コマンドー(1985年)

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“COMMANDO”
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.

FADE IN

EXT. SUBURBAN CUL-DE-SAC – DAY 1

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.

INT. BEDROOM – CLOSE ON THE BED – DAY 2

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

LAWSON
What’s that?

WIFE

(BARELY AWAKE)
Unnn…sounds like…

(STIFLING YAWN)
.the garbage men.

LAWSON
On Tuesday?

WIFE

(YAWNING)
Maybe they changed the
schedule…
Lawson listens to the noise as it APPROACHES, finally
throws his feet into his bedroom slippers.

LAWSON
Shit.

INT. LAWSON’S HOUSE – PANTRY 3

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

A85

2

EXT. LAWSON’S HOUSE – DAY 4

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.

LAWSON

(SHOUTING)
Wait a minute, wait a minute!

END OF DRIVEWAY – DAY 5
The truck stops at the bottom of the driveway. Lawson
stumbles his way towards it, smiles.

LAWSON
I was afraid you’d miss me —

REVERSE ANGLE 6
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.

COOKE
Don’t worry-we won’t.
And they cut Lawson down, the bullets raking across his
body and the cans.

LONG SHOT 7
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.

CUT TO:

INT. AUTOMOBILE DEALERSHIP – DAY 8

FORRESTAL grins INTO THE CAMERA.

FORRESTAL
You ain’t seen nothin’ yet.
Cont.

A85

3
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.

CUT TO:

A85

4

10

EXT. FISHING BOAT – NIGHT

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

11

DOCK – CLOSE ON BENNETT
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.

BENNETT
That’s all for me, Les.
Les nods. Bennett steps off the boat, crosses over
another boat and steps onto his boat.

12

BENNETT’S BOAT
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.

13

FULL SHOT
The boat moves away from us, then WHOOM, the boat
EXPLODES into a fireball, sending debris high into
the air.

EXT. DOCK AREA – NIGHT 14

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.”

SMASH CUT TO:

15

EXT. MOUNTAINS – DAY

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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5

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.

INTERCUT:

MATRIX AND APPROACHING PERSON 18
Matrix doesn’t turn or otherwise seem to see the other
person…but he reacts to little things:

EXT. HOUSE – SERIES OF SHOTS AND SOUNDS – DAY 19-

23

A. A TWIG
cracks.

B. A SQUIRREL
scampers away, startled.

C. SOME PEBBLES
roll away.

D. A GATE
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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6
NEW ANGLE 24 s
Matrix sweeps up the intruder-his eleven-year-old
daughter, JENNY. She laughs as he tickles her.

JENNY
Dad… Dad… put me down.
She tickles him back on his neck and ribs…he laughs,
puts her down.

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

MUSIC CONTINUES.

EXT. ROADSIDE ICE CREAM STAND – DAY 25

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.

EXT. CABIN STREAM AREA – DAY 26

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.

DISSOLVE TO:

MATRIX 26-A
shows Jenny karate moves. She tries a move on him
and he pretends she’s knocked him over.

DISSOLVE TO:

MATRIX 26-B
gives Jenny a piggyback ride over the bridge that
crosses the stream, as they head back to the cabin.

CUT TO:

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7

INT. CABIN – DAY 27

Matrix goes to open the refrigerator in his cabin a
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.

INT. HOUSE DINING ROOM – LATER – DAY 28

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.

MATRIX
When I was a boy and rock and
roll came to East Germany, the
communists said it was subversive…

(SLIGHT SMILE)
.They were right…

(BITES INTO

SANDWICH JENNY

BROUGHT HIM)
.What’s in this?

JENNY
You don’t want to know.
Suddenly Matrix gets an odd look on his face …he stands,
cocks his head.

JENNY
What’s wrong?
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

JENNY
You said you wouldn’t go away
again. You said you were through —

MATRIX
I’m not going anywhere.
Cont.

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8
30 Cont.

JENNY
Promise?

MATRIX
Promise.

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.

KIRBY

(CALLING OUT)
John, come on out. It’s Kirby.

MATRIX
(o.s.)
I know.
Startled, Kirby whirls to see Matrix standing behind him.

KIRBY
Silent and smooth…just like
always.
He smiles and he and Matrix come together and shake hands.

MATRIX
I better be. You taught me.
He affectionately squeezes Kirby’s shoulder.
Jenny comes out of the cabin toward the two men.

KIRBY
I need to talk to your dad, Jenny.

JENNY
No way, Jose.
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.

