"COMMANDO" (1985)

Ags TWENTIETH CENTURY FOX FILM CORPORATION

BLACK SCREEN. One word explodes towards us with cold brutality: COMMANDO. It FADES...leaves us in darkness. And we HEAR a growing ROAR...a frightening RUMBLE.

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.

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.

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.

Diaz gets into the car.

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.

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.

CUT TO;

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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.

BENNETT'S BOAT 12

Bennett starts his boat, revs the throttle, then pulls away from the other boats. The wind whips his hair as he cruises out into the night.

FULL SHOT 13

The boat moves away from us, then WHOOM, the boat 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 1?

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

INTERCOT:

MATRIX AND APPROACHING PERSON 1&8

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

A. A TWIG

cracks.

B. A SQUIRREL

scampers away, startled.

C. SOME PEBBLES

roll away.

D. <AGATE

responds with a faint creak while:

E. THE AXEHEAD

reflects a dull, indistinct figure approaching Matrix from behind.

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 dish. 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.

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CABIN - DAY 27

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

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 31

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 andJenny grudgingly goes back inside. Kirby and Matrix begin to walk as clouds billow high above the mountaintops around them.

Cont.

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REVISED - "COMMANDO" - 4/22/85 9

32 Cont.

if

KIRBY

‘S Someone's

killing your men.

Matrix looks toward the cabin. Jenny iswatching him | through a window. Matrix turns back to Kirby and they ~@ begin walking back to the cabin.

Matrix looks the two soldiers over.

ABS

MATRIX ~ LATER 37

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

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 QF 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.

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ll

37 Cont.

Matrix and Jenny move low to the floor toward her bedroom.

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 40

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.

ee,

ABS

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.

FRR, 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 thewheel, 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. Snaps 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.

ORR.

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THE OTHER VEHICLE 51

o.s. of this mishap, rushing down the road. Rage THE WRECKED BLAZER 52

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. “Heforces his way up again, the three men still all over hin.

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.

Bennett and GENERAL ERNESTO ARIUS {inguerrila fatigues) eile walk through a large warehouse filled with tanks, jeeps and soldiers carrying bazookas, machine guns, mortars, etc. It looks like a small army.

SPECIAL EFFECT 56

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. 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.

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57 Cont.

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.

Bn, things I'm going to teach her.

Cont.

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1?

57 Cont.1

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

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

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

Cont.

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.

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.

te

Cont.

ae

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REVISED —- "COMMANDO" - 4/24/85 19

63 Cont.

Henriques takes Matrix's arm and moves him toward the gate.

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 andMatrix 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’'sattention 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.

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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zl

66 Cont.

2ND STEWARDESS Sir, during takeoff you must --

He pushes by her.

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

BELOW DECK 67-A

the elevator stops in the service area of the big plane. Matrix gets out of the elevator and looks out a port. The place ismoving faster!

He turns and moves to adoor 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.

aiebstis CUT TO:

PASSENGER AREA 68

The passengers sit unaware of anything unusual.

LUGGAGE COMPARTMENT 69

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.

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

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 73 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. 2 ER

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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.

ouT 83

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

INSERT - WATCH 84

10:52:52 left.

MATRIX 85

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.

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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 andArius 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.

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

Xx 89,Cont.

Sully takes off his dark glasses, eats her up with his eyes and adjusts his tie.

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.

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.

Cont.

REVISED - "COMMANDO" - 4/29/85 bo

91 Cont.

Sully's smile disappears. He looks ather, 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 frombehind.

She looks down at the giant arm,unable to see Matrix sgqattingbehind 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

MATRIX

© You forgot your keys.

He puts her car keys in her hand.

She crawls across where the passenger seathad 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.

© MATRIX

Follow him.

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

CUT TQ:

Sully drives out of the airport garage and enters the flow of traffic. After abeat, 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.

Sully drives his Porsche atmedium 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

X 96 Cont.

EXT, GALLERIA - DUSK 97

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.

MATRIX AND CINDY 99

Matrix and Cindy are sitting in her car watching Sully. As soon as the elevator disappears, Matrix grabs Cindy's keys from the ignition and takes her arm.

Cont.

REVISED - "COMMANDO" — 4/23/85 29

99 Cont.

door, Matrix slides next to her_and they

i“ She opens her ® 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.

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 him, 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.

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REVISED = "COMMANDO" = 4/23/85 29~A

100 Cont.

eg.

DON'T YOU UNDERSTAND!! THEY'LL x KILL HER!! HELP ME!!

Cindy looks at Matrix, glances toward Sully, then looks back at Matrix.

Matrix lets her arm go and she rubs it gingerly. X

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.

OR, C

AB5

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 ata 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 removes the walkie-talkie from his belt and speaks into it.

SECOND LEVEL 104

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

Cont.

