIRE INVESIGATOR do a TAKE as they are dismissed, and SAMARITAN ducks under the POLICE TAPE and into the burned-out lot. CANONERO follows.

SAMARITAN ...·· Magnesium burns to eleven hundre.~degrees. Teeth burn at eight.

CANONERO does a TAKE...

Like a hunting dog, SAMARITAN is poised excitedly over a half-obscured STAIRWELL, leading down under the house .••

so

Alidthough CANONERO'S face says she thinks it'sa bad idea, she follows as SAMARITAN hustlesdown the dark and debris- strewn STAIRWELL.

It's scary down here. WATER is knee-deep. CANONERO notices something in the water. She picks it up,then REACTS as SAMARITAN knocks it out of her hands •••

LIGHTS are brought in. SAMARITANand CANONERO REACT at·what ·they see •••

What they see (amid the debris and waterfrom the fire above) is this: A small but well-equipped,very modern home printin·gand m shop. There aretwo small OFFSET PRESSES, CANS OF INK, a CANON COLOR LASERCOPIER, ART SUPPLIES, a LIGHT TABLE, a WASHER and a DRYER.

SAMARITAN dips his finger tip ina CAN OF INK, pu).lsit out and smears it across a white counter-top. The ,.I·NKSMEAR is a vivid green.••

SAMARITAN smiles to himself with savage satisfaction- he expected this, but affects shock forCANONERO.

Before C~NONERO can answer,SAMARITAN rolls ahead •••

SAMARITAN and CANONERO join aDEPUTY, who opens a door to •••

A child's PLAY ROOM, knee-deep in black water,but full of toys and other KID STUFF •••

SAMARITAN didn't expect this.

SAMARITAN speaks to BELLER on thePHONE.

..CUT'l'O:

,

It's quietenough to hear the SNORTS and WHINNYSof the HORSES sleeping in the stables asTHREE ARMED HITMENstalk up to a large quietHOUSE. The HITMEN are New York mob soldiers. This is isSAMARITANIS "B TEAM."

Dark hallways,quiet rooms, one light is on in the house •

met in the HolidayINN BAR in ORLANDO. This isARTHUR •••

CAMERAKEEPS MOVING to discover a SECOND MAN, PERCY, in the room. He wears a bathrobe~ Together, they prepare dinner.

PERCYsmiles as he leaves the room. He turnsdown the hallwayand runs right into •••

A HITMAN,whose drawn GUN spits a silenced SHOT •••

THETHREE HITMEN

As they stalk silently through the house.

The ERASER is half in, half out of theBOOTH, as LEE and CODY wait in th~ TAURUS.

~ELLER (o. s.) Eraser? Where the hell are you?

The ERASER looks at LEE as he listens ..•

The ERASER just listens for a moment •••

And the ERAS.ER hangs up and hurries back to the car.

A HIGHWAY SIGN - NIGHT

Which indicates: "WELCOME TO OCALA - PROUDHOME OF BREEDERS

CUP WINNER 'OLDACQUAINTANCE'"

The ERASER, LEE and CODY drive into OCALA. CODY clutches half a MILKSHAKE in a DAIRY QUEEN CUP. Up ahead there's a MOBIL STATION. The ERASER PULIS IN to theSTATION.

LEE starts to protest, but the ERASER takes charge ...

He leaves the CAR idling, goes into theOFFICE, gets the MEN'S ROOM KEY from an ATT.ENDANT.HE and LEEpul.l the sleepy CODY out of the car and the three ofth~··head for the MEN'S ROOM •••

The ERASER checks it out first, then motions forLEE to bring CODY in. There's no arguing with him.

The ERASER lets the door close on them,then he does the strangest thing. He walks over to theTAURUS, takes out his GUN, looks around, scr~ws on a SILENCER .••

••• and methodically shoots four small holespw,pw, pw, pw, in the trunk of the car. His gun isaway in a heartbeat, · before the curious ATTENDANT emergesfrom the office to see the ERASER rapping his knuckles absentmindedlyon the roof of the car. The ATTENDANT gets back to his reading .••

And just then LEE emerges from theMEN'S ROOM. CODY is sound asleep and wrapped in her arms.

The ERASER takes CODY from her .•.

He opens the TRUNK. LEE follows angrily,a mother tiger ...

The ERASER just puts a finger·tohis lips, indicating the sleeping child, and then shows LEE the bullet holes, the ventilatioD holes ir.the metal of the car .••

LEE realizes with alarm that CODY isn't just sleeping, he's limp as a x·agdoll.

Again, the ERASER motions for her to be quiet. He's all business now. His voice is compelling...

E;RASER He's fine. I gave him a sedative. Your "friends" may have company •. He'll be safest in here. •

LEE is $till highly doubtful as the ERASER places CODY gently/in a BLANKET in the TRUNK, but she's going along •••

At this, something in her just goes off •.•

He's been looking around nervously as sh·eyells, now he starts to put his hand over her mouth.~.

••. and sheswats it away angrily. The two of them face off tens_ely ..•

••• and she closesCODY i.nthe TRTJNKand gets back in the passenger seat...

Cool-headed or not, this scene has really rocked her. She holds the unconscious CODY tight.

In the light, she sees how badly he's bleeding •••

'rheERASER checks the HALLWAY,looking into a ROOM. It is a colorful CHILD'S BEDROOM with toys that includea BARNEY DOLL. The ERASER looks longand hard at the CHI~D'S ROOM, and then .at the deadARTHUR,then back at LEE and CODY.

LEE is stillREACTING to the BODY on the bed when the ERASER returns. She's moving in slow motion •••

She gets theMEDICINE, then indicates a PACKAGE by the bed. It's a LARGEOUFFLE BAG·fullof MONEY.

He holds up a SMALL OBJECT from the DUFFLE BAG. It's the size ofa nickel .••

The ERASER does a TAKE at this - she shoots like a pro•••

Clutching his side, HITMAN #3 runs away into the darkness. The ERASER starts after him, but collapses in pain after taking two steps. LEE REACTS •••

She runs back to the TAURUS and opens the TRUNK. CODY sleeps peacefully in his blanket. GUN in hand,LEE picks him up and, carries him into the HOUSE. She'salert~ but cool-headed. The ERASER joins her, limping painfully •

The ERASER looks at her with a mixture of fascinationand revulsion, this pistol-packing, counterfeiting suburbanmom.

They encounter PERCY'S BODY in the HALL •••

They head through the darkened house to the BEDROOM...

S.he pushes past him into theBEDROOM, doing asudden shocked TAKE as she sees the state of the BODY on the bed .••

He indicates the still-smoking IRON. Angrily, he kicks the cord out of the wall outlet.

Cutting, slashing, parrying, the ERASER gives HITMAN fl a dramatic ~UT on his face •••

She can't see the ERASER, and she anxiously looks out the windows of car, to the left, to the right •••

Suddenly •••

BOO! Another HITMAN, f4, is there at the passenger window, his GUN pointed right at her!

He FIRES at point-blank range!

LEE screams as the WINDOW GLASS cracks slightly,then, POW! he FIRES again .••

••. same result,just cracks - bad surprise for him - bullet- proof glass .••

Wait .•.

HITMAN #4 fires again and again and - bad surprise for her - there's no such thing as bullet-proof glass, it'sonly bullet-resistant, and it's about to shatter. The next bullets will strike LEE •••

THE ERASER

Has his hands full with HITMA.N#3, but he hears theSHOTS, turns to see LEE and HITMAN #4•••

••.who has re-loaded and raises his GUN to fire again •••

• • •theERASER has.nochoice, and he pushes away from his anagonist, momentarily leaving himself vulnerable,clnd in one motion he rears back and hurls his KNIFE••.

Drilling HITMAN #4 in the neck, LEE is safe ...

••. but ata price. HITMAN #3 carves upwards with hisKNIFE, slashing the ERASER'S thigh •••

The ERASER goes down, and HITMAN #3 islm, positioning himself for the killing stroke, when suddenly •••

SHOTS RING OUT, and HITMAN #3 takes a bullet that spins him around to see •••

LEE, LEE is out of the car and firing herGUN in target range stance.

As the darkened TAURUS rolls silently to a stop,again there's that commanding stillness emanatingfrom the ERASER.

Now, once again, he's the man in black. He exits the car and pads away silently.

THE ERASER

Heads through theTREES to the HOUSE, his radar on high.

He makes it to the side of the house, it's very dark •••

Cautiously,he looks in at a WINDOW, then stops at another ..•

HIS P.o.v.- INT. THE HOUSE ._

There isa bedroom. There isa bed. There is a DEAD MAN tied to the bed -ARTHUR. There is an IRONING BOARD and an IRON...'~hesoles of the dead man's feet are burned black.