A85

REVISED – “COM.MANDO” – 4/22/85 9
32 Cont.

KIRBY
Someone’s killing your men.

MATRIX

(STARTLED)
You gave them new identities…

KIRBY
There must have been a leak.
Lawson, Forrestal… Bennett
have all been hit.

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.

MATRIX
We were going to make a normal X
life here…

KIRBY
You will…I promise. I’m going X
into the city to coordinate with
the Federal people. In the
meantime, Jackson and Harris will
stay with you.
Matrix looks the two soldiers over.

MATRIX
They any good?

KIRBY
Real good…

(PAUSING)
But not as good as you were.

OUT 33-

36

CUT TO:

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10

MATRIX – LATER 37
watches the chopper lift off and fly away. Jenny,
subdued, comes out of the cabin.

JENNY
Is it bad?

MATRIX
I’m not leaving you… if that’s
what you mean.

JENNY
Then it can’t be bad.
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.

MATRIX

(WHISPERING)
How bad you hit?

JACKSON

(WHISPERING)
I’ll make it.

MATRIX

(WHISPERING)
I’ve got to get my rifle from the
shed. Keep an eye out, they’ll be
coming. You’re downwind, the
air currents might tip them off.
Cont.

A85

11
37 Cont.

JACKSON

(WHISPERING)
Downwind??
(looks at Matrix
like he’s crazy)
You think I’ll smell them coming?

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

MATRIX

(WHISPERING)
Stay out of sight, I’ll be
right back.
Jenny goes into her bedroom and Matrix goes out the
backdoor.

EXT. CABIN – DAY 38

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.

CUT TO:

INT. CABIN – DAY 39

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.

CUT TO:

EXT. CABIN – DAY 41

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.

A85

12

INT. CABIN – DAY 42

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

QÏ¿½91
Matrix steps forward and points his rifle directly at
Diaz.

MATRIX
Where is she?
Diaz smiles and puts his feet up on a table.

DIAZ
Mellow out, man. We can’t talk
business with you waving guns
in people’s faces.
Matrix puts the rifle against Diaz’s forehead and COCKS
the trigger. The smile vanishes from Diaz’s face.

DIAZ
She’s safe, Major. Whether
she stays that way.is up to
you. My people got some
business with you…
Matrix hears a NOISE outside, glances out the window
and sees two vehicles RACING away from the house.

DIAZ
.and if you want your kid
back, you gotta cooperate.
Right?

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

ABRUPT CUT TO:

EXT. CABIN – DAY 43

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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13
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. 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.

INT. BLAZER 45

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.

INT. BLAZER 48

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.

A8 5

14

THE OTHER VEHICLE 51
o.s. of this mishap, rushing down the road.

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. 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!

MATRIX

(STUNNED)
I thought you were —
Bennett reaches up with a bulky pistol and points it at
Matrix.

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

CUT TO:

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15

55

INT. PORT TERMINAL TRANSPORT BUILDING – DAY

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

CUT TO:

56

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.

CUT TO:

57

INT. SMALL ROOM IN PORT TERMINAL TRANSPORT BUILDING –

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.

BENNETT
Tranquilizers.
General Arius approaches Matrix.

ARIUS
Remember me, Major?

MATRIX
I remember the people you
tortured and killed.

ARIUS
You don’t understand a country
like Val Verde, Major. It
needs a president with an iron
hand. It needs my hand again.

MATRIX
Why tell me?

ARIUS
Because you’re going to return
to Val Verde and kill the president
you helped to overthrow me.
Cont.

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16
57 Cont.

BENNETT
Why don’t you have Bennett
do it — he was there with me.

ARIUS
But President Velasquez trusts
you; after all, he made you a

(IRONIC SMILE)
‘Hero of the Revolution…’

(SMILE VANISHES)
While Captain Bennett, left,
shall we say, under a cloud…

MATRIX
(glances at Bennett)
He enjoyed the killing a
little too much.

BENNETT
You trained me, Major.

ARIUS

(TO MATRIX)
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.

MATRIX
And if I don’t?
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.

ARIUS
So pretty-There are many
things I’m going to teach her.
Cont.

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17
57 Cont.l
Matrix FIGHTS at the chains like a crazy man, but he
can’t move.
Arius fingers the shirt collar around her neck.

ARIUS
You kill Velasquez, Major, and
you’ll get her back. You try
anything else…

(PAUSING)
.and I’ll send her to you in
pieces.

CUT TO:

EXT. MATRIX’S CABIN – DAY 58

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.

KIRBY
Any sign of Matrix?

