"COMMANDO" (1985)

TIGHT ON the churning compactor of a garbage truck. The CAMERA PULLS BACK and we SEE the truck, battered and olive-grey. A bored garbage man with a kerchief over his mouth hangs on the back of the truck as it moves along the street.

As LAWSON awakes with a start. He's late 30's, a little worn. He shakes his WIFE.

Maybe they changed the schedule...

Lawson listens to the noise as it APPROACHES, finally throws his feet into his bedroom slippers.

He runs into the pantry, dragging several ungainly plastic trash bags.

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The truck SOUND is CLOSER now. We can SEE it at the end of the long driveway.

Lawson flings the green plastic bags into two battered and half-full metal cans, starts running down the driveway.

END OF DRIVEWAY ~- DAY

The truck stops at the bottom of the driveway. Lawson stumbles his way towards it, smiles.

REVERSE ANGLE

COOKE -- The man behind the truck -- pulls an Ingram submachine gun INTO VIEW. At the same moment, the cab of the garbage truck is kicked open and DIAZ, the driver, leans out, similarly armed.

And they cut Lawson down, the bullets raking across his body and the cans.

LONG SHOT

Lawson falls back, spread-eagled. The garbage cans, pierced and leaking, roll TOWARD THE CAMERA, blocking our view just as Cooke moves close to administer a coup de grace.

FORRESTAL grins INTO THE CAMERA. FORRESTAL You ain't seen nothin' yet. Cont.

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8 Cont. CAMERA ADJUSTS TO SHOW us that Forrestal is just now closing the trunk of a big new Cadillac. He's showing it to Diaz, who nods and makes noncommital NOISES as Forrestal continues the hype. FORRESTAL (as trunk closes} Hear that sound? American workmanship. You think the Japanese invented that? Bullshit. We did...sure, we lost it for a while...but we got ‘it back. Diaz gets into the car. FORRESTAL Sure, get in...comfy, right? I know what you're gonna say... it's cloth. But take it from me...you don't want leather, it's hot, it cracks, it's trouble. And look at the head room...you're not gonna have a problem... Diaz starts the engine. FORRESTAL Go ahead, start it up. Hear that? That's power...that's performance ...that's -- Jesus Christ -- Forrestal has said this last because Diaz has thrown the car into reverse, knocking down a big display. FORRESTAL Hey! ANOTHER ANGLE 9

Diaz slams the car into forward, hits the accelerator and ROARS across the display room floor.

The car SLAMS into Forrestal, flinging his body across

the hood. The car continues on, CRASHES through the outside window and disappears down the street.

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Dangling working lights illuminate the night. The tuna fleet is in.

DOCK = CLOSE ON BENNETT ll mid-thirties, well muscled, BENNETT helps another

worker wrestle a net of fish into a hold, then he

wipes his brow and shouts over the noise.

Les nods. Bennett steps off the boat, crosses over another boat and steps onto his boat.

away from the other boats. The wind whips his hair as he cruises out into the night.

EXPLODES into a fireball, sending debris high into the air.

A man comes out of the shadows on the dock and watches

the explosion, the fiery lights splashing onto his

face. It's Cooke - the "garbage man."

MAIN TITLES BEGIN...and along with them we HEAR MUSIC.

The CAMERA SKIMS OVER snow-capped peaks, pine trees twinkling dew in the morning light.

Then we SEE it: An 80's version of a log cabin...with crisp, clean lines...energy efficient and snug.

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ANOTHER ANGLE 16

as a giant FIGURE descends from the mountains behind the house balancing a giant log on his right shoulder and carrying a chain saw in his left hand.

This is COLONEL JOHN ALEXANDER MATRIX. He's in his mid-thirties...a man of raw power and vitality...and something else: Joy. Joy, and a sense of calm,

Matrix reaches a shed behind the cabin. He puts down the log and chain saw, then picks up firewood and begins to SPLIT it with awesome single swipes of an axe.

INTERCUT:

LOW ANGLE - HOUSE 17

as a shadow comes stealthily alongside the house and begins to slowly and cautiously advance on Matrix.

INTERCOT: MATRIX AND APPROACHING PERSON 18

Matrix doesn't turn or otherwise seem to see the other person...but he reacts to little things:

None of the above escapes Matrix's eye...and then, at the last possible second, he WHIRLS and confronts:

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NEW ANGLE 24

Matrix sweeps up the intruder...his eleven-year-~-old daughter, JENNY. She laughs as he tickles her.

She tickles him back on his neck and ribs...he laughs, puts her down.

He raises his hands, open, trusting. Instantly she attacks again, then runs like hell as he pursues her, MUSIC CONTINUES.

Matrix's Blazer is parked here. Father and daughter

sit across from each other...she has a cone, he has a @ish. He uses his spoon to steal some of her flavor

and jimmies...he gets away with this twice before she pokes him on the nose with the cone. He wipes ice cream from his face.

Matrix and Jenny are trout fishing in a beautiful

stream. A deer tentatively approaches and Matrix and

Jenny take food from a knapsack and hold it out for

the deer. The deer comes closer, takes the food from them, then licks their hands.

MATRIX 26-A

shows Jenny karate moves. She tries a move on him and he pretends she's knocked him over.

MATRIX 26-B

gives Jenny a piggyback ride over the bridge that crosses the stream, as they head back to the cabin.

BOS,

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Matrix goes to open the refrigerator in his cabin ap¢ stops. Taped to the door is a cutout of a heart: Q&

Jenny is peeking at Matrix from around the corner of the kitchen. He sees her, he smiles, and they meet and hug.

MUSIC AND TITLES END.

Matrix sits at the table as Jenny serves lunch. The

view through the expansive picture window is breathtaking. Matrix leafs through some of Jenny's rock'n'roll Magazines.

Suddenly Matrix gets an odd look on his face...he stands, cocks his head.

He shushes her, puts his hand up to block the sun as he peers through the picture window. Now Jenny ~~ and the audience -- can SEE what Matrix's keen senses have already heard...an approaching aircraft.

MATRIX'S P.O.V. - HELICOPTER 29

with U.S. Army markings, coming towards the house... then veering off for a landing.

TWO SHOT 30

Cont.

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30 Cont.

THE COPTER aa

It lands. Three men get out.

GENERAL FRANKLIN KIRBY is in the lead. He's in his early 50's, fit, energetic -~ and, as we can SEE -~ the pilot of the craft. He's wearing rugged Army Class "C's."

The two young soldiers with him are HARRIS and JACKSON. They wear BDU's and carry carbines. At a look from Kirby they fan out, and watch the cabin.

KIRBY 32

Kirby approaches the cabin.

Startled, Kirby whirls to see Matrix standing behind hin.

He smiles and he and Matrix come together and shake hands.

He affectionately squeezes Kirby's shoulder. Jenny comes out of the cabin toward the two men.

Matrix gives her a sharp look and Jenny grudgingly goes back inside. Kirby and Matrix begin to walk as clouds billow high above the mountaintops around them.

Cont.

AE

REVISED - "COMMANDO" = 4/22/85 9 32 Cont. KIRBY Someone's killing your men. MATRIX (startled)

You gave them new identities...

MATRIX

Who's doing it? X KIRBY

You've made enemies all over the x

world, John. It could be the

Syrians, the South Africans, the

Russians...or a terrorist group. (pausing)

They're gonna find you.

Matrix looks toward the cabin. Jenny is watching him through a window. Matrix turns back to Kirby and they begin walking back to the cabin.

into the city to coordinate with the Faderal people. In the meantime, Jackson and Harris will stay with you.

Matrix looks the two soldiers over.

OUT 33-

CUT 70:

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MATRIX ~ LATER 37

watches the chopper lift off and fly away. Jenny, subdued, comes out of the cabin.

She smiles.

An intense look comes over Matrix's face, then ~~

-~ In a BLUR, he sweeps up Jenny in his arms just before machine gun fire BLASTS the cabin. The VOLLEY

OF FIRING SHATTERS the windows and RIPS OPEN Harris' chest, his blood SPLATTERING against the cabin.

Matrix, still clutching Jenny, DIVES through the door

into the cabin and HITS the floor. Jackson CATCHES a round in the shoulder, SPINS to the ground, then crawls through the door after Matrix.

The three of them lie on the cabin floor as the FIRING CONTINUES to BLAST AWAY at Harris' body, the rounds SMACKING into the side of the cabin.

Then the firing stops. Silence.

Cont.

SH,

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37 Cont.

Stay out of sight, I'1l be right back.

Jenny goes into her bedroom and Matrix goes out the backdoor.

He races to the shed, unlocks it, goes inside to a high-tech cabinet and opens it.

Inside is an H&K assault rifle, two big banana clips of ammunition and a Baretta JS pistol. Matrix pulls the weapons out and readies them.

Jackson peers out the window, sees nothing, then edges back to the floor. Two hands WHIP a garotte around his neck and CHOKE the struggling Jackson to death.

JENNY

hears a THUMP and sticks her head out from under her bed to look, but sees nothing. Suddenly, footsteps

approach her bedroom door. She pulls her head back

under the bed just as two boots enter her bedroom.

A knife is attached to one of the boots.

Matrix puts the pistol in his waistband and SLAMS home a clip in the rifle. He RACES out of the shed, RUSHES to the cabin and OPENS the backdoor.

Jackson, garotte still around his neck, falls lifelessly through the door STRAIGHT INTO THE CAMERA.

Matrix ducks as Jackson GLANCES off him and CRUMPLES to the ground.

PH

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Matrix, H&K rifle held ready, silently enters, then moves carefully through the cabin. He peers into the den and sees Diaz, one of the men who killed Matrix’s men, sitting in a chair, looking at Jenny's

Matrix steps forward and points his rifle directly at Diaz.