THE ERASER

Takes one stepaway from thewindow, and ALL THREE HITMEN, Withno preliminaries, #1rushes the ERASER with a KNIFE•••

..•and getsimpaled on it for his trouble, the ERASER is that quick. He pulls the KNIFE from the dead HITMAN'S body.

headed for their primary target - LEE.

TheERASER runs after them, catches #2. The ERASER fakes right,fakes left, powers left, cutting #2's throat.

darkness. The ERASER catches #3 in a diving LEAP.

THE ERASER AND HITMAN f3

As they grapple desperately. Two silent, intensely focused killers,- hand to hand,KNIFE to KNIFE.•

s,

i:RASER Can't leave the country, can't risk the airp::>rts.We're going to take it to them. New York.

LEE does an astonished TAKE.••

The ERASER sits in the back seat of theTAURUS tightening a rag around his bloody leg. LEE sneaksup to a big ol' CONVERTIBLE that's being gassed upand throws the TRACKING DEVICE into the CONVERTIBLE'S back seat •••

A SIGN INDICATES: "RT. 95 SOUTH- OCALA" as a GREY TAURUS zoor.1sdown thehighway. Inside- SAMARITAN and TWO DEPUTI,ES,with CANONERO at the wheel. ••

At that exact moment, just across thelandscaped MEDIAN •••

A SIGN INDICATES: "RT. 95NORTH - GEORGIA" as the ERASER, LEE andCODY make tracks for the north•••

As LEE,CODY and the ERASERdrive away in a BLUE NISSAN SENTRA. God only knowshow and where they got it •••

As LEEdrives, with CODY asleep at her side,the ERASER sits in the back fighting sleep. With one hand he presses a bandage to.hisTHIGH, the other ison his GUN.

SAMARITAN surveys the carnage left in theERASER'S wake. There's a lot of LAW with him. (More each timewe see him.)

..SAMARITAN (for the cheap seats) They're murdering their accomplices! You see whabwe're dealing with?!

SAMARITAN takes this in,weighs it, tilts his head as if to smell the air, then ..•

As the ERASER and LEE andCODY have breakfast. CODY is bouncing off the walls with thatdemonic energy·~nly small boys have. Already showing road fatigue,the ERASER and LEE are looking for some in their coffee cups.

The ERASER fingers one ofLEE'S 20 DOLLAR BILLS •••

You say thatas if I'm ever gonna get to come out. (challenging) I think your pride's just hurt'cause you never knew,even with surveillance • .. CODY Mommy, look,they have a happy meal ••l

...CODY'S entreaties aredrawing undue attention •••

CODYmakes noise, stamps his foot. The ERASER looks tense.

CODY. stops fora moment •••

I

I I

ERASER

I

Oh, it's bad, I don't know if you

I

can handle it. Wanna see?

The ERASER turns away for a second, then whips aroundwith an absurdly "scary" frozen GRIMACE on his face, his hands clenched, about to strike. And CODY is really scared •••

• • •for abouttwo seconds,then he squeals withdeligi1t

And the ERASER does it again, as LEE lookson in surprise at the man and the boy playing together •

You do it.

CODY turns around, coming back as the living incarnation of the Silent Monster, hands clenched, teeth bared. Totally quiet._/And he holds it for a beat, two... Totally quiet.

But CODY continues, eager as a puppy. He's a natural mimic.

'

And with an impish smile we haven't seenbefore~ the ERASER walks over to the family w1th the HAPPYMEAL, and we see him offer them the counterfeit TWENTY for it. They REACT, but give him the HAPPYMEAL, and he brings it back toCODY,· . who's still doing the Silent Monster to beat the band.· ••

CODY beams and digs in as LEE does an incredulousTAKE. The ERASER smiles too. For amoment the cloud has lifted from his face .••

She REACTS, and he regrets his harsh remark.

·LEE (choosing her words) Arthur was the sweetest,most decent ••• He really raised Cody. I saw them on weekends. No one in Orlandoknew I had a child.

ERASER ·• Before, you said "nobody does" live on the government witness stipend. How would you know?

She looks away~..

,LEE Gray market stuff. Phony credit, new identities, shell companies. You'd be surprised at the demand •••

The ERASER pulls something out of hispocket for LEE •••

It's thePHOTOS of "TESSITORE" and "CABRERA"This hits her.

The ERASER can't help REACTING at .this.

·LEE I'm sorry to disappoint you. I kn6w you were expecting.;. so-eone else, but that person got erased.

cs

The ERASER has to think about this one.

Amid the miles ofCARS and hundreds of SHOPPERS at a garish AUTOMOBILEMEGA-MALL, we see the ERASER attempting to steal a HONDA in broad daylight. LEE plays lookout. As SHOPPERS pass by,the ERASER and LEE act "normal" -Mom and Dad kick the tires, etc.

The theft is complicated byCODY'S antics, til theERASER gives CODYa stern "Dad" look, and CODY, eating it up, freezes into the SilentMortster.

The highway isempty as the ERASER drives. CODY is in a CHILD SEAT in the front, LEE is in the back. CODY is cranky,he can't sleep, he tosses and turns. He's had a

•'

rough couple of days. ;>_..

The ERASERchecks LEE in the rearview MIRROR -·she's

Her name was Lorelei, She was ~is only girl, She called him Speedoo But his christian name was Mister Earl She called him Speedoo But his chfistian name was Mister Earl •••"

The singing lulls CODY into a peaceful sleep,and the ERASER tucks his little blanket around his chin. In the back seat, LEE'S eyes are open, she's been awake. She smiles, lost in thought •••

\

As the HONDA heads for theENTRANCE TO THE HOLLAND TUNNEL•••

It's the focal point of thedowntown power nexus•••

Which graces the entrance to theBUREAU'S New York offices.

A PHONE RINGS and it is picked upby SPECIAL AGENT HORACE

and shoulder holster. Sharp creases, straight back.

BUSBY recognizes that voice with strong mixed(e~lings. We see there is a WANTED BULLETIN on the wall inf_ron ofhim with a PHOTO of LEE andan artist's SKETCH of the ERASER. BUSBY looks around,whispers anxiously •••

Dressed in New York street combat style,cuts BUSBY off ...

The ERASERHANGS UP ..•

BACKTO FBI HQ - BUSBY

He doesa concerned TAKE as he hears the line CLICK off.

He checks hisCLOCK and grabs his JACKET and sprints for the door. The CLOCK reads 4:00PM.

ANGLEON A BIG CLOCK - 40 MINUTES LATER

TheCLOCK reads 4:40 as we PULL BACK to reveal •••

As BUSBY hustles through the drowd, he knows he's late. He arrives at theBIG CLOCK in the center of the room. It'sa madhouse of harried _COMMUTERS,uniformed STATION PERSONNEL, COPS, etc. A hell of a place for a secret rendezvous.

·-

BUSBY looks around, sees no one he recognizes,gets worried •

•..then·a uniformedAMTR.AKJANITOR, with a broom anda hunched back bumps into him •••

It's the ERASER, and he takes his broom and hunches off,.and after a beat, the astonished BUSBY follows.

Walking with BUSBY, the ERASER stares fixedly ata spot in the Station. JANITORS and COPS pass them by,and they clam up til they're out of earshot. The ERASER keepsstaring •••

ON THE CONCOURSE LEVEL - AT THAT MOMENT

As a DELEGATION of FOREIGN DIGNITARIES passes into the CONCOURSE, trailing a GAGGLE of COPS with walkie-talkies and nervous, alert eyes. They're surrounded by a rag-tagband of PROTESTERS. A typical day in Grand Central •••

LEE AND.CODY - AT THAT MO_MENT

As they sit, eating ICE CREAM CONES. TheSOUNns of the station can be heard o.s., so they're somewhere inGrand Central, but we can't see where._

The ERASER and BUSBY are alone, five stories up, on the CATWALKS that stretch across the station's giant WINDOWS. BUSBY looks down at the COMMUTERS, the DIGNITARIES, the COPS and the PROTESTERS .••

rr·heERASER keepsst.aringat a spc.,tsomewhere.in the ·station.

BUSBY gestures·"Me••?" 'rhisis difficult for the ERASER .••

From BUSBY'S look, that(s a sore subject.

BUSBY • Oh man. You are hot. And the woman. s;onspiracy_,r.,urder,murderQ.fs.marshal ••• And what's with the woman anyway? She sounds like a seriously wrong G.

ERASE~ She•' snots•.. She just got in with the wrong people, that's a1,1.-;·••

DOWN ON THE CONCOURSE LEVEL - ANGL~·ON A TALL COP

A 'I'ALLCOP,accompanying the DIGNITARIES, squints as he looks up at one of the giant WINDOWS•..