SOLDIER
No Sir, just those bodies…

(PAUSES)
.You think there’s more?

KIRBY
If he’s still alive, I’d
expect a lot more.

CUT TO:

EXT. LAX TERMINAL – DAY 59

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

INT. LIMO – DAY 60

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

BENNETT

(TO MATRIX)
Sully will make sure you get
on the plane and Henriques will
stay with you to make sure you
get off. If I don’t get a call
from either one of them, she’s dead.
Cont.

A85

18
60 Cont.
He motions and Henriques opens the car door and brings
Matrix out with him. Sully follows them.

EXT. LIMO – DAY 61

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.

INT. TERMINAL – DAY 62

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.

CUT TO:

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.

SULLY
Have some beers in Val Verde,
Matrix, it’ll give everyone more
time with your daughter.
Matrix looks down at the bill, then up at Sully.

MATRIX
You’re a nice guy, Sully,
I like you…

(PAUSING)
.That’s why I’ll kill you
last.
Cont.

A85

REVISED – “COMMANDO” – 4/24/85

29
63 Cont.
Henriques 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.

INT. PLANE – DAY 64

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

STEWARDESS
First class, seats seven A and B.
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.

MATRIX
Could I have a blanket and
pillow?

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

A85

20
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?

MATRIX
It’s no problem.
He smiles at her and she smiles back. He closes the
luggage compartment door and turns to the Stewardess.

MATRIX
How long is this flight?

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.

A85

21
66 Cont.

2ND STEWARDESS
Sir, during takeoff you must —

MATRIX

(COVERING MOUTH)
I’m airsick…
He pushes by her.

INT. DC-10 GALLEY – DAY 67

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 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.

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.

CUT TO:

70

EXT. THE PLANE – DAY

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

CUT TO:

INT. TERMINAL 71

Sully watches plane approach the runway.

CUT TO:

A85

22

INT. PILOT’S CABIN/CONTROL TOWER 72

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

CUT TO:

EXT. PLANE – DAY 73

The plane begins to roll down the runway.

CUT TO:

INT. CARGO BAY – DAY 74

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

DOG CAGE 75
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.

CUT TO:

EXT. PLANE – DAY 76

The plane starts to taxi down the runway.

CUT TO:

INT. PLANE – DAY 77

The luggage compartment holding Henriques’ body edges
open and a small corner of the blanket comes out.
The passengers sit unaware.

CUT TO:

INT. CARGO BAY – DAY 78

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.

A85

23

EXT. PLANE – DAY 79

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

INT. PLANE – DAY 80

Matrix drops through the hole toward the moving ground!

EXT. PLANE – DAY 81

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.

CUT TO:

INT. TERMINAL – DAY 82

(J4.
Sully is on the phone.

SULLY
It just took off.

OUT 83

CUT TO:

83-A

EXT. RUNWAY – DAY

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

84

INSERT – WATCH
10:52:52 left.

85

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

CUT TO:

86

EXT. WAR BOAT – DAY

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.

A85

REVISED – “COMMANDO” – 4/24/85

24

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
Your father has just left for Val Verde;
he should be back with you soon. Does
that make you happy?

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

ARIUS
Is there anything else that would
make you happy?

JENNY
Yes…

(PAUSING)
Watching my Dad kick your balls
down your throat.

CUT TO:

EXT. TERMINAL – DAY 88

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

CUT TO:

INT. LAX – DAY 89

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.

CINDY

(INTO PHONE)
Hi, Lance, it’s me!

(PAUSE)
Cindy. Very funny …yes, that
Cindy. They just cancelled my 7:40 X
to Vancouver…
Cont.

A85

REVISED – “CO1INANDO” – 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.

CUT TO:

INT. TERMINAL – DAY 90

• 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.

INT. AIRPORT GARAGE – DAY 91

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.

SULLY

(SMILING)
You know what I could give you?

€¢
Cont.

REVISED – “COMMANDO” – 4/29/85 26,

X
91 Cont..

CINDY
Yeah, herpes.
Sully’s smile disappears. He looks at her, takes
his sunglasses out of his coat pocket, nuts 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.

MATRIX

(WHISPERS)
Don’t move.
She looks down at the giant arm, unable to see Matrix
sqatting behind her.

CINDY
I’m not moving.

MATRIX
I’m not going to hurt you.

CINDY
That’s what they all say.

MATRIX
• Step to the side.

CINDY
I have to move to do that.
Matrix removes his arm from her waist.

MATRIX
Do it.
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.