Diaz smiles and puts his feet up on a table.

Matrix puts the rifle against Diaz's forehead and COCKS the trigger. The smile vanishes from Diaz's face.

Matrix hears a NOISE outside, glances out the window and sees two vehicles RACING away from the house.

Matrix levels the H&K and BLASTS Diaz in the chest. Diaz and the chair are JERKED violently backward.

Matrix JUMPS out of the cabin and RACES to the BLAZER, its hood up. He checks the engine.

Torn wires stick up, the distributor cap is disconnected and broken.

Cont.

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43 Cont. He looks down the mountain and sees the vehicles winding along the mountain roads. , , Matrix slams the Blazer's hood...gets inside...puts his weapons on the seat...then releases the brake. Then, one hand on the wheel, the other on the door frame, he begins to push the car. He steers it not towards the dirt road, but towards the shoulder where a steep incline leads downward. Since the Blazer is pointed the wrong way, Matrix is pushing it uphill...the effort is incredible...the veins on his neck stand out...with a SCREAM, he puts everything he's got into it...and finally it begins to roll downwards. Matrix leaps in. Smaps on the driver's shoulder belt... reaches over and wraps the passenger belt around his body as well. The Blazer rolls over the edge. BLAZER - SEVERAL SHOTS 44 as it bounces wildly down the 45 degree slope.

Matrix fights to control the wheel. A low-hanging branch SMASHES the windshield. DARK VEHICLE 46 It takes another curve. CAMERA PANS UP, and we SEE the Blazer, coming closer and closer by this direct route. THE BLAZER 47 It barrels down the mountainside, out of control, smashing through trees, bounding off rocks, dropping like a stone.

Matrix is taking a terrible beating. But he's almost down to the road...ahead of the black vehicle! WIDE ANGLE - WINDING ROAD 49 The two vehicles narrowly miss each other...the dark car almost spins out. THE BLAZER 50

It careens past the other car, slams into a huge boulder ~~ flips -~ ROLLS OVER AND OVER.

ANY,

The wrecked Blazer is BURNING, then suddenly EXPLODES. The CAMERA HOLDS ON this, what looks like Matrix's funeral pyre.

Then we SEE movement and SEE a bloodied and injured Matrix crawling away from the intense fire.

He stops and looks back at the destroyed Blazer. WIDER ANGLE 53

A large group of armed soldiers start to surround Matrix.

He stands up, cut, bleeding. The lead man approaches to frisk him.

MATRIX 54

Matrix ELBOWS him in the stomach, DRIVES his fist into the man's Adam's apple, PULLS HIM DOWN, CRACKS the man's vertebrae, grabs the dead man's rifle and SLAMS the butt against the face on the man closing on him. The man's jaw SHATTERS.

But three more men are immediately on Matrix and they wrestle him to the ground. “He forces his way up again, the three men still all over him.

Matrix's eyes suddenly WIDEN as he looks at two boots with an attached knife, then up at the man standing in them.

It's Bennett, the man we saw die!

Bennett reaches up with a bulky pistol and points it at Matrix.

He FIRES at point-blank range. Matrix is BLASTED backward to the ground.

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Bennett and GENERAL ERNESTO ARIUS {in guerrila fatigues) walk through a large warehouse filled with tanks, and soldiers carrying bazookas, machine guns, mortars,

etc. It looks like a small army.

SPECIAL EFFECT

An intense white light SHIMMERS at the CAMERA, almost

as if the light were floating on water. It is so BRIGHT

it hurts our eyes.

DAY

Matrix's motionless body is lying on a slab of a table.

jeeps

His eyes slowly open as he looks at the same BRIGHT LIGHT.

That light in on the ceiling of the small room he is

lying in.

Matrix groggily shakes his head, sits up a little and sees Bennett holding up the bulky gun.

General Arius approaches Matrix.

Cont.

57 Cont.

You can get close to Velasquez, you will kill him...We've gone to alot of trouble to find you. We faked Bennett's death so Kirby would get nervous and lead us to you. And now that I have you, you'll do what I tell you.

Arius looks at Matrix for a beat, then Arius nods to Bennett.

Bennett opens a sliding door to a closet and Matrix sees Jenny.

She is gagged and tied tightly to a chair. She is shaking from fear and her eyes are wet with tears.

Matrix LUNGES up from the table, but his hands and feet are chained to the table and he is STOPPED.

Bennett wheels Jenny out of the closet over to Arius. Arius begins to finger her hair.

Cont.

Matrix FIGHTS at the chains like a crazy man, but he

can't move.

Arius fingers the shirt collar around her neck.

General Kirby stands in front of the cabin looking at the bodies of Jackson, Harris and Diaz.

Soldiers are searching around and inside the cabin.

One of the Soldiers approaches Kirby.

(pauses) .-.-You think there's more?

CUT

LAX TERMINAL - DAY

TO:

57 Cont.l

A long, silver limo pulls up to an LAX terminal and parks.

Cooke is at the wheel. Matrix (in a tropical suit) Bennett are in the rear seat, SULLY and HENRIQUES on foldout seats facing them.

Cont

and

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60 Cont. He motions and Henriques opens the car door and brings Matrix out with him. Sully follows them.

Matrix looks back at Bennett through the open door. MATRIX I'll be back, Bennett... For you. BENNETT I'll be ready. They eye each other, then Sully shuts the door and Matrix watches the limo drive off. Henriques and Sully flank Matrix and they enter the terminal.

The three of them pass through the terminal. Matrix looks toward two police officers that are right next to them, but he remains silent. Henriques, Matrix and Sully walk through the X-ray booths as the security guard watches, then they continue on.

BOARDING GATE 63

They approach the boarding gate. Sully hands Henriques and Matrix their tickets, then Sully stuffs a $10.00 bill in Matrix's breast pocket.

Matrix looks down at the bill, then up at Sully.

Cont.

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REVISED — “COMMANDO" = 4/24/85

63 Cont. Henrigues takes Matrix's arm and moves him toward the gate. HENRIQUES Open your mouth again and I'll nail it shut. Matrix looks up at a wall clock. It reads 6:55. He x and Henriques board the plane as Sully watches from the boarding area.

Henriques and Matrix enter the plane. A STEWARDESS smiles at them and examines their tickets.

They are the last passengers to be seated. They walk down the aisle, Matrix takes the window seat and Henriques the aisle seat.

A NOISE attracts Matrix's attention and he watches the door to the entrance tunnel CLOSE. The Stewardesses prepare for the takeoff as the plane's engines begin to RUMBLE. Matrix edgily looks around the plane. The Stewardess approaches him. STEWARDESS You must fasten your seat belt, Sir.

Matrix looks out the window and sees Sully looking right back at him through the waiting room window.

Matrix turns to the Stewardess.

She takes them down from the upper compartment and hands them to Matrix.

Cont.

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64 Cont.

The plane is beginning to move.

Matrix begins to arrange the blanket and pillow. As soon as the Stewardess moves off, Matrix DELIVERS an incredibly SUDDEN BLOW to Henriques' temple. WHAP!

Henriques' eyes roll back in his head, blood trickles out of his mouth, his body goes limp and he falls

“against Matrix.

It's happened so quickly none of the other passengers have noticed it.

Matrix throws the blanket over Henriques' body, looks around, then quickly FORCES Henriques' neck down toward his chest.

CRACK.

Matrix stands and opens the overhead luggage rack. He picks up the blanket covered body and puts it in the overhead rack. The 2ND STEWARDESS comes by.

2ND STEWARDESS Sir, can I help you with that?

He smiles at her and she smiles back. He closes the luggage compartment door and turns to the Stewardess.

2ND STEWARDESS We land in Val Verde in exactly eleven hours...

She moves down the aisle. Matrix looks down at his digital watch and presses a button.

INSERT - WATCH 65

11:00:00 appears on the watchface. Instantly, it Starts counting down: 10:59:59, 10:59:58...

MATRIX 66

Matrix starts down the aisle.

Cont.

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2ND STEWARDESS Sir, during takeoff you must --

Matrix moves to the service elevator, squeezes in, hits the controls and starts to descend.

a port. The place is moving faster!

He turns and moves to a door marked CARGO HOLD. It's locked.

He PULLS, the door starts to bend, then the lock suddenly SNAPS. He opens the door and crawls inside.

PASSENGER AREA The passengers sit unaware of anything unusual. LUGGAGE COMPARTMENT A CLOSE-UP of the latch on the luggage compartment holding Henriques' body shows the latch imperceptively CLICK OPEN.

The plane leaves the terminal area and turns toward the runway.

Sully watches plane approach the runway.

66 Cont.

PAM,

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INTERCUT the pilot talking with the control tower to clear the plane for takeoff.

The plane begins to roll down the runway.

Matrix crawls through the crowded hold. Without looking, he starts to push a box out of the way and ~~

DOG CAGE

A doberman Pinscher SNARLS and FLASHES HIS TEETH right INTO the CAMERA.

Matrix jerks his hand away from the dog cage just as the Pinscher's teeth push between the bars.

The plane starts to taxi down the runway.

The luggage compartment holding Henriques' body edges open and a small corner of the blanket comes out.

The passengers sit unaware.

Matrix has reached the area immediately above the plane's landing gear. The NOISE is deafening. He digs his hands under the lip of the gear retract equipment and LIFTS with all his might. Nothing moves for a beat, he continues to STRAIN MIGHTILY and the cowling starts to move!

With a final grunt, he lifts it up and pushes it out of the way.

The ground rushes beneath the airplane. Matrix swings his feet into the hole.

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The plane takes off and ROARS into the sky, clearing the marshes at the end of the runway.

Matrix drops through the hole toward the moving ground!

He DROPS DOWN out of the plane twenty-five feet above the ground and SPLASHES into the shallow water with

terrific impact.