(into his radio) Ah., one-five, I got a couple in the catwal~, going up have a look-see •••

·69

BACK TO THE ERASER AND BUSBY

'I'heERASER'Seyes stare across the station,working overtime •••

BUSBY REACTS with .alarm •••

THE TALL COP

Arrives on the FIFTH FLOOR LANDING, puffing hard.·He draws his GUN, tries to catch his breath, then turns the corner to the CATWALK...

.. , TALL COP Alright you two, freeze right there!

•.. andwe see hisGUN is aimed dead at ..•

LEE AND CODY

LEE AND CODY REACT, sitting on their narrow perch,on a CATWALK five stories above the concourse. The TALL COP advances on them •••

THE ERASER ANO BUSBY

The ERASER REACTS as he looks across the station toth_e WINDOW opposite him, the WINDOW where the silhouettes of LEE and CODY are joined by a THIRD SILHOUETTE,one with a GUN •••

LEE, CODY AND THE TALL COP

The TALL COP gets close, holstering hisGUN. LEE faces him.

In her most demure, mom-next-door voice,LEE replies •••

A steely look comes into her eyes •••

LEE ·- So am I ...

THE ERASER AND BUSBY -JUST THEN

The ERASER and BUSBY REACTas they come running up to the CATWALK where LEE and CODY face theTALL COP, who is now handcuffed and on his knees with his back to theERASER and BUSBY. LEE'S open PURSE hangsfrom her arm as):o·h·epointsa silenced AUTOMATIC at theTALL COP'S heart •••

The ERASER gives LEE a blacklo!,:>kas he sizesup the situation, and in one irritable motion,steps up behind the TALL COP and gives him a knife-hand to the back of the neck. The TALL COP sags to the floor,unconscious.

She should be scared,but LEE can't help laughing at the ERASER'S scowl •••

_LEE (stilllaughing) I'd have to be to let him arrestme.

'ERASER (to BUSBY) Come on. Give me a hand. Comegn.

The ERASER and an alarmedBUSBY drag the unconsciousTALL COP to the darkenedSTAIRWELL at the end of theCATWALK.

She seesCODY. He's standing still, confused, afraid. He's transfixed by what he's just seen,up to and including the big blackGUN in his mother's hand .••

LEE quickly puts theGUN in her PURSE and holdsCODY tight.

In theSTAIRWELL, the ERASER and the extremely reluctant BUSBY bind theTALL COP with his own belt •••

/ CUT TO: ;>'

TheERASER, LEE and CODY hustle up PARK AVENUE toth~ ' ENTRANCE to this huge,swanky HOTEL. LEE protests,but the ERASER, all quiet power,just takes her arm and walks faster.

The ERASER smiles pleasantly as he pays. In the b.g.LEE resists angrily asa BELLHOP tries to t~ke theDUFFLE BAG.

Alone at last, LEE finally hisses out her concern:

The ERASER points to a DIAGRAM on the ELEVATOR WALL •

There'll be a map like this in your room. Study it.

LEE doesn't get where he's going with this ..•

:.

The ERASER prepares to leave LEE and CODY. CODY is already asleep on one of the twin beds. LEE offers the ERASER a spot rygxtto her on the other with •n exhausted smile.

The ERASER shakes his head. He's tired alright,,····but.••

He leaves, closing the door gently. The ROOM NUMBER is 555.

COPS, DETECTIVES and REPORTERS grill the TALL COP. Uh-oh.

As a FAT HOOD leavesa SOCIAL CWB and bops down the street, the ERASER quietly falls in behind him. They pass a dark STOREFRONT, the ERASER stic-ksaGUN in his back and forces him inside, througha BACK ALLEY and into a waiting LIMO.

The FAT HOOD is now tied up in the'BACK SEAT of theLIMO. His HANDS clutch today'sDAILY NEWS as a FLASH goes off ••• The ERASER has just taken aPOLAROID of -:heHOOD.

AERIAL SHOT - THEVERRAZANO NARROWS BRIDGE - DAY

Following THE LIMO across the bridge toSTATEN ISLAND •••

THE LIMO pulls up,the ERASER at the wheel, flashing the BADGE forTWO MEATBALLS ..•

The DEN hasa giant PICTURE WINDOW taking in NEW YORK HARBOR and otherFAMIGLIETTI property. FRANK and PETER _FAMIGLIETTI greet theERASER. They are well-dressed, young,.yuppie princes of themob. They smile unhappily.

The ERASER is quiet, centered, as if he wasn't standing in the lion's den. He takes in the VIEW.

And three rich, powerful HOODS enter. Two are big and beefy, the FALCONE BROTHERS, PAUL .ANDLARRY, and one is litle and grey, FRANK MARTINO. They're all in their 60s.

iFRANKFAMIGLIETTI (cont.) TheFalcpne brothers, Paul and Larry, andmy uncle Frank Martino •••

The older men sit_t~getlleron acouch, a ruling troika.

•••-••-H•'

'ERASER You knrw I won't tell you.

He hands them thePOLAROID of the FAT HOOD.

The HOODS start to get~ngry, then, a6cepting the situation, stare balefully athim again like "yeah, and .. ?"

FALCONE'S screams don't ruffle the ERASER'S quiet cool •••

·ERASER You were warned. (turns to leave) The woman beats you in business,you want her dead. Anybody else'd offer her a job. You guys are such punks.

The FAMIGLIETTI brothers grab the ERASER from behind,and FRANK MARTINO, the little uncle, steps upand PUNCHES the ERASER viciously in the mouth. He takes the punch.

They let him go, and as the ERA.SER leaves .••

THE EAASER 1 SREIGNOF TERROR - A SERIESOF SHOTS

The MAN IN BLACK seems to be everywherein NY a,.t···onceas .••

We see. theERASER planting MAGNESIUMFUSES in a WAREHOUSE, unseen by the GOONS guarding it •.•

The ERASER punches a KEYPAD to ignite the WAREHOUSE, and we see the sign reading"FALCONE BROTHERSMOVING AND STORAGE"

The ERASER pulls the same stunt ata SOCJAL CLUB inLITTLE ITALY, andHOODS runfrom the flames .•.

A DOCK in BROOKLYN, an OFFICE inOZONE PARK - flames •••

At JFK, two HOODS are hit over the head and dumped into AIRPLANELUGGAGE CONTAINERS ma_rked"AIR INDIA •.•11

The FAT HOOD the the ERASER kidnapped is discovered by POLICE, unconscious on the floor of a darkened BANK VAULT after ho4rs ••.

I.AR.RYFALCONE'S purple face tells ushow the famiglia FAMIGLIETTI feels about all thisnews as he screams over the PHONE at:

SAMARITAN - IN A PRIVATEOFFICE

SAMARITAN hangs up, composes hisface, and exits the small office, stepping into the U.S.MARSHAL'S OFFICE, SOUTHERN DISTRICT - a giant nerve· center high up ina skyscraper.

He is greeted by CANONERO anda PHALANX OF ~RSHALS, who wait for him, dressed and loaded for an urban manhunt.

As a DAILY NEWS DELIVERYMAN trudges through the swanky lobby carrying a BUNDLE of the night-owl edition of tomorrow's paper. He whistles off-key .•• ·

Arriving at the NEWS STAND he drops off the BUNDLE and trudges away, still whistling .••

,.-

ANGLE ~ONTHE NEWSPAPER - THE FRONT PAGE

The HEADLINE, in hundred-point type screams:

"GRAND CENTRAL KIPNAP DRAMA!"

A SUBHEAD: "HUNT MYSTERY WOMAN AND BOY"

Even worse,'there's a grainy V':rDEOPHOTOGRAPH ofLEE, ob- viously taken by hidden camera. Her GU~ is trained on the kneeling TALL COP. She and CODY are recognizable •••

Someone reaches for a paper.••

he sees the front page. Bing.

LEE'S ROOM - 30 MINUTES LATER

LEE is now awake, combing her hair. Suddenly, she hears SIRENS outside, and she looks out the WINDOW, and gasps.••

HER P.o.v - PARK AVENUE

It's wall-to-wall COP CARS, a COP invasion force masses •••

The ERASER runs up, but the ENTRANCE is blocked by acres of COPS. He'll risk it - he flashes hisBADGE and yells •••

••• and he breaks through and enters the hotel •••

He's running now, and he's headed toward theFRONT DESK, when suddenly he spots the BELLBOY,surrounded by COPS •••

... they're going through theGUEST REGISTER •••

The ERASER hides his face and aims forthe ELEVATORS. He looks y,eat the moving ELEVATOR LIGHTS,then presses the BUTTON for an elevator going down. Hm •••

..

COPS bl"ockwhat looks like all nineteen ways out. Uh-oh .••

COP CARS move to let this dirty TAURUS through. The TAURUS stops and out comes SAMARITAN. Heshows the b~p~e and barks instructions into a HEADSET, followedby CANONE~O, also with a CELLUI.ARHEADSET. MARSHALSwith SHOTGUNS follow.