I’LLTR IX
Get in.
Cindy automatically starts to get in the car.
Cont.

0

REVISED – “COMMANDO” – 4/29/85 27

X

91 CONTRL

MATRIX
You forgot your keys.

€¢
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.

MATRIX
Just do what I tell you and
I’ll let you go.

CINDY
I’ve got to give Karate, junitsu,
judo, and kung-fu lessons to my
students at seven-thirty.

MATRIX
You’re not gonna make it.
She starts the car.
Sully drives by them in his Porsche Targa.

MATRIX
Follow him.

CINDY
I knew you were going to say that.
She pops the clutch too fast, the tires SQUEAL and
Matrix is SLAMMED back against the car floor.

CUT TO:

EXT. AIRPORT GARAGE – DAY 92

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.

INT. SUNBEAM – DAY 93

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

CINDY
Don’t get offended by this question,
but…

(PAUSES)

€¢
Are you going to kill me or something?
Cont.

REVISED – “COMMANDO” – 4/29/85 28

X
93 Cont.

MATRIX
No.

CINDY
Good.

CUT TO:

INT. PORSCHE – DAY 94

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

INT. SUNBEAM – DAY 94-A

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.

EXT. SUNBEAM – DAY 94-C

The Sunbeam RUNS through the red light.

€¢

CUT TO:

EXT. FREEWAY – SULLY – DUSK 95

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

EXT. FREEWAY – MATRIX – DUSK 95-A

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

CUT TO:

INT. SUNBEAM – DUSK 96

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

CINDY
Can I ask you what this is all
about?

MATRIX
Somebody wants to kill my daughter

€¢
and me.
Cont.

REVISED – “COMMANDO” – 4/29’/85 28-A

X
96 Cont.

CINDY
I don’t know your daughter, but
• I’ve known you for only ten minutes
and I want to kill you, too.

EXT. GALLERIA – DUSK 97

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

INT. GALLERIA PARKING GARAGE – NIGHT 98

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.

MATRIX
Out.
1�1 Cont.

0

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.

CINDY
If you’re in a hurry, don’t
let me hold you up…
The elevator returns and they get in.

INT. GALLERIA – NIGHT 100

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 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.

MATRIX
(pleading, desperate)
Please help me, you’re my only X
chance! She’s got less than
ten hours left.
Cindy doesn’t know what to say. Matrix, still holding
her arm, SHAKES her in desperation.
Cont.

A85

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. X

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

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.

A85

30
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.

103

BAR
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.

CINDY
There’s a huge guy across the way
who either honestly needs my help
or he’s an escaped mental fruitcake.
Take a look…
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.

CATES
Biggs, you there?

104

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

A85

31
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:

105

WITH CATES

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?

CUT TO:

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.

32
109 Cont.

CATES
You’d better stay here, Miss.
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.

110

MATRIX
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.

111

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

112

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

113

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

SULLY
Jesus Christ…

114

TOP LEVEL
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.

CUT TO:

A85

33

115

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

CUT TO:

116

INT. GALLERIA – NIGHT

Matrix SCREAMS.

MATRIX

NO!!!
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 in a
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.

OFFICER
Freeze!!
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

34

SHOOTING UP 117
Thousands of bills come rushing out of the briefcase
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.

CINDY
Don’t! d!
Matrix JUMPS, hanging onto the banner.
Cindy KNOCKS the cop’s aim away. The gun FIRES,
missing Matrix.
Cont.

A8 5

35
120 Cont.

I
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.

INT. ELEVATOR – NIGHT 121

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

INT. GALLERIA PARKING GARAGE – NIGHT 122

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.

CUT TO:

EXT. GALLERIA – NIGHT 123

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.

CUT TO:

INT. GALLERIA PARKING GARAGE – NIGHT 124

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.

EXT. GALLERIA PARKING LOT – NIGHT 125

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.

CINDY

WAIT!!!
Cont.

A85

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.

EXT. SEPULVEDA – NIGHT 126

Matrix SPEEDS down Sepulveda chasing Sully.

INT. SUNBEAM – NIGHT 127

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.

CINDY

(ANGRY) X
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…

EXT. COLDWATER – NIGHT 128

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

INT. SUNBEAM – NIGHT 129

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.

A85

REVISED – “COMMANDO” – 4/23/85 36-A

EXT. MULHOLLAND – NIGHT 129-A

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.

INT. SUNBEAM – NIGHT 130

CINDY X
Will you tell me what the hell’s
going on?