The plane zooms overhead. Matrix lies still, bobbing in the water.

Sully is on the phone. SULLY It just took off. QUT

Matrix comes out of the water and looks at his watch. INSERT - WATCH

10:52:52 left.

MATRIX

He looks at the terminal in the distance and begins running toward it.

A uniformed LATINO pilots a speeding war boat in the Pacific. Bennett, standing on the rear deck, watches Arius hang up the microphone on the two-way radio and then Arius disappears below deck.

83-A

‘©@

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REVISED - "COMMANDO" - 4/24/85

BELOW DECK 87

Jenny is huddled in a darkened cabin below. She wipes the tears from her eyes.

The door opens, some light comes in and Arius enters the cabin. He moves toward Jenny and looks at her for a long beat.

Arius sits down right next to her. He runs his fingers along her shoulder.

Matrix jumps into the back of a fire truck that drives by the rear of the terminal.

CcuT TO:

Sully, walking through the terminal, stops as he sees a girl, CINDY, talking on a pay phone. She's a gorgeous stewardess in her late twenties.

Cont.

REVISED - "COMMANDO" - 4/29/89 25

X 89.Cont. Sully takes off his dark glasses, eats her up with his eyes and adjusts his tie. CINDY (into phone) I thought since I'm laid over we could...no, laid over, Lance. Samantha? Who's that? Lance? Lance? She slams down the phone and does a slow burn. Then she turns, picks up her flight bag, starts to head off and finds her path suddenly blocked by Sully. SULLY Sounds like you need a date. CINDY Fuck off, shithead... She pushes by him. Sully watches her go, smiles and then begins to follow her.

Matrix, wearing a ground crewman's jacket, is now inside the terminal. He looks desperately for Sully.

Passengers mill ahead of Matrix, behind him and to the side, but there is no Sully. Matrix races through the crowded terminal, looks up and suddenly stops. There Sully is!

Sully is following Cindy along a downstairs walkway. Matrix slows down, then begins to track Sully as Sully follows the girl.

Cindy enters the parking garage and approaches the passenger side of her ragtop Sunbeam Alpine convertible. She unlocks and opens the door, leaving the keys in

the lock, then she LOWERS the top.

The LOWERING of the top REVEALS Sully facing her on the other side of the car.

You know what I could give you?

Cont.

REVISED - ''COMMANDO" - 4/29/85 26.

Xx 91 Cont.

Sully's smile disappears. He looks at her, takes his sunglasses out of his coat pocket, puts them back on, then turns and walks off.

Cindy watches him to make sure he leaves. All of a SUDDEN, a giant arm encircles her waist from behind.

She looks down at the giant arm, unable to see Matrix sqatting behind her.

Matrix removes his arm from her waist.

Knees shaking, Cindy steps aside.

Matrix leans into the car, grabs the passenger seat, YANKS it out and places it on the ground at Cindy's feet.

Cindy, mouth gaping open, looks at the passenger seat now at her feet.

Cindy automatically starts to get in the car.

Cont.

REVISED - "COMMANDO" - 4/29/85 27 x 91 Cont.1

He puts her car keys in her hand.

She crawls across where the passenger seat had been

and sits in the driver's seat. Matrix sits on the floor where the passenger seat had been and closes the passenger door.

She starts the car. Sully drives by them in his Porsche Targa.

She pops the clutch too fast, the tires SQUEAL and Matrix is SLAMMED back against the car floor.

CUT TO;

Sully drives out of the airport garage and enters the flow of traffic. After a beat, the Sunbeam LURCHES out of the garage and begins to follow Sully.

In the Sunbeam, Matrix checks his watch. It reads 10:32:00. Cindy concentrates on following Sully's Porsche up ahead.

Cont.

REVISED - ''COMMANDO" - 4/29/85 28

X 93 Cont. MATRIX No. CINDY Good.

Sully drives his Porsche at medium speed along Century Blvd. He goes through as it starts to turn red.

Cindy eases her foot from the accelerator as she prepares to stop for the light. CLOSE SHOT 94~B Matrix puts his foot on top of hers and PUSHES DOWN on the accelerator.

The Sunbeam RUNS through the red light.

As dusk approaches, Sully drives along the freeway, occasionally glancing into his rearview mirror.

Cindy and Matrix continue in the Sunbeam, keeping a distance between themselves and Sully.

Cindy is still at the wheel. Outside the car, dusk is approaching.

Cont.

REVISED - “COMMANDO” - 4/29/85 28-A

Xx 96 Cont.

As dusk approaches, Sully drives his Porsche into the Galleria. Cindy pulls her Sunbeam in two cars behind him.

Sully parks his car, gets out carrying a briefcase, goes to the glass elevator, stares at TWO PRETTY VALLEY GIRLS, takes his dark glasses off and joins them in

the elevator.

Cindy's keys from the ignition and takes her arm.

Cont.

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REVISED — "COMMANDO" —- 4/23/85 29

99 Cont.

She opens her door, Matrix slides next to her_and they and they exit from her car. He moves her quickly toward the elevator.

The elevator returns and they get in.

The Galleria interiors runs around the perimeter

of a three-story open vaulted area. In addition

to the glass elevator, several tiered steps and

banks of escalators run up and down the levels.

Lots of decorative banners in hot colors decorate

the open area. The top level is particularly active... restaurants, bars, video parlor, movie theatre. It's the hub of valley nightlife, lots of shoppers and

kids just hanging out.

Matrix and Cindy exit from the elevator onto the top level next to the wide-open vaulted space. Matrix immediately searches with his eyes for Sully.

She takes a quick step to get away, but Matrix immediately GRABS her arm and PULLS her back toward him so they are now nose to nose. He motions to the other side of the top level and we SEE Sully walking.

MATRIX x (whispered, anxious) My daughter's been kidnapped and he's my only chance of finding her! If he sees me or I lose hin, they'll kill her. I need you to follow him; if I get too close, he'll run.

Cindy looks back at Matrix in shock.

Cindy doesn't know what to say. Matrix, still holding her arm, SHAKES her in desperation.

Cont.

sO,

REVISED ~ “COMMANDO” — 4/23/85 29-A

100 Cont. MATRIX (whispered, desperate) DON'T YOU UNDERSTAND!! THEY'LL x KILL HER!! HELP ME!! Cindy looks at Matrix, glances toward Sully, then looks back at Matrix. CINDY Okay, okay. xX Matrix lets her arm go and she rubs it gingerly. X CINDY

Take it easy, all right.

She continues to look at the pleading Matrix, then she turns and hesitantly begins walking toward Sully.

Sully walks by a video game parlor, ogles some girls, checks his watch, then heads for the bar on this level.

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250,

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100 Cont.

Cindy walks around the open space, following Sully. She glances back tentatively at Matrix, then she keeps going.

Matrix moves in the other direction around the open space, all the while watching Sully and Cindy.

BAR 101

New Wave music PLAYS as valley gals and sharp dudes dance and mingle about. Sully can dig this scene -- he puts his dark glasses back on. He sits at a table, puts the briefcase next to his leg and orders a drink.

A LATIN MAN wearing a leisure suit, looking completely out of place in a joint like this, enters the bar, and stares at a girl with purple hair.

He continues into the bar, catches Sully's eye and sits down at the table with him. He reaches under the table and slides the briefcase away from Sully until its next to himself, then hands Sully, still under the table, a bunch of passports.

OPEN SPACE 102

Cindy approaches the bar, hesitates, then looks back at Matrix. Across the open space, he nods, urging her forward. She hesitantly moves forward.

BAR 103

Cindy enters the bar, then sees a young security guard, CATES, coming out of the men's room. She moves around a corner so Matrix can't see her and she stops the guard.

Cates moves into the doorway, casually glances at Matrix watching the bar, then Cates moves out of Matrix's view. He rémoves the walkie-talkie from his belt and speaks into it.

Another security guard, BIGGS, a muscular black kid, is flirting with some valley girls and ignoring the constant BEEPING of his walkie-talkie.

Cont.

104 Cont. BIGGS ...This ain't no Mexican shit, I'm talkin’ Maui wowie. Tired of the BEEPING, he picks up his walkie-talkie. BIGGS (irritated) What it is, zitface... . INTERCUT: WITH CATES 105 CATES There's a guy up here who may be a wacko. I don't think I can handle him alone. BIGGS Cool down, puke breath, I'll be right there. (smiling to girls) Wanna see me kick some ass?

MATRIX 106 Matrix is getting anxious. He looks at his watch. 9:28:00. BAR 107 Sully is in conversation with the Latin man, unaware of what's going on outside. Cindy sneaks a look outside and sees Biggs and his two valley girls approaching Matrix. OPEN SPACE 108 Biggs confidently walks along the top level, the girls following. He STOPS abruptly as he sees Matrix, his eyes bulge and he retreats into an alcove and pulls out his walkie-talkie. BIGGS Attention all units! Emergency on the theater level! Suspect is six~-foot-two, brown hair... (pause) ...and is one gigantic motherfucker!! BAR 109

Cates and Cindy are still out of Matrix's view.

Cont.

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109 Cont.

He exits from the bar and moves toward Matrix. Cindy waits, biting her lip, wondering if she's done the wrong thing.

Sully, still talking to the Latin, looks up and finally notices Cindy. He moves through the dancers toward her.

MATRIX 110

“Matrix anxiously glances at his watch, then looks up

toward the bar. Cindy comes out into the doorway where he can see her. She glances behind him, then helplessly looks right at him.

Matrix, noticing her glance behind him, turns around. Five security guards are now approaching him.

BAR 111

Sully moves toward Cindy at the doorway. Just as he is about to say something to her, he hears a commotion and glances outside.

MATRIX 112

Matrix turns from the guards to point at Cindy in the bar and he suddenly sees Sully approaching her.