A CORRIDOR IN THE HOTEL - THE ERASER

He now wears a WAITER'S UNIFORM, and pushes aCART with a TABLECLOTH. COPS pass him, he's part of the scenery.

AN ELEVATOR DOOR - THE FIFTH FLOOR

Opens and the ERASER wheels hisCART out and hustles down the CORRIDOR, stopping at a DOOR,RM. 555. He knocks ••.

No answer.

SOMEONE'S P.o.v. -WATCHING THE ERASER

We're overthe shoulder of someone who watches from •••

THE DOORTO THE FIRE STAIRS

As it swings open, and LEEEMERGES, GUN drawn, and he wheels to face her, also with aGUN, and they recognize each other.

'ERASER C'mon, Iknow a way •

••. and he wheels theCART into theFIRE STAIRS, where we see CODY hiding with the DUFFLEBAG. They hear FOOTSTEPS on the FIRE STAIRS - they'd better hurry •••

A CORRIDOR- THE ERASER AND LEE - MOMENTS LATER

She.now wearsA WAITRESS UNIFORM, and the two of them wheel the CART down theCORRIDOR toward a SERVICE ELEVATOR. CODY rides in theCART, hidden by the TABLECLOTH. If they can just make it to the ELEVATOR.••

·... butCOPSsuddenly come running right at them,blocking their path,and their hearts are pounding... ~

... andMARSHALS pour fromthe FIRE STAIRS behind them •••

.. COPS Move it! Move! Outta the-way!

The COPSand MARSHALS swarm aroundand past them,. they' re invisible,and they make it to the SERVICE ELEVATOR•••

TheGRAND BALLROOM is now a POLICE COMMAND AREA. SAMARITAN strides in,shoves the BADGE at a a POLICE.COMMANDER...

SAMARITAN gets a gleam in his eye •••

SAMARITAN enters. There are.hundreds of people in the KITCHEN, BUSBOYS,WAITERS, CHEFS. The POLICE COMMANDER, obeying SAMARITAN,deploys scores of COPS •••

THE ERASERAND LEE

Across the giantKITCHEN, the ERASER and LEE push the CART, attempting invisibility. The ERASER REACTS as it starts to get very blue in here •••

He REACTSmore strongly when he sees SAMARITAN entering the KITCHEN. LEE is freaking out asan ARMY OF COPS pours into tne KITCHEN, oblivious to the disguised fugitives.

His eyes never leavingSAMARITAN, the ERASER steers LEE so that theARMY OF COPS is between them and SAMARinN. They edge towarda narrow EXIT DOOR, closer~•• closer •••

SuddeJ'!l"YSAMARITANseesthem,and his eyes meet theirs •..

This is the first timeSAMARITAN and LEE.have actually seen each other,and there is an electric pause .••

And SAMARITAN draws and aims his GUN dead at LEE~-·andcomes steaming toward her likea ship through a ocean.of blue.

Butthe ERASER does the strangest;thing •••

He pushes LEE and CODY through the EXIT DOOR ahead of him •••

LEE REACTS as he ERASER dashes after her and CODY •••

And, moving as one, a hundred COPS surge toward the NARROW DOOR, a big blue clot in a choked •rtery, blocking SAMARITAN'S path. Just as the ERASER knew they would.

As the ERASER rounds the ~orner he fires at the first of the COPS chasing him,aiming to miss, stopping them momentarily.

They run down the narrow CORRIDOR, it looks like a blind alley, no way out. Wait, tjlere•sa narrow METAL DOOR, lead- ing tosome STAIRS. LEE hesitates. He grips her hand.

•.. and theyLOCK theDOOR behind them, run down the STAIRS, and findthemselves in what looks like a trap. It's a LITTLE ROOM with only one feature, a RUSTY IRON DOOR that opens inward. It's loc~ed, but the ERASER has a PICK.

LEE and CODY look on as the ERASER picks the LOCK. He's still, he's focused, but he's also sweating bullets.

That's not what LEE wanted to hear. Suddenly, NOISES from above, the COPS are breaking down the upstairs door with an axe! _?iotgood .••

But the ERASER stays focused, twisting his PICK...

SAMARITAN

..... a;,/1

Fights his way through the horde of COPS choki~gthe narrow SERVICE CORRIDOR. He I s50 feetfrom the DOORa'ndthe COPS who are using an AXE on it •••

THE ERASER

We hear COPS busting through the upstairs DOOR ashe twists the PICK. Suddenly, the TUMBLERS FALL, theHANDLE MOVES, and the rusty HINGES CRY as the ERASER pulls the DOOR open.••

••• and theERASER, LEE and CODY hurry through the half-open DOOR, and then struggle to pull it closed behindthem .••

••• as the firstCOPS reach the DOOR and start pulling too, it's a tug-of-war, and more COPS pour down the STAIRS into the little ROOM, and~ COPS •••

••• and theERASER and LEE are losing the battle they can't close the DOOR, but, on the other side,we see more COPS pressing down into the little ROOM •••

••• andSAMARITAN is at the top of theSTAIRS, and he realizes with dismay how beautifully theERASER has orchestrated what's about to happen •••

... and the growing crush ofCOPSpushes the DOOR closed! And the LOCK LOCKS •••

•.. and,on the other side, LEEREACTS. The ERASER nods, the plan worked, time to move on. He hustles her down a dark, scary CORRIDOR, down some STEPS, into .•.

A HOGE, BEAUTIFUL VAULTED CHAMBER

They run through a dimly lit ROOM,big as a ballroom, with a high vaulted tile ceiling. In the ceiling,tiny ~IGHTS twinkle like stars. It's CommodoreVanderbilt\.s··private railroad platform - it's gorgeousand surreal.·. TheRUMBLE OF TRAINS can be heard through the walls andfloor.

Under t,he 'twinkling lights,LEE laughsfrom relief and .f:rom the rush of it all. She looks at theERASER .inamazed admiration. He 1 sall businessnow,her dark guardian angel.

CODY takes his cue from the ERASER and putson a "serious" face too. The ERASER picks CODY up and rideshim on his shoulders as they run toward theRUMBLE OF THE TRAINS •••

LEE looks on warmly as CODY mimics theERASER'S wary poise. The ERASER catch.esCODY·1n the act and smiles fora moment .. There are TWO COPS in their CAR,are they staring? Are other passengers staring? Some have theDAILY NEWS.

The train stops at station, and our fugitives hurry off...

As SAMARITAN talks with POLICt,he turns to see FRANK and PETER FAMIGLIETTI standing in theshadows across the room, watching him.

\

The ERASER, LEE and CODY follow the still-reluctantBUSBY to the door. It is opened byCARLA BUSBY, his pleasant but ni;>- nonsense wife.

~he HOUSE would be recognizable toanyone with kids. It's decorated in "early tornado"- the clutter of family life.

·cARLA doesn't know LEE is joking. The ERASER is not amused •

.. CARLA .,,,./ Really ••?

The ERASER frowns, but BUSBY nods "it'sok11and leaves •••

Desertedand cold. A DARKSEDAN sits, smoked windows, engine running. The only car in the lot. BUSBY.

'A LIMOappears, pulling alongside the SEDAN til the DRIVER'S WINDOWS line up. Both WINDOWS power down and BUSBY is face to face withFRANK MARTINO, the little FAMIGLIETTI uncle.

An uncertain beat - Has BUSBY sold theERASER out?

MARTINO nods to BUSBY and hands him aTAPE CASSETTE. BUSBY peps it into his stereo, and we hear a familiar VOICE.

MARTINO gives a resigned shrug - "terrible, just fuckin' terrible" - his WINDOW rolls up, and theLIMO pulls away.

IN THE SHADOWS UNDER THE JERMOME AVENUEEL - RIGHT THEN

A SCAR-FACED MAN in a POLICE CAR has witnessed this scene. It's HITMAN #3, from Ocala. He enters BUSBY'S license number on his POLICE COMPUTER, but drives after theLIMO.

The ERASER and LEE sit together on the couch and-CARLApours DRINKS. CODY plays on the floor as theTV blares quietly in the b.g. We-see a report on the WAREHOUSEARSON •••

.. ,

BUSBY'returns, gives the ERASER a thumbs-upand waves the TAPE CASSETTE. The ERASE:B, gestures "in aminute .••"

LEE, glowing warmly from a glass of wine, still plays mis- chievously at being a couple with theERASER, ~.,l:irting, touching him. CARLA still isn't in on thejoke.~

This whole set-up is getting to the ERASER- two young couples with kids, in a living room watching TV,like normal people do, like families do. And LEE looks so pretty •••

-CARLA I tell Horace the same thing .••

As the ERASER looks uncomfortable, LEE gestures"See'?"and the two women laugh. LEE hasa great laugh ..•

She gestures to indicate the bedroom •••

BUSBY has been studying LEE, trying to take her measure.