MATRIX X
No…
Sully’s Corvette disappears around a curve, Matrix
cuts the corner TIGHTLY and SUDDENLY a large truck

COMES RIGHT AT THEM!

CINDY
Look out!!

A85

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?

MATRIX
I didn’t…

EXT. MULHOLLAND – NIGHT 131

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 X
inside face of the cliff.

INT. SUNBEAM – NIGHT 131-A X

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

MATRIX
You okay?

CINDY
I think I’m dead.

MATRIX’S P.O.V. 131-B X
Matrix sees Sully trying to get out of his car.

A85

REVISED – “COMMANDO” – 4/24/85 38

EXT. MULHOLLAND – NIGHT 131-C X

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
Where is she, Sully?

SULLY
Fuck you…
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.

CINDY
That’s my car, Matrix!!
Matrix continues to carry Sully upside down.

MATRIX
I can’t hear you, Sully.

SULLY

FUCK YOU!!

MATRIX
Loyalty is touching, Sully, but
it’s not important in your life
right now…

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. X

€¢ 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.

MATRIX
Gravity is very important in
your life right now.
Cont.

A8 5

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.

SULLY
Uhhhh…

MATRIX
I have to warn you, Sully…

(TAPPING IT)
This is my weak arm.

SULLY

(DEFIANT)
You can’t kill me, Matrix. You X
need me to find your daughter.

MATRIX
Where is she?
He SHAKES Sully, moving him like a fish on a line.

SULLY
I don’t know, but Cooke knows. I
could take you where I’m supposed
to meet him.

MATRIX
But you won’t.

SULLY
Why not?
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.

MATRIX
Because I already know where.
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, X
but Matrix pulls it out of his reach.

MATRIX
Remember when I promised to kill
you last, Sully?
Cont.

A85

REVISED – “COMMANDO” – 4/24/85 39-A
132 Cont.l
Hope flickers in Sully’s eyes.

SULLY
Yes, Matrix…

MATRIX
I lied.
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.

CINDY
Now you don’t have a car…
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.

MATRIX
Now I do…

INT. SULLY’S CAR – NIGHT 132-B X

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

CINDY
Wait a minute…
Matrix looks at her.

CINDY
What’d you do with Sully?

MATRIX
I…let him go.
He FLOORS the accelerator, LEAVES RUBBER and BLASTS
out of there.

CUT TO:

A85

REVISED – “COMMANDO” – 4/24/85 40

EXT. ARIUS’S ISLAND – NIGHT 133

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.

134

EXT. ESTATE – NIGHT

a large estate.
A guard patrols the perimeter wall of
He sees figures approaching and turns on a bright
searchlight, outlining Arius, Bennett and Jenny as
they approach the estate.

135

INT. ESTATE – NIGHT

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.

136

ROOM
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:

136-A X

EXT. SULLY’S CAR – NIGHT

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 41

INT. CAR – NIGHT 136-B X

MATRIX
I’m sorry I got you involved
in this.

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.

MATRIX
It’s about her.
Cindy looks at a photo tucked into a wallet, clear
plastic photo insert.

INSERT – PHOTO 136-C X
It’s a color photo of Jenny.

TWO SHOT 136-D X

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
Did you do the job?

MATRIX
No. I knew they’d kill
her even if I did it. The
only chance she has is if
I get to her before they
know what I’m doing.
Cindy looks at the photo.

CINDY
Is her mother —
Cont.

A85

REVISED – “COMMANDO” – 4/24/85 41-A
136-D Cont.

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.

CINDY
Why were you always travelling?

MATRIX
I was on special assignment.

CINDY
You mean like in the Army or
something?

MATRIX
Or something.

CINDY
What did you do?

MATRIX
Things you don’t want to
know about. Things I
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.

EXT. MOTEL PARKING LOT – NIGHT 137 X

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

INT. CAR – NIGHT 138 X

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 X
05:00 remains. It changes to 04:59:59 as we WATCH.

EXT. CAR – NIGHT 139-A X

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.

MATRIX
What’re you doing?

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

EXT. MOTEL ROOM – NIGHT 140 X

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.

INT. MOTEL ROOM – NIGHT 141

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
(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.

A85

42
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

(ALERT)
Where’s Sully?

CINDY
He’s in the shower.
Cooke listens a beat to the running shower.

R

COOKE
Who’re you?
Cindy looks him up and down, then slouches toward the
crack so her breasts push at her blouse. She smiles.

CINDY
Room service…
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.

COOKE
Open the door.
Cindy unlocks the chain and opens the door.