BAR 113

Sully looks out toward the commotion and suddenly sees Matrix. And Matrix is pointing right at him!

TOP LEVEL 114

Sully runs, bumping off of Cindy, and races out onto the top level.

Matrix, seeing him run, turns back to the guards advancing on him and SMASHES the lead guard (Biggs) right in the face.

Biggs is BLASTED backward into the other guards, KNOCKING two of them down.

Matrix sees Sully running and then looks where's he's headed.

A phone booth.

Ag5

ao

ABRUPT DREAM IMAGE ~ NIGHT 115

Jenny looks up as Bennett stands in front of her. He raises a gun and points it at her face.

Matrix SCREAMS.

He jumps over the railing, LEAPS across an open chasm, DROPS eight feet toward a stairway, then RUSHES upward.

Sully gets in the phone booth and quickly drops ina quarter. In the b.g., Matrix is RACING right toward the booth!

Sully tries to dial as fast as he can. His face starts to CONTORT as he sees Matrix getting CLOSER and CLOSER.

Sully's face is wet with sweat.

Sully pulls out his gun and FIRES through the windowpane at the steadily looming Matrix. He misses. He won't get another chance.

Matrix PICKS UP THE ENTIRE PHONE BOOTH, RIPS it from the wall and SMASHES it against the railing.

People all over the Galleria begin to SCREAM.

The Latin man dashes out of the bar with his gun drawn. Two real Los Angeles POLICE OFFICERS, racing up the escalator with their guns drawn, see the Latin.

Cindy drops to the ground as the Officers aim at him.

The Latin SHOOTS away at the Officers, BLASTING one in the chest and KNOCKING him rolling and tumbling backwards down the escalator.

The other Officer FIRES AWAY at the Latin, hitting him twice. The Latin SLAMS agains the railing, the briefcase bursting open.

A&g5

SHOOTING UP

Thousands of bills come rushing out of the briefcase and begin drifting downward.

LATIN

The Latin, blood oozing out his stomach and eyes drifting in his head, reaches over the railing to grasp futilely at the money. He reaches too far.

SHOOTING UP

The Latin drops over the third floor railing, falling right through the drifting bills and CRASHES to the floor.

MATRIX AND SULLY

Matrix tries to force open the broken phone booth door to get at Sully, but the bloodied Sully crawls out the other way through a broken window pane, hangs from the railing and drops to the stairwell below.

People continue to SCREAM and hug the floor.

Sully turns around and BLASTS a shot at Matrix above. It misses.

He RACES down the stairwell, stepping on the huddled bodies.

A security guard RUSHES him and Sully BLASTS him dead.

Matrix, running along the third level, sees Sully jump off the stairwell and get into a glass elevator. It starts to descend.

Matrix looks desperately around, looks at one of the

giant decorative banners spanning the ceiling, jumps onto the railing and tears loose the banner's end.

The LAPD cop kneels and aims his gun at Matrix and prepared to fire.

Cindy is running right at the cop.

Matrix JUMPS, hanging onto the banner.

Cindy KNOCKS the cop's aim away. The gun FIRES, missing Matrix.

Cont.

@

A85

120 Cont.

Matrix swings down to the lower level and CRASHES RIGHT THROUGH THE GLASS into the elevator with Sully.

The cop comes up from the ground and looks at Cindy. She looks back at him uncertainly. He starts to bring the gun toward her and she moves quickly to 4 door marked "Stairwell" and disappears.

Matrix and Sully are both lying bloodied and dazed in the elevator. It descends silently, the two men lying in the broken glass.

The elevator reaches the parking garage and the doors open. Sully crawls out and dazedly begins to trot toward his car. Seconds behind him, Matrix stumbles and chases

him.

Cindy races out of a door and comes out onto Sepulveda. A cop down the block points at her. She looks around desperately trying to figure out what to do.

Sully, in his Corvette, burns rubber, CRASHES through the wooden parking arm and heads out onto Sepulveda. Matrix, in Cindy's Sunbeam, is right on Sully's heels.

Sully SHOOTS WILDLY out onto Sepulveda, BLASTING his horn as he swerves into the wrong lane.

Cindy watches him zoom by. She looks down the block. Now the cop is RUNNING toward her.

Matrix RIPS out onto Sepulveda. Cindy races out onto the street, her hands held up to stop him.

Cont.

eRe, r

(

Ag5

REVISED - "COMMANDO" — 4/23/85

Matrix hits the brakes, almost hitting her as the car SKIDS out of control to the side. She runs toward it.

Matrix puts the car back in gear, floors it and Cindy dives into the car as it starts to RACE by.

Matrix SPEEDS down Sepulveda chasing Sully.

Cindy, on her stomach, moves herself into a sitting position. She's now sitting on the floor where Matrix ripped out the seat.

Matrix doesn't answer.

You steal my car, rip the seat out, then kidnap me. You make me miss my hair appointment. You beg me to help you and your daughter, which I very kindly do. You get me into a shoot-out where people are getting killed and blood is spurting out all over the place...

Sully comes SPEEDING up Coldwater Canyon. The traffic is lighter now and Matrix pushes the Sunbeam's engine to the limit to catch him.

Matrix looks at the Corvette, changes gears and SPEEDS the Sunbeam faster.

125 Cont.

Xx x

Xx

A&5

REVISED —- "COMMANDO" - 4/23/85

Sully pulls onto Mulholland, then looks in the mirror. Matrix's headlights are getting closer.

Sully FLOORS the Corvette, SLIDING around the curves along Mulholland.

Matrix keeps pace.

Sully's Corvette disappears around a curve, Matrix cuts the corner TIGHTLY and SUDDENLY a large truck COMES RIGHT AT THEM!

36A

129-A

‘'@

A&g5

REVISED - “COMMANDO" — 4/24/85 37

130 Cont.

Matrix swerves the Sunbeam at the last moment, just grazes by the truck, and keeps going.

Cindy has slid down in her seat and covered her face with her hands. She now opens her fingers, peeks through, then lowers her hands. She looks at Matrix. CINDY How'd you ever get a driver's license?

He REVS the engine, bringing the car right up behind Sully, and RAMS it against the back of Sully's Corvette. BAM!

They swerve around another curve. Matrix brings the car up close again. Sully half glances back and

fires a wild shot.

BLAM!

The windshield on the Sunbeam SPLINTERS. Matrix floors the car and completely SMASHES it into the back of Sully's car. WHAM!

Sully's car SKIDS off the road, FLIPS a couple times, then CRASHES into the inside face of the cliff.

Matrix and Cindy SKID off the road and CRASH into the xX inside face of the cliff.

Matrix looks over at Cindy who's reeling from the effects of the crash.

‘MATRIX You okay?

MATRIX'S P.O.V. 131-B xX

Matrix sees Sully trying to get out of his car.

@

A85

REVISED - "COMMANDO" ~- 4/24/85

Gun in hand, Sully crawls dazedly out of the destroyed car. Matrix approaches, kicks the gun out of Sully's hand and picks the gun up.

Matrix empties Sully's pockets and finds his wallet and a motel key. He picks Sully up, an ankle in each hand, so that he's holding Sully upside down. He begins walking with him.

Matrix is approaching the Sunbeam as Cindy is getting out. He swings Sully by the heels and BEATS Sully's

head against the fender, leaving another dent in the

already beat-up car.

Matrix continues to carry Sully upside down.

Loyalty is touching, Sully, but it's not important in your life right now...

VERY WIDE ANGLE

We SEE Matrix walk right up to the edge of a steep drop along Mulholland Drive. He has walked out of Cindy's sight.

: MATRIX But take gravity...

He extends his arms and DANGLES Sully upside-down over the sharp drop. The Los Angeles Basin is spread out below, 180 degrees of twinkling lights.

Cont.

131-C xX

as q

A85

REVISED —- "COMMANDO" — 4/24/85

Sully tries to thrash about as the blood rushing to his face starts to redden it.

Matrix lets go with his right arm. Sully's head drops a foot, Matrix's left arm drops a little, then adjusts to the new weight.

SULLY

He SHAKES Sully, moving him like a fish on a line.

Matrix uses his right hand to take something from his pocket and he dangles it in front of Sully.

It's Sully's motel key.

Fear starts to show in Sully's face for the first time as he STARES at the key. He tried to grab at the key, but Matrix pulls it out of his reach.

Cont.

132 Cont.

A85

REVISED - "COMMANDO" - 4/24/85 39-A

132 Cont.1 Hope flickers in Sully's eyes.

He drops a SCREAMING Sully and Sully CRASHES to the rocks below.

MATRIX AND CINDY 132-A

Cindy is looking at her Sunbeam, which is smashed to shit, as Matrix approaches.

Matrix looks at Sully's car, which is lying on its side. He PUSHES INCREDIBLY HARD against it and it SLAMS to the ground right side up.

They get into Sully's beat-up car and Matrix starts the engine and puts the car in gear to drive away.

Matrix looks at her.

He FLOORS the accelerator, LEAVES RUBBER and BLASTS out of there.

A&5

REVISED = "COMMANDO" - 4/24/85 40

Waves crash against a rocky shore. Arius' boat settles next to a dock and several Latinos (in guerrilla

fatigues) secure the boat's lines.

Arius, Bennett and Jenny exit from the boat and walk quickly down the dock.

A guard patrols the perimeter wall of a large estate.

He sees figures approaching and turns on a bright searchlight, outlining Arius, Bennett and Jenny as

they approach the estate.

A second guard admits them into an expensively furnished mansion, Bennett goes into a side room to join several soldiers.

Arius and Jenny walk down a marble passageway, passing several lavishly decorated rooms.

Arius stops her in front of a door and unlocks the door. ROOM 136

They enter a room that has been stripped of all furnishings, the windows boarded over.