They all stop to look at the TV, as CARLA surfs channels •••

THE TELEVISION NEWS - A SERIES OF SHOTS

,

Gri~-tated ANCHORS share the screen with POLICE SKETCHES .••

ANCHOR #1 The so~called "Grand Central Kidnapper" is still at large at.../ this hour. Police sources say.•.~

We see the TALL COP from Grand Central Station •••

ANCHOR #2 ••• looking to identify thiswoman, seen here in an artist's sketch •••

We see the POLICE SKETCH, and the likeness is uncomfortably close to LEE'S actual appearance •••

ANCHOR f3 ... areward is being offered •••

ANCHOR #4 •.. and what about her young victim ••? The mother has come forward,pleading .••

Suddenly, there on the TV NEWS is CANONERO,dressed like a citizen, shamelessly acting the role of the sobbing mother!

•.• but in the background of theTV shot,behind CANONERO, we see a familiar face - it's SAMARITAN,and alone in the crowd of concerned onlookers, he'~ smiling devilishly to.Y§.•••

BACK TO THE LIVING ROOM

The ERASER and LEE look like they've been punched. BUSBY arms his elaborate HOME ALARM. ItsLIGHT glows red •••

At this, CARLA smiles and pulls back her sweater to reveala government-issue SHOULDER HOLSTERwith a stubby REVOLVER...

...and,the ERASER and LEE sharea worried TAKE ..• and then laugh wearily despite themselves .••

Just then,CODY excitedly discovers a toy •••

As CARLA, with BLANKETS and PILLOWS in hand, handles the sleeping arrangements,with the ERASER, BUSBY and LEE in tow. They're on the LANDING, by the BEDROOMS ...

ERASER

LEE and the ERASER look at each other for an awkward moment, til BUSBY comes to the res~ue•••

And as the ERASER takes a PILLOW/BLANKET combo from her, CARLA shoots her husband a confused look •••

The BUSBYS beat an embarrassed retreat, leaving the ERASER and LEE at the door of the GUEST BEDROOM, self-conscious.

He enters the dark room with her, leaving the door cracked.

The ERASER nods 11 0.fcourse"

He takes her hand •••

The ERASER hesitates, then ..•

She comes in close. He's tries to hold back ..•

And it's too strong for even the ERASER to resist, and he takes her irihis arms and kisses her desperately, like aman who's been drowning for years. He pushes thedoo~ shut,and carries her to the bed. ·

FADE TO BLACK:

FADE IN ON:

A darkened child's room. The bed is empty,the blankets are thrown back and CODY'S BARNEY DOLL is there butCODY isn't. The door is open .••

THE LIVING ROOM - AT THAT MOMENT

A single light is on. CAMERA MOVES to discoverCODY, playing quietly with the forbidden POWERRANGERS DOLLS.

_88

He almost seems to be re-enacting his mother's near-arrest.

Suddenly he hears something. His expression changes from curiosity to apprehension to fear- someone or something is slowly turning the KNOB on theFRONT DOOR •••

We can't see his face, his.back is to us. He manipulates an electronic KEYPAD, as smali as aTV remote •••

•.•th~ RED LIGHT on the ALARM FLICKERS,then goes out •••

CODY

And once again CODY REACTS, as theDOORKNOB starts to turn again, and he gets up from the floor,wide-eyed with fear, and starts to backpedal toward theKITCHEN •..

THE FRONT DOOR - FROM INSIDE~HE LIVING ROOM

... and theDOOR OPENS silently,and the DARK FIGURE steps into the living room, wearinga POLICE UNIFORM and a fresh, dramatic SCAR - it's HITMANil, from Ocala.

QUICK,INTERCUT - INT. THE LIMO- FRANK MARTINO

MARTINO is dead, cut from ear to ear•..

BACK TO THE LIVING ROOM -HITMAN t3

..•' ·>'

There is a silenced AUTOMATIC in hishand as he.creeps into the dark, silent house. He looks around, alert: Wait, what was that? A noise - a CODY-sized noise. Th.eHITMA:N waits.

A shadow moves in the KIT.CHEN.HITMAN #3 heads there •••

THE FAR SIDE OF THE REFRIGERATOR- CODY

CODY crouches in the shadows, partially hiddenby kitchen clutter,doing the "Silent Monster." Hi~ little hands are clenched at his sides,his teeth are bared, but his eyes tellyou he's scared to death, he knows this is no game .••

We hear FOOTFALLS, and HITMAN #3's feet come padding by .••

•~.rightpast CODY,who stands stock-still. CODY has a kid's-eye view of theGUN in the HITMAN'S hand .••

HITMAN fl

He doesn't see anything in the KITCHEN,he returns to the LIVING ROOM. He passes the COUCH, it's vacant •••

He looks up to .the upstairsLANDING, and makes for the Qottom of the STAIRS ...

Suddenly there is a dark blur, dropping down on HITMAN13 - it's the ERASER! The ERASER has leapt from the LANDING, knocking the HITMAN down. .

The two men scramble to their feet and wrestle desperately, almost silently, in the darkness of the living room.

CODY

Hears the struggle, emerges from the KITCHEN to see •••

THE LIVING ROOM - THE ERASER AND HITMAN fl

Locked together hand to hand, almost still, they moveby centimeters. They are that well matched, but •••

HITMAN #3 is slowly but inexorably bringing the barrel of his GUN to bear on the ERASER, it's inches from his face .••

Suddenly, in a suicidal gamble, the ERASER lets go of the HITMAN'S wrists, gets a purchase on theHITMAN'S ears and twists his head savagely. A sharp CRACKING SOUND and it's over, just like that •••

The HITMAN's lifeless body falls to the floorw.J:thathud, right in front of the wide-eyed CODY.

CODY doesn't answer, as the ERASER grabs him, using hisown body as a shield. The ERASER takes theHITMAN'S GUN •••

••• again,no response from CODY, and theERASER putshim down and dashes off to check around the house •••

••. andLIGHTS are coming on upstairs, and BUSBY emerges,GUN in hand, followed by CARLA, who also carriesa GUN, followed by LEE, who also has a GUN. They run downstairswhen they see the scene in the living room •••

·90

She embraces CODY. The little boy lookslike he's in shock. The ERASER has checked the house,HITMAN #3 was alone. He returns to the living room;··

And he and LEE exchange that horrible, guilty"oh-my-god-we- left-the-baby-by-the-pool-while-we-were-in-the-sack"looi:.

CODY continues to stare at the BODY ori the livingroom floor. The ERASER notices, squatsdown to CODY'S eye level, and, in that compelling voice ofhis ...

The ERASER picks CODY up and holds. him tight.

Maybe it's CODY'S weight in his arms,maybe it's his voice, but the ERASER stares at LEE withCODY'S head over his shoulder •••

·CODY Three.

The ERASER stares hard at LEE,she nods, and he takes this in as he hands the boy to her. Then he motions to BUSBY, and the two men grab the BODY and carry it out the door .••

CARLA, LEE AND CODY

They REACT with a start as thePHONE RINGS •••

And BUSBY and the ERASER run back into the house as the PHONE RINGS again. Sornetim~sa ringing phone is the scariest thing of all... ·

BUSBY reaches for it, but theERASER waves him off and picks it up himself. The ERASER listens •••

The ERASER REACTS in horror,then in anger ..•

In the silence, you canhear SAMARITAN catch his breath•••

The ERASER looks at his son,and at the woman he loves.••

SA.¥.AR:ITANREACTS in rage as the1ine goes dead.He looks.. terrible from lack of sleep,but quickly puts on his "game face"as CANONERO enters with coffee. Out the window, DAWN is breaking over NewYork.

BACK TO INT. THEBUSBY HOUSE• THE ERASER AND LEE

The ERASER takes LEE aside. His voice is steady •••

We're going to get out of this. But you've got to trust me, all the way. Will you do that?

LEE hesitates.

We're going to get out of this ••• the three of us. Together.

'LEE Together?

The ERASER stands guard as the house is evacuated. BUSBY andCARLA in one car. LEE, the ERASER and CODY in another.

They shake hands, and our fugitives are out of there ...

CUT 'l'O:

The MARSHAL'S OFFICE is a whirlwind this morning,and SAMARITAN is its vortex. MARSHALS,STATE-TROOPERS, U.S. ATTORNEYS and FBI AGENTS surroundhim at an ELEVATOR, their VOICES overlapping in a cacaphony ••~

The walls seem to be closing inon SAMARITAN..•

"MR. SMITH" leads the SWARM onto theELEVATOR. His heart is pounding, he shuts his eyes and the voicesalmost fade away as the DOORS close and they ascend. The ELEVATOR stops .