COOKE
Move out of the way.
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

43
141 Cont.I

I
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.

142

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. Cooke
picks it up before Matrix can reach it.
Cooke points the gun right at Matrix’s face, pulls back
the trigger, then smiles.

COOKE
Fuck you, asshole.
He pulls the trigger. CLICK. No more bullets in the
bun. The blood drains from Cooke’s face.
Matrix looks at him.

MATRIX
Fuck you, asshole…
He BLASTS Cooke in the jaw and Cooke goes backward
through the broken door and falls to the floor.

143

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.

A85

44
143 Cont.
Matrix bends down to the barely alive Cooke.

MATRIX
Where is she, Cooke?
Cooke looks blankly back at him.

MATRIX
Cooke… Cooke!!
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
Come on!

EXT. MOTEL PARKING LOT – NIGHT 144

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.

MATRIX

(URGENT)
Try the trunks.
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.

INT. CADILLAC – NIGHT 145

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

A85

45
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.”

EXT. CADILLAC – NIGHT 147

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.

CUT TO:

A85

46

148

INT. WAREHOUSE – NIGHT

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.

149

EXT. WAREHOUSE – NIGHT

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

INT. WAREHOUSE – NIGHT 150

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

151

MATRIX’S P.O.V.
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.

152

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

153

MATRIX’S P.O.V.
A soldier, Vega, is looking at some charts on a table.

154

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

155

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

156

CORRIDOR
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

47

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
I saw all the equipment,
but there’s no plane.

CINDY
What about your daughter?
Matrix shakes his head.

MATRIX
Arius and Bennett aren’t
here. She’s wherever
they are.
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

48

160

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.

161

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.

162

CINDY
Cindy is studying the photos of the aircraft.

163

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.

164

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.

165

MATRIX
Matrix uses the compass to draw a second circle.

166

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.

167

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

MATRIX
Something’s going on out
there.
Cindy looks at the chart, then back at the photos of
the aircraft on the wall.
Cont.

A85

49
167 Cont.

CINDY
One of these plane’s an
amphibian. Maybe they’re
using it to fly there.
Matrix comes over and looks at the photo of the
amphibian.

CINDY
Let me see that invoice.
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
Type four fuel is amphibian
and two hundred fifty gallons
is what it would take to
fly that plane to the island
and back.

MATRIX
But it’s not here. I
saw everything they’ve
got.
Cindy glances at the invoice, then looks up at
Matrix.

CINDY
It was refueled at pump station
thirty-two, Pacific Pier.
That’s San Pedro.

MATRIX
How long’s it take to fly
out to the island?
Cont.

A85

50
169 Cont.

CINDY
About two hours.
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.

ROBERTO
Momento…
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.

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

CUT TO:

EXT. WAREHOUSE – NIGHT 173

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

CINDY
Are we going to the plane?

MATRIX
Not yet.
She looks bewilderedly at him.

CINDY
Where are we going?

MATRIX
Shopping.

CUT TO:

A85

51

EXT. CAR – NIGHT 174

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

INT. CAR – NIGHT 175

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

CUT TO:

EXT. GUNS AND SURVIVAL EQUIPMENT STORE – NIGHT 176

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.

CINDY
How do you get in?
Matrix JERKS the car into reverse and RACES the car
backwards around another building until the car is
o. s.

CUT TO:

INT. GUNS AND SURVIVAL EQUIPMENT STORE – NIGHT 177

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

52
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 feverisl-rly
moving his hands along the underside looking for
something.

MATRIX
Come on, come on…
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.

A85

53

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.

MATRIX
Get the car.
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.

COP

FREEZE!!
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!

CUT TO:

EXT.PADDY WAGON – NIGHT 182

The police paddy wagon drives through the night.

INT.PADDY WAGON – NIGHT 183

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.

MATRIX

(URGENT)
If you’ll call Kirby, he’ll
tell you!!

A8S

54

COPS 184
Daryl looks over at Fred and rolls his eyes. Fred,
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.

EXT. STREET – NIGHT 188

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.

INT. WAGON – NIGHT 189

Daryl glances over at Fred.

DARYL
Hooker, not bad…
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.

EXT. STREET – MEDIUM SHOT OF CINDY – NIGHT 190

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

INT. WAGON – NIGHT 191

Daryl looks over at Fred.

DARYL
I think she wants to give us
something.
Daryl looks back toward the rearview mirror.

A85

55

EXT. STREET – NIGHT 192

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.