Arius LOCKS the door again, then looks up and down at Jenny. She takes a few hesitant steps backward.

He gazes at her, then steps out into the hallway and CLOSES the door. ,

Suddenly, the lights in the room go out, plunging Jenny into darkness.

Jenny moves against a wall, slides to a sitting position on the floor and begins to shiver from the cold.

CUT TO;

Matrix is driving Sully's car, Cindy sitting next to him, through the streets of Los Angeles. They are moving RAPIDLY.

@

A85

REVISED - "COMMANDO" — 4/24/85

CINDY

Then why won't you tell me what it's about.

Matrix reaches into his pocket, pulls out his wallet, opens it and hands it to Cindy.

Cindy looks at a photo tucked into a wallet, clear plastic photo insert.

INSERT - PHOTO

It's a color photo of Jenny.

TWO SHOT CINDY Is she the one that was kidnapped? Matrix nods. MATRIX

Some people are using her to force me to do a job.

If I don't get to her soon, they'll kill her.

Cindy looks at the photo.

Cont.

136-B

136-C

136-D

A85

REVISED — "COMMANDO" = 4/24/85

MATRIX

She died when Jenny was born. I was in Laos when it happened, so I came home intending to raise her.

(pausing) But on her third birthday I was in Lebanon. When she went to grade school, I was in Angola. When she had the measles, I was in Pakistan. And now she's been kidnapped because of me.

What did you do?

sometimes wish I didn't know about.

He looks over at Cindy, then looks away. MATRIX That part of my life is over with. All that matters to me now is Jenny.

Matrix drives the car into a parking lot in front of a motel and parks.

Matrix looks out the window toward the motel.

Then Matrix looks down at his watch.

41-A

136-D Cont. 137 Xx 138 x

A85

REVISED ~ "COMMANDO" —- 4/24/85 41-B

INSERT = WATCH 139 05:00 remains. It changes to 04:59:59 as we WATCH.

Matrix gets out of the car, closes the door and starts

to move across the parking lot. He stops as he notices

Cindy getting out of the car, too.

She closes the door and joins him. He looks at her for a beat, then they move toward the motel.

They quietly and cautiously approach one of the motel rooms. The drapes are closed.

Cindy stays a few feet back as Matrix, gun drawn, slowly EASES Sully's motel key into the door lock, then QUICKLY OPENS the door.

Matrix, gun out in front, BURSTS into the room.

No one's there.

Cindy nervously peeks her head into the room, sees it's okay, joins Matrix inside, closes the door and locks

the chain. They look around the room.

Sully's suitcase is spilled open on one of the beds.

Beer cans and fast food containers lay open and

the bureau drawers are ajar.

Matrix goes to the suitcase and searches through it. Cindy checks out the bureau drawers.

Matrix finds nothing in the suitcase. He looks under the bed, then moves to the closet and looks inside. It's empty.

There is a SUDDEN LOUD KNOCKING at the front door. Matrix and Cindy IMMEDIATELY LOOK AT EACH OTHER AND FREEZE.

Cont.

A&85

REVISED - "COMMANDO" - 4/24/85 41-C

141 Cont. Then Matrix quietly moves to her. MATRIX (whispers, urgent) It's Cooke. Let him in...

Matrix moves into the bathroom and turns on the shower.

Cindy tears the covers off the bed, musses up her hair and unbuttons her blouse to show some cleavage.

Matrix and Cindy edge up to the door and Matrix flattens himself aginst the wall close to the door.

Cont.

eee

A85

141 Cont.

He nods to Cindy and she opens the door a crack so the chain is still locking the door. Cooke, standing, outside, looks through the crack at her.

Cooke listens a beat to the running shower.

* COOKE -

Who're you?

Cindy looks him up and down, then slouches toward the crack so her breasts push at her blouse. She smiles.

Cooke looks back through the door at her. Matrix, at the inside edge of the door is holding_his gun, ready to fire. Matrix can only see Cindy.

Cindy unlocks the chain and opens the door.

Cindy moves away from the door. Matrix tenses, ready to attack. Cooke looks into the room at the rumpled bed, suitcase and fast food containers.

The shower SOUNDS continue to echo from the bathroom. Cooke cautiously enters the doorway. WHAM!

Matrix SLAMS the gun against the brawny Cooke's head. Cooke crashes back against the wall, but doesn’t go down. He grabs Matrix's gun hand by the wrist and the two of them STRUGGLE for the gun.

BLAM! BLAM! The gun FIRES into the ceiling as they wrestle around the room. They BREAK a table and CRASH into a chest of drawers.

Cont.

A&5

141 Cont.12

Cindy moves to help Matrix. BLAM! The gun FIRES again, SHATTERING the lamp near Cindy, making her duck for

cover.

Cooke slowly FORCES the gun toward Matrix's face. The barrel gets CLOSER...CLOSER...then almost points right

at Matrix.

With a sudden SURGE of power, Matrix lifts Cooke off the ground, pushes him toward the wall and the two of them CRASH RIGHT THROUGH THE DOOR into the adjoining

room.

ADJOINING ROOM

A twenty~year-old couple in bed look up in shock as Matrix and Cooke bounce off their bed and SLAM against

the wall.

BLAM! The gun FIRES, SHATTERING the mirror above the young couple and they SCRAMBLE to safety on the floor

on the other side of the bed.

Matrix and Cooke come off the wall and SLAM onto the

floor, the gun coming out of Matrix's hand. picks it up before Matrix can reach it.

Cooke

Cooke points the gun right at Matrix's face, pulls back

the trigger, then smiles.

He pulls the trigger. CLICK. No more bullets in the

bun. The blood drains from Cooke's face. Matrix looks at him.

He BLASTS Cooke in the jaw and Cooke goes backward through the broken door and falls to the floor.

ORIGINAL ROOM

Matrix races back through the broken door,

starts toward

Cooke, then stops cold. Cooke has fallen on the broken, sharp table leg and the leg goes into his back and

comes out of his chest.

Cont.

e

A&5

143 Cont.

Matrix bends down to the barely alive Cooke.

Cooke looks blankly back at him.

Cooke's eyes go cold and still. He's dead. Cindy approaches and swallows as she looks down at his body, the stake coming out of his chest.

Matrix starts emptying Cooke's pockets. There's a wallet containing only cash. Matrix tosses it to the floor.

He brings out a lighter and a package of cigarettes, examines the lighter, then tosses both objects to the floor.

He pulls out two keys on a key chain. They're car keys. Matrix leaps to his feet.

Matrix and Cindy exit from the room and go out to the parking lot. Matrix looks at the six cars parked there, then he breaks a key off the chain and hands it to Cindy.

They split up. Matrix tries the car door key into a Pontiac. It won't open. Cindy goes to the trunk of a Honda. It won't open.

Matrix races to a Ford. The door won't open. Cindy races to a Cadillac. She opens the trunk!

Matrix races over to her and looks into the trunk. It's empty. He uses the door key and opens the Cadillac's door.

Matrix looks desperately around the inside of the Cadillac. Nothing. He opens the glove compartment and looks inside. Nothing.

Cont.

145 Cont. He starts to come out of the car, then suddenly stops. He sees the edge of a piece of paper protruding from the pocket along the inside of the car door. He pulls the paper out and looks at it. INSERT - PAPER 146 It's an invoice from "Coastal Fuel, 110 Hermosa St., Long Beach, California, 90802" to "Patria Enterprises, 50 Redonda St., San Pedro, California, 90733."

Matrix comes out of the car with the invoice and Cindy looks at it. MATRIX Make any sense to you? CINDY Coastal is a fuel depot that supplies planes. MATRIX For who -~ the airlines? CINDY No, usually smaller, private aircraft. MATRIX You sure? CINDY I'm getting my pilot's license. Coastal is where my instructor gets his fuel. MATRIX There's a lot of warehouses around Redondo Street. Arius must be keeping a plane there. Matrix closes the car door and pockets the invoice. MATRIX Let's go.

ABS

A85

Thirty guerilla soldiers are working in the same warehouse that Arius and Bennett had walked through earlier. Trucks, tanks, jeeps, bazookas, machine guns, mortars, etc. are spread around the darkened room.

*.

Matrix removes a ground level, wire mesh grille from the warehouse's outside wall, then he crawls through and Cindy replaces the grille.

Matrix crawls along the warehouse floor in the darkened room. He goes under a jeep, then pauses to survey the room.

MATRIX'S P.O.V. 151

The soldiers move weapons, metal containers and wooden crates from the trucks to the jeeps. A soldier's feet walk right in front of Matrix, the soldier unloads a crate onto the jeep above Matrix, then the feet move away.

MATRIX Loz

Matrix crawls away from the jeeps, moves low through the shadows, goes into a corridor and sees a door ajar.

rest of the room. As the door moves, it CREAKS on

its hinge.

He hears FOOTSTEPS and CONVERSATION approaching the other end of the corridor. He's trapped!

@

Aé5

ROOM 157

Vega is two feet away from the inside of the door.

CORRIDOR 158

Matrix desperately grabs the door handle and pushes the door forward.

ROOM 159

Matrix SLAMS his fist into Vega’s stomach, then quickly MOVES into the room, puts a choke hold around Vega

with his left arm, then carefully closes the door with his right.

As soon as the door closes, the FOOTSTEPS and CONVERSATION pass right by the door outside in the corridor.

Matrix pulls Vega toward the back of the room, SMASHES his Adam's apple, opens a closet, drops the dead Vega

inside, then closes the door.

He moves to the door leading outside the warehouse, opens it and Cindy enters. They begin to whisper.

Matrix shakes his head.

Matrix looks at Cindy in desperation for a beat, then they begin to look around the room.