.... y• FBI AGENT VOICE Seventy-two, FBI •••

Half the SWARM gets off. DOOR closes,ELEVATOR up ..• Stop.

And the other half gets off,leaving SAMARITAN alone ...

And the DOOR closes, and SAMARITANpushes a button for his floor and the ELEVATOR ascends. It stops. He gets off at:

SAMARITAN checks his watch, he's late and that's bad. He hustles past NYPD COPS on guard,down the corridor to:

'

Two~story windows reveal a breathtaking vista. Guarded by more COPS and surrounded by MUSCLE,the FAMIGLIETTI.TROIKA minus~ - PAUL and LARRY FALCONE- conducts a breakfast war council. FRANK and PETER,the young FAMIGLIETTI BROTHERS are there too. All have been up all night.

Regarding SAMARITAN coldly, LARRYFALCONE nods at the view.

FRANK FAMIGLIETTI gets in SAMARITAN'Sface, whispering •••

A GREEN VOLVO STATION WAGON passesa SIGN which indicates:

"HENRY HUDSON THRUWAY NORTH OSSINING, POUGHKEEPSIE, ALBANY"

The ERASER drives. Fast. LEE and CODY are in FRONT. LEE wears a SCARF over her head andSUNGLASSES. The ERASER wears a FISHING HAT andSHADES. He sees something up ahead. He takes a deep breath.

And CODY scrambles intoa BOX in the back of the VOLVO. He can't be seen. What the ERASER sees coming up is:

Our GREEN VOLVO is five carsaway from the TOLL BOOTH.

Ahead, they can seeSTATE TROOPERS. The TOLL PLAZA is crawling withSTATE TROOPERS, LOCAL COPS and MARSHALS •••

DETAIL SHO~OF THE TOLL BOOTH

There.'sa CAMERAbuilt in to the side of the TOLD BOOTH, and, in the LENS,we see the SHUTTER SNAP with each TOLL•••

THE ERASERAND LEE

LEE, still inSUNGLASSES, pulls her SCARF around her face.

The car ahead ofthem pulls out of the TOLL BOOTH. Now it's their turn. They roll up to the TOLL BOOTH, tl1~·-°ERASER hiding hisFACE from·theTOLL BOOTH CAMERA with. his hand.

A STATETROOPER approaches the passenger side. Reluctantly, LEE rollsdown the window.

TheSTATE TROOPER has a PHOTO OF LEE on his CLIPBOARD •••

This is the moment of truth .••

•.• andunseenby LEE or the TROOPER, the ERASER hasa small GUN halfway out of his SLEEVE, he's ready to shoothis way out of trouble •••

Slowly, LEE removes the SUNGLASSES, then the SCARF,and when she pulls them off'she doesn't look like herself ••• Her hair is a BLOND WIG, anp her eyes are white •••

She ~tares ahead like a blind person, cocking her head sightlessly as she gropes for the STATE TROOPER'S face •••

The STATE TROOPER gets an embarrassed look and pulls back •••

The ERASER steps on it and pulls away, as LEE'Seyes roll back down to their normal positions. It's obviousfrom the ERASER'S look of admiration and relief that he didn'tknow what ~he was going to do until she did it. He laughs .••

LEE smiles as the ERASER drives.

CANONERO hovers over a COMPUTER MONITOR with anotherDEPUTY, JAMESON. They're looking at digitized FACES .••

People with obscured faces flash byon the MONITOR •••

CANONERO

She hasn't slept much, but suddenly sheREACTS •••

SAMARITAN AND CANONERO - TWO MINUTESLATER

They stare at the MONITOR. We still can't see it. SAMARITAN is strongly affected.

-SAMARITAN Prep the chopper,Deputy. Ready to fly in five. Pick two otherdeputie~. Don't tell anyone else.

She's alarmed, but hurries off. SAMARITAN stares at:

THE FACE ON THE MONITOR

It's the ERASER. He's smiling,•giving thecamera the FINGER. The're'sWRITING on the back of hishand:

tlBEACON,NY.MAIN ST. SPM"

As a grim SAMARITAN, CANONERO anda TWO DEPUTY MARSHAlS jump aboard a sinister BLACK HELICOPTER and itTAKES OFF.

He's on TWO PHONES at once. He's got terrible news on one:

'BUSBY Oh no. Oh no. {then, to thesecond PHONE) Roy, listen. Some stupid accident, Beller's plane went off therunway in the rain at National. Some casual- ties. We don'tknow if he's hurt, or •••

A small small town. The ERASER listenson a PUBLIC PHONE with growing alarm ..•

BUSBY {cont. o.s.) ... but it looks like the cavalry might not make it. Samaritan's on his way, and you'reoh your own.

SAMARITAN, CANONERO and theTWO DEPUTIES drive through the almost deserted,two block-long MAIN STREET.

She points to:

THE ONLY THEATER MARQUEE IN TOWN

In red letters: "GAME ENDS TP OF MT BEACN - E. 11

SAMARITAN REACTS with fury, and his car acceleratesaway •••

At the wheel, FRANK FAMIGLieTTI, man on a mission. Also in the car, four family SOLDIERS. We PULL OUT to see •••

FRANK FAMIGLIETTI'S car leads a FLEET of DARK SEDANS,with a small army of SOLDIERS, speeding north on the PARKWAY.

As the GREEN VOLVO drives up this lonely, darkTWO-LANE road, it passes a DECREPIT ROADSIDE SIGN which reads:

"WORLD FAMOUS MOUNT BEACON INCLINE - 1 MILE" ·-

The ERASER carries the DUFFLE BAG, as he, LEE and CODY leave the VOLVO at the ENTRANCE to the "MOUNT BEACON INCLINE."

It's an old~fashioned INCLINED CABLE RAILWAY from the 1920s, with two parallel tracks and TWO CARS. Neither CAR isvisi- ble at the moment, but they're indicated by th~,-·I"ayoutof• the BOARDING PLATFORM.

Everything mechanical here looks old and funky and rusty and definitely non-workable, but .•

The ERASER ducks into the WHEELHOVSE. Some BANGING SOUNDS are heard, and then .••

KOFF-KOFF-KOFF-VRRRRRROOOOMMMMMMM•••There is the sound ofa giant DIESEL ENGINE turning over and starting up, then .•.

RRRR-RRRR-KKKK-RRRR-GGGG .•• The GIANT FLYWHEEL that anchors the CABLE begins to turn. And the CABLE begins tocome down on one track and go YJ2on the other •••

THE TWO CABLE CARS - AT THAT MOMENT

Are side by side, a thousand feet up theTRACKS. One CAR begins creaking YJ2,.,.whileitstwinlumbers down thetrack.

THE BOARDING PLATFORM

As they·wait for the CAR to comedown, LEE looks curious.

LEE does a take at this ...

THEIR P.o.v. - THE CABLECAR

It's about twenty feet long,and the floor of the car is flat, not inclined, so tha~in shape th~ car is a giant wedge. The uphiil end is close to the wheels and·track, while the downhill end isup on stilts fifteen feet high.

It's a.~ickety, ungainly old thing,with two rows of school bus-type seats and a narrow aisle in the middle .••

The ERASER dashes into theWHEELHOUSE and brings the WHEEL to a stop, and the CABLECAR stops at the PLATFO~ .•• CODY is excited, but LEE is hesitant aboutget~~rigon •••

CODY leads LEE onto theCABLE CAR. The GRINDING of GEARS can be heard, and it begins toCREAK back up the track ••.

... but theERASER comes running out of theWHEELHOUSE and, running alongside the track, jumps on the CABLE CAR too.

It's dark, they can't see the top,and it's windy. Soon they can't see the bottom either,and LEE thinks the CABLE CAR is moving too ~amn slow fora life-or-death escape •••

He holds her tightly as theCABLE CAR creaks up the track.

THE CABLE CAR - THE EAASER,LEE AND CODY - A MINUTE LATER

They are two hundred feetfrom the top when they hear a COUGHING, GRINDING NOISEfrom below, and the CAB!£ CAR comes to a sudden HALT ...

•..and/they run to the downhill end of theCAR, the end that's up on stilts. From this vertiginous perspective they listen hard for a moment,because •••

Thousands of feet below,_a muffledTHUD can be heard .•.

,-;,'

THE BOTTOM OF THE TRACK- SAMARITAN AND CANONERO - JOST THEN

They've arrived above theLOWER CABLE CAR, as the DEPUTIES emerge from the WHEELHOUSE. SAMARITAN stands, legs wid.e, chonpingmadly at the thick steel cable with an enonnous AXE.