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104 Cont.

BIGGS

I'm talkin’ Maui wowie.

Tired of the BEEPING, he picks up his walkie~talkie.

WITH CATES 105

MATRIX 106 eRe 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.

BAR 109

Cates and Cindy are still out of Matrix'’sview.

Cont.

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

‘Matrixanxiously 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 lil

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.

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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.

A85

SHOOTING UP 117

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

LATIN 118

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 119

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

MATRIX AND SULLY 120

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.

Ags

120 Cont. a

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 a 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, isright 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.

A8s5

REVISED - "COMMANDO" — 4/23/85 36

125 Cont.

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.

CINDY x (angry) Who in the hell are you??

Matrix doesn't answer.

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

CINDY x I watch you rip a phone booth from the wall and swing from the ceiling like Tarzan...I stop the cops from killing you and then they start chasing me!!

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

wey (

A85

REVISED - "COMMANDO" - 4/23/85 36-A

Sully pulls onto Mulholland, then looks in the mirror. Matrix's headlights are getting closer. (280, 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!

A&85

REVISED - "COMMANDO" — 4/24/85 37

130 Cont.

Matrix swerves the Sunbeam at the last moment, just my 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.

MATRIX

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 X

Matrix sees Sully trying to get out of his car.

_—

AB5

REVISED —-“COMMANDO” - 4/24/85 38

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 isgetting 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.

VERY WIDE ANGLE 132

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

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.

‘i Cont.

A8s5

REVISED —-"COMMANDO" - 4/24/85 39

132 Cont.

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.

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.

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. .

CUT TO:-

A85

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.

A&5

REVISED - "COMMANDO" — 4/24/85 41

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 136-C

It's a color photo of Jenny.

TWO SHOT 136-D

Matrix nods.

Cindy looks at the photo.

Cont.

REVISED — "COMMANDO" - 4/24/85 41-A

136-D Cont.

He looks over at Cindy, then looks away.

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.

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.

A85

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

141 Cont.

Then Matrix quietly moves to her.

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.

A&85

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 _hisgun, 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.

A85

; 141 Cont.1

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 142

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. Cooke picks it up before Matrix can reach it.

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 ‘ 143

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.

A85

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 awallet 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. Itwon'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.

A&5

145 Cont.

°e 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

® For who -- the airlines?

Matrix closes the car door and pockets the invoice.

A&B5

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 152

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

MATRIX'S P.O.V. 153

A soldier, Vega, is looking at some charts on a table.

CORRIDOR 154

Matrix pushes open the door slightly to see into the rest of the room. As the door moves, it CREAKS on its hinge.

ROOM 155

Vega looks up from the charts and sees the door is open more then it was. He pauses, then starts walking toward the door.

CORRIDOR 156

Matrix starts to move away from the door, then stops. He hears FOOTSTEPS and CONVERSATION approaching the other end of the corridor. He's trapped!

A85

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.

@

ABS

COORDINATES 160

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 161

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 162

Cindy is studying the photos of the aircraft.

CHART 163

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 164

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 165

Matrix uses the compass to draw a second circle.

CHART 166

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 167

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.

INSERT - INVOICE 168

She sees, "250 gallons of Type 4 aircraft fuel."

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.

A&85

169 Cont.

Matrix looks at his watch.

~ WATCH 170

INSERT

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.

ROOM 172

He goes into the room!

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.

cUT TO:

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

She looks bewilderedly at him.

A85

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 Oo.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.

A85

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.

ASS

STORE 179

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 180

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

STORE 181

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 guickly 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.

A&5

COPS 184 oe Daryl looks over at Fred and rolls his eyes. Fred, a who's driving, smiles.

BACK OF WAGON 185

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

INSERT - WATCH 186

The watch reads 02:23:02 and counting.

MATRIX 187

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 Freda.

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.

A&85

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.

CuT TO:

Ag5

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 atdifferent areas showing where the guerrillas will enter the country.

FAVORING ARIUS AND BENNETT 200

Bennett glances at his watch.

Arius and Bennett look at each other.

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.

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

Cont.

A85

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. Pa

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.

A&g5

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.

He SLAMS his hand onto the control panel.

The engine STARTS UP!

Cindy REVS the engines and starts to move the plane.

DOCK AREA - NIGHT 213

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.

A85

Cindy is RACING the amphibian across the water. They get CLOSER...CLOSER...CLOSER to a group of boats Td| moored in the water. Just before they CRASH intothem, 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.

EMT. GRAVUMA. Goost o-NIGH? an

The Grauman Goose flies throuch the night.

Cinéy anc Matrix are in the cockpit, the light from the control panel softly spilling onts their faces. The enly SOUND is the DRONE of the engines.

She looks at Matrix.