The room is designed as the aircraft control room. There are aerial charts on the tables and the walls. There are photos of several military planes and a civilian amphibious plane. There are copies of weather reports Situated around the room and there is a VHF radio.

A85

COORDINATES

Matrix notes a set of military map coordinates penciled onto the side of a chart. They read, 8734-5245; 8142-5938; 7565-5474. A "Scale line" is drawn under the coordinates.

MATRIX

He studies the coordinates, then picks up a drafting compass and pen. He puts three dots, which corresponds to the three sets of coordinates onto a coasted chart of Southern California.

CINDY

Cindy is studying the photos of the aircraft.

CHART

Matrix sets the width of the legs of the drafting

compass, then puts the point of one of the compass legs

onto one of the three dots and draws a circle.

MATRIX AND CINDY

FOOTSTEPS and CONVERSATION approach the door. Matrix stops drawing and freezes. Cindy looks toward the

door. The FOOTSTEPS reach the door, then continue right by it.

MATRIX

Matrix uses the compass to draw a second circle. CHART

CLOSEUP of the pen as it finishes a third circle, the three circles now intersecting right over a small island 200 miles west of Los Angeles.

MATRIX AND CINDY

Matrix looks at the island, then shows the chart to Cindy.

Cindy looks at the chart, then back at the photos of the aircraft on the wall.

Cont.

A85

167 Cont.

Matrix comes over and looks at the photo of the amphibian.

Matrix takes it out of his pocket, shows it to her and she studies it.

TWO SHOT 169

Matrix and Cindy glance at each other as FOOTSTEPS go by outside.

They continue to whisper.

Cindy glances at the invoice, then looks up at Matrix.

Cont.

A85

169 Cont.

Matrix looks at his watch. INSERT ~ WATCH 170

The watch reads 02:56:15 and counting down. CORRIDOR 171

Two soldiers, ROBERTO and Juan, come down the corridor. They pass the room Matrix is in, then Roberto stops.

He comes back right toward Matrix's door.

He turns the door handle.

Matrix and Cindy are flat against the wall, hiding behind the door, inches from Roberto.

He looks around for a beat, then turns and leaves the room, closing the door.

Matrix (carrying the chart) and Cindy move away from the warehouse and approach Sully's car.

She looks bewilderedly at him.

A8B5

an

Matrix and Cindy are in Sully's car SPEEDING along a street.

Matrix is driving, his face HARD. Cindy glances over at him.

Matrix and Cindy slowly drive by the front of a "Guns and Survival Equipment" store. It is heavily barricaded with a thick steel grille.

They pass some street construction equipment {steamroller, caterpillar, forklift, flashing warning signs, etc.), and drive to the rear of the store. There's a heavy concrete wall with no windows.

Matrix JERKS the car into reverse and RACES the car backwards around another building until the car is O.S.

The camera is in the store shooting out through the steel grille. We hear a RUMBLING NOISE and then we SEE IT.

Matrix is atop a steamroller that is ROLLING right AT THE CAMERA.

The steamroller CRASHES into the front of the store and the GLASS SHATTERS INWARD and the steel grille BUCKLES AND CRACKS APART under the roller.

Matrix jumps off the steamroller as the alarm starts to CLANG.

He takes a shopping cart (like in Safeway) and starts working the aisles.

Cont.

BtRlgey LOIN,

A&5

177 Cont.

Along the first aisle, he grabs a snorkel, mask and flippers and tosses them into the cart, then grabs

a deflated and compressed rubber raft and paddle and tosses them in, too.

He takes the cart and SHOVES it down the aisle, the cart coming to a rolling crash among the debris at the front of the store. Cindy takes the cart and quickly rolls it out of the store.

Matrix moves to the next aisle, takes another shopping cart and moves down the aisle. He grabs O.D. fatigue pants, an assault-extraction survival vest, a camouflage sweater, black survival boots, and combat knives.

He gives the cart a shove and it rolls crazily down the aisle into the debris. Cindy quickly rolls the cart outside.

Matrix moves to the counter and starts feverishly moving his hands along the underside looking for something.

He suddenly feels the hidden button and presses it.

Behind him, a wall containing innocuous sporting equipment slides to the side, revealing a hidden room. Matrix pushes a cart into the room. The

store alarm continues to CLANG.

HIDDEN ROOM 178

This room is loaded with every kind of illegal weapon imaginable.

It's an AWESOME sight.

Matrix garbs an Israeli Desert Eagle (Monster .44 automatic handgun), a 9mm. submachine gun, a 12 gauge assault shotgun with folding stock, a Steyr .223 assault rifle, a LAW rocket launcher, grenades, dynamite and fuse, bandoliers with ammo and loads everything into the cart.

A&5

STORE

He wheels the cart out of the hidden room, moves down the aisle with it, then carefully pushes it so it rolls by itself the rest of the way to Cindy.

Cindy catches the cart, glances inside and her EYES BULGE.

She wheels the cart away. HIDDEN ROOM

Matrix reenters the hidden room, sees if he's missing anything, is satisfied and leaves the room.

STORE

Matrix passes by the counter and SUDDENLY A COP comes out from behind the aisle with his shotgun pointed right at Matrix's head. He COCKS the trigger.

Matrix quickly looks toward the other direction to flee. A SECOND COP is at the end of the other aisle with his shotgun also pointed at Matrix's head.

He COCKS the trigger.

Trapped!

The police paddy wagon drives through the night.

Matrix is standing in the back of the paddy wagon, his face up against the small, wire mesh "window" that leads to the front seat where the two cops that arrested him, DARYL and FRED, are sitting.

Ag5

COPS

Daryl looks over at Fred and rolls his eyes. Fred, who's driving, smiles.

BACK OF WAGON

Matrix gives up, leans exhaustedly against the paddy wagon wall, and looks at his watch.

INSERT - WATCH

The watch reads 02:23:02 and counting.

MATRIX

Matrix LOOKS HOPELESSLY at his watch.

The paddy wagon pulls up to a red light. To the side, Cindy ENTERS THE FRAME and drives the car up next to

the wagon.

The two cops glance over at her. Cindy smiles and winks at them.

Daryl glances over at Fred.

The light turns green and Fred drives the wagon through the light.

The wagon pulls ahead and Daryl looks into the outside, right rearview mirror.

Her car remains stationary at the light. She is standing next to the car waving to Daryl.

Daryl looks over at Fred.

Daryl looks back toward the rearview mirror.

i185

Ag5

A CLOSE SHOT of Cindy SHOWS her now with the LAW rocket launcher on her shoulder pointed at the paddy wagon.

She pulls the trigger. BOOM!!

A rocket SHOOTS out of the rear of the launcher and COMPLETELY DESTROYS a bus stop kiosk.

Daryl is staring incredulously into the rearview mirror. MATRIX 194 Matrix, listening to the continuing explosion, reacts.

Cindy now has the launcher pointed correctly and fires at the back tires of the wagon. BOOM!!

The road underneath the back of the wagon EXPLODES and the back of the wagon is KNOCKED UPWARDS and the wagon CRASHES to its side and SKIDS along the road.

The wagon slows and stops, the smoke clears and we SEE a giant hole along the back and bottom of the wagon.

Matrix dazedly exits from the wagon, Cindy SCREECHES up in the car, Matrix dives in the back and she RACES AWAY.

Daryl and Fred, dazed but unhurt are trying to get out of the wagon.

Cindy and Matrix are speeding off into the night.

Two heavily armed GUARDS patrol the perimeter wall of Arius' estate.

Arius and Bennett are in the living room surrounded by ten guerrillas. They are looking at a map of Val Verde.

INSERT - MAP 199-A

The border of the country has arrows drawn at different areas showing where the guerrillas will enter the country.

FAVORING ARIUS AND BENNETT 200

Bennett glances at his watch.

ROOM 201

Jenny moves to the door of her darkened room and tries the door handle.

Cont.

201 Cont.

It's tightly locked. She moves to a window and pulls at the boards over it. They don't move. She sits back down on the floor and begins to shiver.

Cindy and Matrix are in the car driving near the water in San Pedro.

Cindy is at the wheel, Matrix in the passenger seat. Cindy approaches a red light.

She drives through the light, takes a sharp left and begins driving on a street along the water. THEIR P.O.V. 204 A police car, light FLASHING, turns onto the street up ahead, and begins RACING directly toward them. MATRIX AND CINDY 205 Cindy glances at Matrix; he's watching the police car. The police car gets CLOSER and CLOSER to them as they continue to watch, then the police SPEED right past them, and FADE AWAY behind them. Cindy exhales her breath and glances at Matrix. He watches as the police disappear, then he turns and stares straight ahead.

CuT TO:

TIGHT ON an old, beat-up Grauman Goose seaplane, then we PULL BACK TO REVEAL Cindy and Matrix parked near it.

Cont.

A85

auwtires,

A&5

206 Cont.

They are at a deserted pier in San Pedro. Matrix looks at a lighted shack nearby.

A guerrilla GUARD is in the small shack reading an aircraft manual. His feet are on the edge of the desk and he casually pushes his chair to tilt backwards. Matrix silently enters the shack and looks around. The guard's back is to Matrix. GUARD AND MATRIX 208 The guard is TILTING his chair back and forth; Matrix is standing right behind him. The guard tilts his chair backward, Matrix circles his forearm around the man's neck and SLAMS him backward OUT OF FRAME to the floor. With his left hand, Matrix takes a ring of keys off of the wall.

Cindy, the inflatable raft at her feet, is waiting at the plane as Matrix, carrying two duffel bags of equipment, approaches her. She takes the key ring from him, ovens the door of the plane and Matrix begins to load the duffel bags inside.

Cindy sits in the pilot's seat and stares at the controls as Matrix gets in the passenger seat.

Cont.