•.. andCANONERO can't believe what she's seeing,she's nearly paralyzed in shock.••

••. and theCABLE isdamaged, and then one strand~, and SAMARITAN chops again,and another strand goes .••

THE CABLE CAR

And the ERASER, LEE and CODY REACT as theCAR lurchesdown the incline a good ten feet, and they are all nearly catapaulted over the downhill railing •••

••• and theERASER shoves LEE~and CODY up thenarrow aisle toward the front of the car, the uphillend, where it'll ~e easier to jump off •••

but as they run, the car lurchesdown again •••

SAMARITAN, THE AXE AND THE CABLE

The CABLE is now cut and .shredded more than halfway through, and SAMARITAN chops again •••

•.. and there isa sound like aGUNSHOT •.•

••.. and the severedCABLE arcs likea fly fishing line up the length of the incline •••

THE ERASER, LEE AND CODY -AT THAT SECOND

•..and,,theyjust have time toDUCK as the CABLE comes humming. whipping up at them, slicinq the back end of the CABLE CAR away, the part where they were just standing ••.

..

As the CABLE whooshes around the giantFLYWHEEL._ fasterand faster •••

THE CABLE CAR

••. and theCABLE CARstarts t0°drop like a stone down the incline, with our trio stillaboard •••

And before she can even react, the ERASER pushes LEE over the seats, over the side and off into the darkness •••

The CAR accelerates down, and the ERASER grabs little CODY like a football, crouches up on the side railing, and leaps, going into a tuck, shielding the boy with his own body .••

SAMARITAN, CANONERO AND THE DEPUTIES

They stand clear as the CABLE CAR comes rocketing do~nthe incline, swooshe3 past them and crashes into the BOARDING PLATFORM and the WHEELHOUSE, which explodes in a tremendous FIREBALL•••

And CANONERO looks alarmed, but she follows her leader •••

CU'l'TO:

MARSHALS huddle outside the GLASS as BUSBY sits at a desk playing a familiar TAPE for a MAN we can't yet s~ .••

We see the MAN. He's obviously been in a plane mishap today, but he's powerful, a leader. He is is B,&L°LER,CHIEF of the U.S. MARSHALI S SERVICE. He stands up br.iskly•••

As FRANK FAMIGLIETTI and his caravan of SOLDIERS passes the ERASER'S MARQUEE message. They check their MAPS .••

1Q4

A very beaten-up ERASER and LEE struggle up the last of the steep incline. The ERASER carries CODY (and the DUFFLE BAG) on·his back •••

But as she clears the risen she sees •••

There is the enormous hulk of a decrepit building. It's an ABANDONED CASINO squatting darkly on the plateau that is the top of Mount Beacon .•.

There are no lights, and its massive silhouette is all the more menacing for its lack of detail •.:

The ERASER searches the skies for any sign of BUSBY and the "CAVALRY." Nothing, just stars. LEE REACTS as he pulls a handful of MAGNESIUM FUSES out of the DUFFLE BAG.

J,USBYand BELLER lead a squad of heavily armed FBI AGENTS across the tarmac and into a waiting HELICOPTER.

•.. and theCHOPPER rises and leans away into the darkness •••

It's dark and spooky,with ~erie patches of starlight filtering in through holesin ruined roof. There are BIROS. There are jagged holes in the floor and ankle-deep PUDDLES.

The ERASER and LEE place MAGNESIUM FUSES around the walls. He's all busin~ss now. She looks at him, the last of the good men.

They huddle close in the noisy HELICOPTER

o.s. we hear the CLACK of AGENTS readying their firearms •••

BUSBY'S sick look grows as the HELICOPTER flies~

As they come to the top_of the tracks, and the top of the mountain. It's really quiet out. They crouch low and approach the CASINO .••

They are outlined briefly against the night sky, when suddenly, SHOTS ring out. Ricocheting off the rocks beside them. SAMARITAN and CANONERO flatten on the ground.

THE ERASER - AT THJ\TSECOND

Sure enough, the ERASER grabs one of the DEPUTIESbringi~g up th~ rear, knocking the man unconscious. The SECOND DEPUTY tries to run, but the ERASER catches and disables him as well. He hurries off •.•

SAMARITAN AND CANONERO

As more SHOTS ricochet •.•

Under fire, he lifts .herup, and runs with her in a sidelpng way at the source of the SHOTS, the relativ~ shelter of the CASINO itself. He looks over his shoulder.

They make it to the SHADOWS at the base of the building. SAMARITAN gestures to her to go left, he'llgo right .••

LEE - .ATTHAT MOMENT

She huddles in an UPSTAIRS WINDOW, GUN.at the ready,CODY by her side. There is a STACK of EXTRA CLIPS for herGUN, piled neatly next to her - she could hole up here fora while. She watches anxiously as SAMARITAN andCANONERO disappe~r into the SHADOWS. Suddenly, a BIRD startles CODY .•-. .

•..qnd CODY knocks over her EXTRA CLIPS,and as' LEE reaches for them, they go tumbling through a hole inthe floor ••.

•.... and in the darkness,we hear them rattlingand cascading throug,11therot~en floorboards .••

She's out of ammo•••

He hears them too. But he's stalking .••

SAMARITAN

He REACTS at the noise, and at a SOUND or apremonition ~asked by the noise, and he wheels aroundand SHOOTS into the darkness behind him...

••• and theERASER dives out of sight, as SAMARITANdoes the same, and it's quiet again .••

LEE AND CODY

Have heard the GUNSHOTS downstairs, they're alarmed. LEE steels herself, and mimes the Silent Monster for CODY, tel 1 inghim to stay put,· be quiet.He does as he's told •••

She creeps downstairs, holding her GUN like a club •••

SAMARITAN

Stalking in the shadows, listening intently. He doesn't know that he's in the same room as .•.

CANONERO

Who creeps along a WALL past one ALCOVE, then another. Suddenly, we see, from the darkness of the second ALCOVE, LEE emerges silently and gives CANONERO a terrific shove •••

••• and as sheSTUMBLE-$ noisily intoa DOORWAY, where she is silhouetted against the night sky, SAMARITAN wheels and FIRES 'atthe sudden sound •••

•.. hittingCANONERO several times1 Blown clean out the DOOR, she collapses. SAMARITAN runs over, seeswho it is, returns inside ·without checking if she's aliveyor'dead ..•

,ERASER (from behind) Nope. Drop it.

The ERASER has grabbed him by the hair from behind,jamming the MUZZLE of his GUN into the base of SAMARITANIsskull.· SAMARITAN drops the GUN •.•

And the ERASER nods to LEE, who runs upstairs forCODY •••

•.• butSAMARITANexecutes a blinding AIKIDO move, sweeping around to disarm theERASER. The ERASER'S GUN goes skittering off into the darkness •••

And for amoment they kick,\block, lunge, block, punch in deadly earnest,drawing blood. They are well matched.

TheJ break,then resume with redoubled malice, then the ERASER breaks again,backing up a step to pull a KNIFE. Then SAMARITANdoes something unexpected:

He backs up,and suddenly, there is A KEYPAD DETONATORin his right hand. The ERASER freezes as SAMARITAN backs up several pacesag~inst a wall •••

..

And SAMARITAN'Sfinger descends on a KEY•••

•.. and theERASER hurls hisKNIFE, pinning SAMARITAN'S right wristto the wall. And the ERASER leaps at him •••

But SAMARITAN, incredibly,has held on to the DETONATOR,and is just able to pressONE KEY before he drops it •••

And the interior of theCASINO LIGHTS UP, as O?-j,f;···MAGNESIUM FUSE goes off across theroom •••

And as theERASER covers the distance to him, SAMARITAN rips theKNIFE out of the wall and his wrist, and the ERASERmust slideaway from the swooping blade in SAMARITAN'S lefthand.

TheFLAMES start to spread as the two men battle once more.

A knife thrust from SAMARITAN,.the ERASER is cut, another •••

The FLAMES and SMOKE are spreading, it's gotterdarnmerung •••

SAMARITAN comes in again,but this time the ERASER catches the knife hand,turns it impossibly, and stabs SAMARITAN deeply in the gut, pulling up, butchering him •••

him, and he wobbles to the floor •••

The ERASER kneels at his side as SAMARITAN whispers .••

The way the ERASER says the word, it's already slipping away from him ...

The ERASER nods •••

The ERASER takes this in, then looks for •••

HIS P.o.v. - LEE ANO CODY - AT THAT MOMENT

They're at the TOP of a FLIGHT OF STAIRS, trying to descend, but FLAMES block their path .••

LEE

LEE andCODY see theSMOKE seeping up.through the rotten floorboards of thesecond floor. LEE runs to the place the ERASER indicates,the "OTHER STAIRS." She carries CODY and the DUFFLE--BAG.• • ------

THE ERASER

Runs through FLAMESto get to the other stairs. ·It's getting scarier, he's lost sight ofLEE and cooi~••

HIS P.o.v.- LEE AND CODY - THE TOP OF THE OTHER STAIRS

Wait,he sees them ~gain. LEE starts down the STAIRS, but as she does .•.