CINDY
Uh-oh…

INT. WAGON – NIGHT 193

Daryl is staring incredulously into the rearview mirror.

MATRIX 194
Matrix, listening to the continuing explosion, reacts.

EXT. STREET – NIGHT 195

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.

INT. WAGON – NIGHT 196

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

INT. CAR – NIGHT 197

Cindy and Matrix are speeding off into the night.

MATRIX
Where’d you learn to do that?

CINDY
High’ School.

CUT TO:

A65

56

EXT. ARIUS’ ESTATE – NIGHT 198

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

INT. ARIUS’ ESTATE – NIGHT 199

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

ARIUS
How soon does Matrix arrive
in Val Verde?
Bennett glances at his watch.

BENNETT
Just over two hours.

ARIUS
Let me know as soon as he
lands.

(PAUSING)
You think he’s going to
give us any problems?

BENNETT
He’ll do anything we tell
him as long as he thinks
he’ll get his daughter back.

ARIUS
‘I wonder if he knows
he’s never going to get
her back.
Arius and Bennett look at each other.

ROOM 201
Jenny moves to the door of her darkened room and tries
the door handle.
Cont.

A85

57
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.

CUT TO:

202

EXT. CAR – NIGHT

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

203

INT. CAR – NIGHT

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

MATRIX
Don’t stop.
She drives through the light, takes a sharp left and
begins driving on a street along the water.

204

THEIR P.O.V.
A police car, light FLASHING, turns onto the street up
ahead, and begins RACING directly toward them.

205

MATRIX AND CINDY
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:

EXT. PIER – NIGHT 206

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

A85

58
206 Cont.
They are at a deserted pier in San Pedro. Matrix looks
at a lighted shack nearby.

L’

CUT TO:

INT. SHACK – NIGHT 207

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.

CUT TO:

EXT. GRAUMAN GOOSE – NIGHT 209

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, opens the door of the plane and Matrix
begins to load the duffel bags inside.

INT. GRAUMAN GOOSE – NIGHT 210

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

MATRIX
What’s wrong?

CINDY
This isn’t a plane… it’s a
canoe with wings.

MATRIX
Start paddling.
Cant.

A85

59
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.

EXT. PLANE – NIGHT 211

The engine STARTS UP!

INT COCKPIT – NIGHT 212

MATRIX
Works every time…
Cindy REVS the engines and starts to move the
plane.

EXT. DOCK AREA – NIGHT 213

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

EXT. PLANE – NIGHT 214

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

INT. COCKPIT – NIGHT – 215

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!

EXT. DOCK AREA – NIGHT 216

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.

A8 5

60

INT. COCKPIT – PLANE 217

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.

EXT. PLANE – NIGHT 218

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

INT. COCKPIT – NIGHT 218-A

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

MATRIX
You know what you’re doing?

CINDY
Sort of…
Matrix swallows a little, bit, then turns to look out
the window. They’re on their way!

CUT TO:

EXT. GUNS AND SURVIVAL EQUIPMENT STORE – NIGHT 219

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.

DRIVER
Matrix?
Kirby nods.

KIRBY
Call the Federal Building. Have
them monitor every police, aviation
and marine channel in the area.

DRIVER
What are you expecting?

KIRBY
World War III.

CUT TO:

A85

T I

INT. GPI,: “,AN GOOSE – NIGHT I:.

Cindy and Matrix are in the cockpit, the light frog, the
control panel softly spilling onto their faces. The
SOUND is the DRONE of the engines.

MATRIX
Why’d you decide to get a
pilot’s license?

CINDY
My father was an Air Force
pilot. That’s why I becarle a
stewardess. But after a
while, I got tired of serving
food’ and drinks. I wanted
to fly the plane myself.

(PAUSING)
I guess what I’ve really
wanted all along was to be
just like h:r:.
She looks at Ma- !x.
SUDDENLY the rad,c CRACKLE’–.

RADIO VOICE
Attention, unidentified aircraft.
CUT Tr-,:
INT. COAST GUAFo-l CUTTER – NIGHT 222
A RADAR INTERCEPT OFFICER (with headset and lip mke)
is looking over the shoulder of a radar OPERATOR at a
radar scanner.

INTERCEPT OFFICER
This is the Coast Guard Cutter
‘ Mcrgenthal . ‘ You are f lyinc_ over
the San Miguel Naval Gunnery Range.
This is a restricted area.

CUT TO:

CINDY
They shoot the shit out of
this area all the time. The
flights out of LAX avoid it
like the plague.

MATRIX
Can you get under the radar?