A85

210 Cont. She plays with some controls and an engine starts to TURN OVER. She tries the other engine. It COUGHS and dies. She tries the engine again. It starts to turn over, then COUGHS and dies again. MATRIX

Come on, you piece of

shit! He SLAMS his hand onto the control panel.

The engine STARTS UP!

MATRIX

Works every time... Cindy REVS the engines and starts to move the Plane.

A second guerrilla GUARD is RACING his jeep toward the plane. He FIRES with a pistol.

BLAM! BLAM! Bullets BLAST holes into the side of the plane.

BLAM! BLAM! Bullets SMASH into the cockpit near Matrix and Cindy. Matrix lifts his submachine gun and FIRES it. BOOM BOOM BOOM BOOM BOOM BOOM!

The guard gets 4 bullets BLASTING into his chest, the jeep goes out of control and the jeep and guard go off the dock and CRASH into the water.

asi, :

Cindy is RACING the amphibian across the water. They get CLOSER...CLOSER...CLOSER to a group of boats moored in the water. Just before they CRASH into them, Cindy pulls the seaplane up.

The pontoons on the seaplane just clear the masts on the boats!

Matrix, looking shaken for the first time, glances over at Cindy.

Matrix swallows a little bit, then turns to look out the window. They're on their way!

Police cars with flashing lights surround the front of the Guns and Survival Equipment Store. Police officers look at the steamroller and the smashed front of the store.

General Kirby moves away from the police and approaches a NONCOM DRIVER waiting by a government sedan.

Kirby nods.

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Cinéy and Matrix are in the cockfit, the light fron the control panel softly spilling onts their faces. The enly SOUND is the DRONE of the engines.

CINDY

My father was an Air Force Pilot. That's why I became a stewardess. But after a while, I got tired of serving fooé and drinks. I wantec te fly the plane myself.

(pausing) 1 guess what I've really wanted all] alone wes to be just like him.

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SUDDENLY the raéaéic CRACKLES. RADIC VOICE Attention, unicgentified aircraft.

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Candy Gives the seaplane downward.

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The seaplane comes down out of the sky until it is fivine just barely above the water. CUT Te

In T. CONST GUARD CUTTER - NIGHT

The Intercept Officer and Operator are watching the blip or the radar screen. Al] of a sudden, it cisappears!

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Cindy continues to pilot the seaplane Just above the water. She reaches down to the back of her knec, feels it and grimaces.

Matrix leans over, moves her hand and looks at what caused her. t¢ grimace. A nasty looking cut is starting to bleed.

He reaches inte one of his duffel bags and pulis out bandages anc gauze.

her cut and puts the bandage dressino over

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She smiles.

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The searlane lowers anc slowly touches down, skimming the ocean surface, as the sun over the horizon.

Cindy holds the contrels FIRMLY as the the water, then she reduces the speed.

The seaplane coasts to a stor.

Tne DC-10 tc Val Verde is in flicht, the pass Sizeine Cessercably in their seece. STEWAPRDESS (cover speaker) ...we've begun our final descent to Val Verde ance we should touch down in about 20 minutes. The CAMERA CLOSES OX the two empty seats of Henriques, and it TILTS UPWARD tc show the bl wrapped around Henrigues' body has edced out luggage compartment ever further.

The Gréuman Goose is anchorecé abcut @ quarter of Arius' Island. Bobbing in the water, the seaplane, is the rubber raft.

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His eyes dart to a hole in the board over the window. He rushes to it.

Jenny, scarec, is standinae on @ second fioor ledge on the outside of the building riche next to the hole in the window.

hole in the board ans

rroaches the kid-size hea out.

through to look

Jenny, in a karate move identica: to one she learnes from Matrix im the opening scenes, delivers a hare mRiCK richt at Bennett. WHAP! fer foot SMASEES into his face, BREAKING his nose. Jenny loses her grip on the lease, falis off anc lands HARD on the grounc below. ROO” Bennett stumbies backwarc clutching his face, ther he removes his hanc. Blooc is ali over his nose anc hand. im € fury, ke SMASEES his foct ante the Broken boerc, SHATTERING the rest of it anc knocking it out of the window. EXe. 2o2.a7e GEOLKDS + BAY Jenny, on the cround below the window, moves tc the sid as the boards come CRASHING DOWN near her. Then she SCRAMBLES tc a basement door anc DISAPPEARS inside. Sennett stumps to the ground below and chases her.

CUT Te:

Cindy, watching the fireballs and smoke in the distance, picks up her radio mike.

Coast Guard, this is whiskey, Mray, four, four, eight. Emergency pricrity message for General Frederick Kirby... COMMANDO!...2E say again: COMMANDO!... Code red at 38 degrees nine minutes north; 119 degrees 4 minutes west.

Cindy lowers the mike and hits the the throttle, moving the seaplane along the coast closer to the battle.

curT TO:

Three GUERRILLAS jump into a jeep to get to the action.

MATRIX

Matrix, lying hidden nearby, pulls a pin on a grenade and begins toe count.

JEEP

The Guerrillas start to pull away in the jeep as Matrix’s grenade suddenly lands in the back of the jeep. Boom! the jeep EXPLODES.

TRANSPORT TRUCK

Twelve Guerrillas climb into the back cof a transport truck and the truck guickly gets underway.

MATRIX AND TRUCK

Matrix runs in front of a pair of large gates that lead to the estate.

(PRODUCTION NOTE: These gates are at 5506 Palos Verde Drive). Matrix quickly studies the gates.

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AYrsuUs rases above his hedge end arves &@ short ELST of his submachine cur at the hedce he saw Matrix behanc.

MATERIA

Metrix watches the bullets BLAST throuch the hedce near him. He crawls tc the side, then rises up anc FIRES the autcmatic handgun at the hecce where he saw Arius. BOOM BOOM BOOM BOOM!

ARIUS

Arius watches the bullets BLAST throuch the hedge near him. He starts crawling to the side and then Crawls, following the hedge, toward Metrix. He and Matrix are like cat and mouse.

MATRIX

Matrix is crawlinc, fclilowing a hedce, toward Arius. He comes up te the desea Guerrilla with the flame thrower, that Matrix killed in the Rese Garden earlier, then Matrix créwls around hit.

ARIUS

Arius peers over the tcp ct @ hedce.

Ee sees what looks like movement in é& hedge.

ARIUS

Arius rises, FIRES his submachine gun at the

movement, then quickly lowers himself te the Grouse ars some mumbling

Arius caéuticusly rises, gun pointed at the hedce he shot at.

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With the automatic handgun in his hand, Matrix enters the estate.

GARDEN ROOM 342

He moves silently through the garden room, looking at the dead bodies lying around the courtyard and front hall.

He enters the kitchen, then STOPS COLD. He looks at what's facing him.

Bennett, holding Jenny, has the switchblade PRESSED AGAINST her throat.

Matrix points his handgun right at Bennett.

Bennett pulls Jenny close against his chest and face, shielding himself.

Matrix hesitates, then lowers his gun. Jenny STRUGGLES in Bennett's grip.

Matrix doesn’t move. Bennett grabs Jenny's hair and pulls her head back, exposing her throat even more. He PRESSES the tip of the sharp stiletto against her Adam's apple.

Matrix hesitates a short beat, then he moves back toward the dining room.

A85

DINING ROOM 345

Matrix comes back into the dining room, leans against a wall, then puts his hand down to his wound. The red spotch is larger and wetter than before.

Bennett, with Jenny draped over his neck and shoulders like a towel, RACES out of the front of the estate toward a jeep parked in the front parking area. (NOTE: The rear parking area could also be used.)

Matrix hears SOUNDS of a jeep starting outside and he RACES into the front hall.

Matrix RACES outside into the front parking area and sees Bennett driving Jenny away in the jeep.

Matrix RACES into the parking area after them.

(PRODUCTION NOTE: The secens from here on are to be shot in Palos Verdes.)

Matrix RACES through the gates he blew up earlier, passes the shell of the blown up transport truck, leaves the road and RUNS over grassy knolls and sand dunes.

JEEP | 350

Up ahead in the distance, Bennett RACES the jeep toward the dock.

CLOSE ON MATRIX 351

Matrix's wound is bleeding badly and he begins to STRUGGLE to RUN for the first time.

MATRIX'S P.O.V. Bho

Bennett, now dragging Jenny along, has left the jeep and is running along the dock. They stop at Arius' war boat, Bennett cuts the moorings with his knife, then he

FORCES Jenny into the boat.

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AB5

DOCK 353

Matrix nears the dock as Bennett tries to start the engines.

The engines start to kick over, then stop.

Matrix RACES onto the foot of the dock.

Bennett desperately tries the engines again. They start! Matrix RACES toward the end of the dock.

WAR BOAT . 354

Bennett edges the war boat away from the dock, then BLASTS the engines and RACES the boat away...

WIDER FAVORING MATRIX ; 358 Suddenly, he hears a NOISE and he looks to the side. SEAPLANE 359 Cindy is RACING her seaplane toward the dock!

DOCK 360

Cindy slows the seaplane as she passes the dock and Matrix grabs onto a ladder.

SEAPLANE 361

with Matrix hanging onto the ladder, Cindy BLASTS the throttle and RACES after Bennett's boat.

MATRIX 362

As the seaplane starts to GO FASTER, Matrix holds onto the ladder and looks at Bennett's boat up ahead.

A&5

MATRIX'S P.O.V. 363

Bennett's boat is about FORTY YARDS ahead of the seaplane.

Cindy PUSHES the throttle FASTER. She watches as the seaplane starts to slowly overtake the boat.

The seaplane is SKIMMING and SKIPPING over the water.

MATRIX 366

The wind and spray SLAP against Matrix as he watches the seaplane closing the gap on the boat.

He climbs from the ladder onto the wing of the plane, the provellers only about five feet away from him.