She accidentally kicksa MAGNESIUM FUSE, and it goes clatteringdown the STAIRS, landing in WATER with each

..

-STEP•.•

Andthey watch in horror as the FUSE sparks, and sparks again,/andERUPTS suddenly, spreading FLAMES between LEE and CODYand the ERASER. They're cut off •••

ERASER

He can't see her. They are separated by an OCEAN OF FIRE. It's getting worse.

••• and anotherSHEETOF FLAME ignites, it's an inferno •••

ERASER

••• and he can just barely hear •••

And once again, the ROARING FLAMES hide her from his sight •••

As an FBI AGENT calls out to BUSBY •••

·AGENT Sir? You'd better come look.

And BUSBY works his way to the front of theCHOPPER, where he does a horrified TAKE at what he sees •••

BUSBY'S P.o.v. FROM THE CHOPPER - THEMOUNTAIN TOP

We are perhaps a mile away, but there'sno mistaking our destination. The mountain top is on fire ..•

The CASINO is totally consumed, FLAMESare visible in all the w~ndows, and WHOOSH! FLAMES erupt through the roof •..

... and aswe get closer, right before our eyes,the CASINO is burning like a gigantic torch,a pillar of flame shooting up from the top of the mountain •••

We get closer, closer •••

And the CHOPPER heads fora KNEELING FIGURE - it's the ERASER. And the ROTOR WASH fromthe CHOPPER seems to lift the hellish FLAMES even higher as theCHOPPER comes in for a landing on a cleared area near theERASER •••

THE ERASER

His hair is singed, one side of hisFACE is scorched and burned. He looks bad, butwhere~ LEE and CODY? He's by himself down there.

The CHOPPER touchesdown, the doors open, a:ndBUSBY, BELLER and theAGENTS jump out. The ERASER seems to be in shock as they runup to him, and BUSBY grabs him by the shoulders·•••

And theERASER doubles over, as a wave of heat from the inferno behindhim sweeps over the mountain top •••

Some of theAGENTS just stand there, affected by the ERASER'Sgrief, but a YOUNG AGENT runs up with bottled OXYGEN. The ERASER COUGHS but waves her off •••

And the YOUNG AGENT and other AGENTS go running over to the edge of: the clearing,where CANONERO lies, burned, bleeding. Itloqks like the ERASER dragged her here, just away from the flames, and c6uldn't drag her any further... ·

•.• asan afterthought, the ERASER indicates the BLACK OUFFLE BAG on the ground beside him •••

BUSBY snaps his fingers, and an AGENT grabs the BAG,as they steer the staggering ERASER to the open dOOI'.of theCHOPPER.

And the-AGENTS bring aboard the stretcher with the unconscious CANONERO, now breathing fromarioxygen mask .••

He gets the thumbs-up from the AGENTS, and the doors c.lose, and the CHOPPER lifts off, f~nning the flam~seven higher •••

The order is relayed to the PILOT, and theCHOPPER arcs around·toward Poughkeepsie. AN AGENT turns to speak to the ERASER..•

But.BUSBY stops him when he sees the ERASER sitting with his head in his hands, utterly bereft~ TheAGENTS s~are.

THE TOP OF THE CABLE CAR TRACKS - AT THATMOMENT

As F~K FAMIGLIETTI and his SOLDIERS stand impotently in their cashmere coats, watching the CASINO burn and the CHOPPER fly away.

As the FBI CHOPPER lands on the HELIPAD TARGET,the doors open and TWO EMS w·oRKERSapproach with aGURNEY~.•.

• . . and .CANONERO,on her stretcher,is placed on theGURN.EY. The ERAS.ERjumps out of the CHOPPER under hisown power, but looking awful for all that. He carries theBAG of money •.•

••. andBUSBY and TWO AGENTS accompany theERASER and the EMS work_ersand the GURNEY inside •••

Amid the confusion their arrival has created in this. sleepy hospital, the ERASER suddenly remembers something,and he pulls BUSBY aside and whispers something in his ear.

BUSBY looks concerned and hurries away .•.

The TWO EMS WORKERS and the ERASER get in with CANONERO'S GURNEY, and just as the DOORS CLOSE, the most amazing thing happens •••

CANONERO suddenly sits up on the GURNEY, GUN in hand •••

It's LEE. LEE wearing CANONERO'S scorched UNIFORM and with CANONERO'S GUN. She reaches over and presses "P" for PARKING. The ELEVATOR ascends •••

•.. and they turn with their backs toLEE •••

EMS WORKER #1 Don't shoot us lady ...

And she conks him on the back of the head with her GUN. He slumps,··tothe floor.

EMS WORKER #2 Yes ma'am.

_TheERASER and ~MS WORKER #2 comply as the ELEVATOR ascends.

••• and theERASER smiles to himself as he hands her the DUFF.LEBAG, and she slings it over her shoulder•••

It's an open-air rooftop PARKING LOT. The ELEVATOR.DOOR opens to reveal: EMS WORKER #2 pushing theGURNEY carrying EMS WORKFR #1, with the ERASER alongside. He's playing the hostage role very convin~ingly. Behind them, LEE brandishes her GUN .••

The party emerges cautiouslyfrom the ELEVATOR, and here's what they see: a bleak, empty PARKING LOT; scores of CARS. The darkness of the sky. That's it.

Anxiously, LEE looks around- there's no .QD.@.YRhere.

And she conks #2on the hea~, and he sags, but the ERASER catches him and drags his unconsciousform around a corner out of sight. Same with #1•••

Now it's justthe ERASER and LEE. They look around •••

Suddenly, aCAR engine coughs to life, TIRES SCREECH, and they REACT asa DARK SEDAN comes powering up to where they're standing .••

(

Behind the wheel,BUSBY.·

BUSBY gets out,then smiles•..

BUSBY points to his watch as he trots to theFIRE STAIRS .••

•.~andhe waves goodbye as the Fl;REDOOR closes behind him.

Again, it's just theERASER and LEE. She unzips the DUFFLE BAG on the front seat of theSEDAN •••

••. andwe see there,in a bag full of MONEY, little CODY is faithfully doing the Silent Monster.

•.. andCODY breaks out of his frozen posture,and climbs out of the BAG and runs to give theERASER a fierce hug •••

She gently touches his burnedFACE ..•

The ERASER still hugging CODY .••

And he hugs CODY even tighter.

The ERASER sucks it up .•·.

She starts to protest but he takes her hand .••

The ERASER looks around, then, becoming businesslike •••

And crying, she embraces him fiercely,and littleCODY joins in, trying to be ·appropriately serious.

And LEE and CODY hustle into the DARKSEDAN, close the doors and LEE starts off. The ERASER, witha stern fa9egesturing "go on, hurry up," CODY waving goodbye fromthe,.window.

The DARK SEDAN disappears down the PARKINGLOT RAMP •••

As the AGENTS around him realize IICANONERO"is missing •••

THE PARKING LOT - A MINUTE LATER

As the AGENTS burst into the PARKINGLOT from the FIRE STAIRS, and see the TWO EMS WORKERS,unconscious, on the floor, and the ERASER, "unconscious"on the floor as well •.• They "wake him up"

Ow. • •That mar_shal•••

LONG SHOT - MAIN STREET - POUGHKEEPSIE - AT THAT MOMENT

It's quiet, darkand deserted as a DARK SEDAN drives away •••

FADE TO BLACK:

FADE IN ON:

There isn't a colder,grayer building in all of Washington.

The ERASER, in a suit,walks down a lonely hallway. His FACE 11,a·shealed,but he will havea permanent SCAR.

As the ERASER enters. BELLER, sitting at his desk, doesn't invite the ERASER to sit, so he stands at attent'ion.

··BELLER Good. !_have every faith in you. By the way·,. I •m sorry about your witness. In her ownway, she must have been quite awoman.

The ERASER leaves BELLER'S office,heads down the lonely corridor. From his pocket, he pulls outa dollar bill. He smiles at it. It's a red and greenHONG KONG DOLLAR BILL.

-Bobbing up and down in a small SAMPAN,LEE hands a HONG KONG DOLLAR to a BOATMAN as she and CODY ride across this beauti- ful h~rbor. They are travelling with a small mountain of matching red luggage. CODY is excited,and jumps around. LEE gives him a comically stern,ERASER-style look, and gleefully, he does the silent monster. The two of them laugh and look off across the sea. ~

;,,'. FADE 00'1':

'l'HEEND