SUDDENLY the raédic CRACKLES.

CUT TC:

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(c.s.} If you do net change course you will be forced to lané. Acknowledae.

Metrix Looks out of the window.

MATRIX'S P.O... 224

He sees a Coast Guard cutter cruising down below.

Twl SKCT 225

Cincy Gives the seaplane downward.

The searlane comes down out of the sky until it is fSivine just barely above the water.

CUT Te:

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

Cont.

a »onLay

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The two men icok at each other ainsuri:

poas +3

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

Matrix leans over, moves her hanceand looks at what caused her.tc grimace. A nasty locking cut is starting to bleed.

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

asm

Metrix wipes her cut and puts the bandage dressing oYor ++

He expertly wrarcs the gauze around her al|@'Q

She smiles.

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Cindy holds the contrels FIRMLY as the seaplane skims the water, then she recuces the speedc.

The seaplane coasts to a Stor.

CUT Te:

The DC-160tc Val Verde is in flich:, the passengers Sittine comficrtably in their seats.

The CAMERA CLOSES ON the two empty seats of Matrix anc Henriques, andit TILTS UPWARD tc show the blanket wrapped around Henrigues' body has ecced out of the luggage comrartment even further.

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Jenny, scarec, is standing on @ seconc fioor ledge on the outside of the building right next to the hole in tne wincow.

Bennett agprroeachesthe kid-size hole in the board ans sticks his neac throughtto loox out.

Jenny, in a karate move identica. to one she learnes from Matrix in the opening scenes, delivers a hard mick richt et Bennett. WHAP!?

fer foot SMASEES anto his face, BREAKING his nose.

Jenny loses her grip on the lecce, falis off enc hangs HARD cn the grounc below.

2Es

RON.

Bennett stumbies backwarc clutching his face, ther he removes his hanc. Biooe is ali over his nose anc hand.

ir.@ fury, he SMASHES his foot inte the broken bsardc, SHATTERING the rest of it anc knocking it out of the window.

Jenny, om the cround below the window, moves tc the side as the boards come CRASHING DOW. near her. Then she SCRAMBLES tc a basement door anc DISAPPEARS inside.

Sermnett stumpsto the grounc below and chases her.

CUT Te

:Jeyar

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

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

cur TO:

Three GUERRILLAS jump into a jeep ta get to the ction.

MATRIA 289

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

JEEP 290

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

TRANSPORT TRUCK 291

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

MATRIX AND TRUCK 292

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

(PRODUCTION NOTE: These gates are at 5500 Palos Verde Brive). Matrix quickly studies the gates.

Cont.

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AP.ve tal

ArLUs raisesabove hig hecge anc gives a short BLAST ef his submachine cur at the hedce he sew Matrax behind.

MATRIX fadiD

Matrix watches the bullets BLAST throuch the hedge near him. He crawls te the side, then rises up ane FIRES the automatic handgun at the hecce where he saw Arius. BOOM BOOM BOOM BOOM!

ARIUS

Arlus watches the bullezs RLAST throuch the hedge near him. He starts crawling te the side and then rawls, following the hedge, toward Metrix. He and Matrix are like cat and mouse.

MATRIX Madtadbe

;

Matrix is crawlinc, fcaa1fe)wingahedce,toward Arius.

& 7omGuerrillawith the flame

He comes up te the ces

”

thrower, that Matrix kZaiec in the Rese Garden

* « bo

earlier, then Matrix cYEwLs&Wwaroundhin.

te}ta)eo

lattaLat

Re sees what looks lixé movement in é&hedge.

ARIUS faltatade

Arius rises, FIRES his submachine gur at th movement, then quickly lowers himseif te the grcunc. He hears some mumblingcs.

M>.TRiIX oOineye

They @re cyinc souncs.

Arius cautiously 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.

DINING ROOM 343

He cautiously edges along the dining room.

KITCHEN 344

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.

Ag5

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.

CUT To:

(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 ONMATRIX 351

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

MATRIX'S P.O.V. 352

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.

A85

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...

DOCK 355

-.-just as Matrix reaches the end of the dock.

MATRIX'S P.O.V. 356

Matrix watches the boat RACE away with Jenny.

CLOSE ON MATRIX 357

Matrix has lost her. Bennett's got her...

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&b5

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 propellers 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.

A&5

MATRIX 372

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.

A85

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.

| BENNETT

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.

A85

~84 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 hoat.

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.

ort

A85

389 Cont.

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.

A85

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.

He feints the knife toward Matrix.

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.

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 PLIPS 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.

A&85

MATRIX AND BENNETT 402

BENNETT

Alta,

Fuck you, asshole...

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.

Matrix looks at her.

Cont.

A85

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.

Cont.

A&5

405 Cont.

Matrix looks at Cindy.

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.

A&5