He CRAWLS along the wing of the plane, the wind WHIPPING at him.

Cindy glances out toward Matrix on the wing, then she GRIPS the controls FIRMLY to try to lessen the plane's bouncing.

The seaplane closes to about FIFTEEN YARDS from the boat.

Bennett looks behind him and sees the seaplane COMING AFTER HIM.

Trying to steer with one hand, Bennett turns toward the seaplane as the boat bounces and FIRES WILDLY at Matrix on the wing. BLAM! BLAM!

The bullets WHISTLE by Matrix. He continues crawling

along the wing until he reaches the very end. He pulls his gun from his holster and aims it toward the boat.

MATRIX'S P.O.V. 371

Matrix tries to aim the gun through the sight, but the bouncing of the seaplane, the bouncing of the boat, and Jenny's nearness to Bennett makes a shot too risky.

A85

MATRIX

Matrix lowers his gun.

Cindy PUSHES the throttle even FASTER.

The seaplane starts to PULL EVEN with Bennett's boat.

Bennett looks to the side and sees Cindy in the cockpit almost even with him. Starting to panic, he FIRES WILDLY as he tries to steer the bouncing boat. BLAM! BLAM! BLAM!

A buttet BLASTS into the seaplane body and a second bullet BLASTS into just underneath the cockpit side window.

The third bullet SHATTERS the cockpit window and EXPLODES into the cockpit near Cindy's head.

Cindy doesn't flinch a bit, and edges the seaplane ahead of the boat.

Cindy has positioned the seaplane so that the wing Matrix is on is directly over the boat. Bennett sees the underside of the wing above and FIRES into the bottom of it, hoping to hit Matrix. BLAM! BLAM!

Bullet holes RIP through the wing inches from Matrix's head.

Matrix DIVES off the wing right into the boat directly on top of Bennett!!

They CRASH into Jenny and HIT the floor of the boat.

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380 Cont. Matrix grabs Bennett's gun hand and they wrestle for the gun. BLAM! A shot BLASTS into the fuel tank at the stern of the boat. WHOOM! There's a small EXPLOSION and the rear of the boat erupts in FLAMES. Jenny DIVES toward the front of the boat for cover. The steering wheel, unattended, shifts WILDLY back and forth.

The boat is bouncing CRAZILY toward a deserted rocky beach. INSERT - SIGN 382 A large sign on the beach reads "DANGER - U.S. COAST GUARD GUNNERY RANGE."

Cindy, in the seaplane, watches as both the seaplane and burning boat SPEED RIGHT TOWARD the increasingly LOOMING beach up ahead. At the last minute, Cindy SWERVES the seaplane to the right, away from the beach.

The burning boat continues to RACE DIRECTLY AT THE RAPIDLY APPROACHING ROCKY BEACH!

Matrix SAVAGELY TWISTS Bennett's wrist hand that holds the gun.

He drops the gun on the floor of the boat. The boat is JUST ABOUT TO HIT THE BEACH!

Matrix SMASHES Bennett's face with his fist, KNOCKING him down onto the floor near Jenny.

Cont,

nitty

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384 Cont.

The BURNING BOAT narrowly misses the rocks and SLAMS INTO THE BEACH! Bennett and Jenny are THROWN across the floor and SLAM into the inside wall of the boat.

Matrix, standing, is THROWN OUT of the boat, FLIES through the air and SLAMS into a spongy patch of sand.

A CAPTAIN on the bridge of a Coast Guard patrol ship looks toward the ship's large guns.

The guns begin to fire their salvos.

Matrix groggily gathers himself on the sand. He hears the SOUNDS of incoming rounds and BOOM! BOOM! BOOM! BOOM! Artillery shells EXPLODE on the beach.

Bennett grabs Jenny and hustles her out of the boat, hiding behind the front outside hull of the boat.

Matrix runs to the opposite side of the boat, and crouches down on the sand, then draws his automatic handgun from its holster.

BOOM! BOOM! Some more artillery shells EXPLODE, kicking up sand not too far away.

Bennett, his knife against Jenny, is on one side of the boat. Matrix, holding his gun, is on the other side of the boat.

Cont.

A8g5

389 Cont. MATRIX (shouting)

This doesn't involve her,

Bennett. It's just between

you...and me. An artillery shell EXPLODES near Bennett and Jenny. CLOSEUP - BENNETT 390

A CLOSEUP of Bennett shows him REACTING disorientedly to the SOUND, SMOKE AND FLASH of the explosion.

QUICK FLASHBACK 391

Bennett and Matrix have their faces pressed to the dirt as a mortar shell EXPLODES near their heads. Bennett gets up, wildly looks around, then maniacally FIRES his submachine gun, KILLING three young children running scared across a Val Verde field.

Matrix rises and SMASHES his rifle butt into Bennett's face.

Bennett's crazed mind returns to the present.

The stern of the boat continues to burn as Bennett considers what Matrix said.

Bennett's eyes fill with hate. More shells EXPLODE nearby.

Cont.

392 Cont.

Matrix tosses the gun away down the beach. Bennett violently pushes Jenny into the wet sand along the edge of the water. MATRIX 393 Matrix takes his knife out of his wrist sheath and meets Bennett on the sand in front of the boat. MATRIX AND BENNETT 394 Matrix and Bennett begin to circle each other.

BENNETT

You're dead...

He feints the knife toward Matrix.

BENNETT

«.eand so is she. JENNY 395 Jenny watches the fight in horror. MATRIX AND BENNETT 396 Bennett jabs with his knife and SLASHES Matrix, causing a bloody cut. Bennett jabs again. This time Matrix parries the jab, and SLASHES Bennett, causing a bloody cut on him. They circle each other again, FEINTING jabs at each other. BOOM! BOOM! Two more shells EXPLODE and kick up sand nearby.

A lieutenant pilots a copter as General Kirby, sitting next to him, speaks into a radio mike. They are flying along the coast of the island, another Army helicopter behind them. They HEAR the SOUNDS of the explosions.

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Bennets STABS at Matrix and Matrix grabs his wrist. With his free hand, Matrix STABS at Bennett and Bennett grabs Matrix's wrist.

They are locked hand in hand, staring death into each other's eyes.

JENNY 399

Jenny, watching the fight, notices Matrix's gun on the beach near her and hesitates to pick it up.

MATRIX AND BENNETT 400

Suddenly Matrix falls backward to the ground, pulling Bennett with him and FLIPS Bennett over him HARD to the sand.

Matrix jumps up quickly to finish Bennett. Bennett quickly THROWS SAND in Matrix's eyes.

Matrix, blinded, stumbles badly.

Bennett immediately grabs Matrix's knife hand around the wrist, then SINKS his own knife into Matrix's side.

Matrix's eyes go glassy, then he drops his knife. Bennett lets Matrix's wrist go, looks at Matrix's glassy eyes for a beat, then he pulls his knife out of Matrix's side.

Matrix STAGGERS for a beat, then STUMBLES a few steps and drops to one knee against the front outside hull of

the boat.

Bennett slowly approaches Matrix from behind, casually feeling the blade of his knife.

He looks at Matrix's wide, unprotected back and Bennett smiles.

Bennett pulls the knife back with his arm, preparing to plunge it into Matrix's back.

CLOSE ON MATRIX 401

Out of Bennett's sight, Matrix slips the knife out of his boot and GRIPS the knife.

ry

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MATRIX AND BENNETT 402

He PLUNGES the knife down toward Matrix's back.

Matrix moves LIKE LIGHTNING to the side. The knife misses him and GETS STUCK in the hull of the boat.

Matrix turns toward Bennett.

Bennett tries desperately to get his knife unstuck from the boat hull, but he can't. Fear FLOODS his eyes.

Matrix moves close to Bennett.

He DRIVES his knife into Bennett's throat so hard the knife goes through Bennett's neck and comes out the other side.

Still holding the knife, Matrix then DRIVES the knife into the hull of the boat.

The knife STICKS into the hull, holding Bennett's neck there like a thumbtack holds a note on a bulletin board.

BOOM! Suddenly there is another, larger EXPLOSION in

the fiery back of the boat and the whole boat EXPLODES

into FLAMES, leaving Bennett lost in the fireball.

MATRIX AND JENNY 403

Matrix limps away from the flames, Jenny rushes into his arms and he holds her close. She's crying.

She shows him she was holding his gun. JENNY

I wanted to shoot...but I

couldn't, I just couldn't.

Matrix looks at her.

Cont.

svn.

Ag5

403 Cont.

He takes the gun from her and tosses it past the burning boat into the ocean.

MATRIX'S P.O.V. 404

He sees two Army helicopters approaching from the air and Cindy bringing her seaplane to the beach.

Matrix lies down, his head in Jenny's lap, and tries to still his bleeding.

The two copters land. Kirby gets out of one and two medical corpsmen with a stretcher get out of the other.

The corpsmen bring the stretcher to Matrix and gently ease him onto it. They start to carry him as Jenny walks alongside.

Matrix notices as Cindy joins Jenny standing next to him. Matrix looks at the two of them, then up at Kirby.

The corpsmen carry Matrix into the copter and Jenny joins him inside. Kirby and Cindy watch him from outside the chopper. KIRBY What about your identities...

Don't you need two more?

Cont.

©

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405 Cont. KIRBY (confused) Why not? Matrix looks at Cindy. MATRIX

Two might not be enough...

The chopper wings have started and the chopper is preparing to liftoff.

Matrix and Cindy are looking at each other. The chopper starts to liftoff.

Cindy suddenly RUNS to the chopper and JUMPS in the door as it lifts off.

Matrix puts his arm around her, then he looks back toward Kirby.

Matrix holds up three fingers and smiles.

Kirby waves good-bye as the chopper rises high above the beach and flies out over the ocean.