CINDY
Not marine radar, but if we
get close enough to the water,
the high seas effect might
camouflage us.

MATRIX
Try it…
Cindy dives the seaplane downward.

Cindy continues to pilot the seaplane just above the
water. She reaches down to the back of her knee, feels
it and grimaces.
Matrix leans over, moves her hand and looks at what
caused her to crimace. A nasty looking cut is starting
to bleed.

T’:ATRIX
When’d you get that?
He reaches into one of his duffel bags and pulls out
bandages and gauze.

CINDY
The car crash.
Matrix Wipes her cut and puts the banda:7e dressinc over

MATRIX
That reminds me of what I’m
buying you as soon as we get
back.

CINDY
What?
She expertly wraps the gauze around her leg and ties it.

MATRIX
A new car.

CINDY
With a cassette deck?

MATRIX
With a cassette deck…
She smiles.

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

CINDY

(URGENT)
Coast Guard, this is whiskey,
Xray, four, four, eight. Emergency
priority message for
General Frederick Kirby…
COMMANDO!-! 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 bathe

CUT TO

EXT. GRASSY PLATEAU – DAY 288

Three GUERRILLAS jump into a jeep to get to the

ACTION

MATRIX 289
Matrix, lying hidden nearby, pulls a pin on a
grenade and begins to count

JEEP 290
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 291
Twelve Guerrillas climb into the back of a
transport truck and the truck € uic .ly gets underway.

MATRIX AND TRUCK 292
matrix runs in front of a pair of large gates that
lead to the estate.
QWDUCTION NOTE: These gates are at
5500 Palos Verde Drive), Matrix quickly studies
the gates.
Cont..

E

EXT. ESTATE — DAY ?-S

In the rear _rkina area near the k?tc^>en, N;-m-: ix
goes u; sone y ouutsice s„ec then climbs onto the
-c..

The Rose Garden is a long re 4a_ncle with runerou,:s
self-containe , multi-eha_ e_ th_c}c hEdoes i-. the
dIe o’f the garden.
Arius is behind a hedge at one end or the garden and
Matrix is behind a hedge abo,: t sixty _ f eet away at
the other end of the garden. There is al sc a
labyrinth of hedges between, the two men.

MATF:IX 3 9
Matrix watches the bullets BLAST thro•.:ch the heCce
near him. He crawls to the side, the. rises up an::
FIRES the automatic handgun at the he,:ce where he
saw Arius. BOOM BOOM BOOM BOOM!

ARIL’S 330
Arius watches the bullets BLAST throuc the hedge
near him. He starts crawling to the size and then
crawls, following the hedge, towar6 Matrix. He and
Matrix are like cat and mouse.

MATRIX 331
Matrix is crawling, following a hedge, toward Arius.
He cares up to the dear: Guerrilla with the flame
thr; wer, that Matrix k.:iled in the Rose Garden
earlier, then Matrix crawls around him.

Arius peers over the to of a hedge.

ARILS’ F.O.V. 3-,
he sees what looks l iue movement in a hedge.
AR I is S
Arms rises, FIRES his submachine gun at the
movement, then quickly lowers himself to the g. rc
He hears somerr: m lines.

M A TRIX
Chhhh…
They are dying sounds.
Arius cautiously rises, gun pointed at the hedge
he shot at.

The hits Arius and he SCREAMS . He runs
A LAVE some light bushes, umps to the pat_c
below, then falls down about eight feet away from a
fountain and pool Of water.
He crawls slowly toward the water, stretches his
hand out, then. BURNS to death, his outstretched hand
only six inches away from the fountain.

85

INT. ESTATE – DAY 341

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.

BENNETT

(MANIACAL)

GO AHEAD, MATRIX, SHOOT!!
Matrix hesitates, then lowers his gun. Jenny STRUGGLES
in Bennett’s grip.

JENNY

(SCREAMS)

DAD!!

BENNETT
(crazed, to Matrix)

GET OUT OF HERE!!
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.

BENNETT

(TO MATRIX)

GET OUT OR I’LL CUT HER FUCKING

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

A65

86

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.

EXT. ESTATE FRONT PARKING AREA – DAY 346

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.)

INT. DINING ROOM – DAY 347

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

EXT. ESTATE FRONT PARKING AREA – DAY 348

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.)

EXT. GRASSY PLATEAU – DAY 349

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. 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

87

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.

A85

88

MATRIX’S P.O.V. 363
Bennett’s boat is about FORTY YARDS ahead of the
seaplane.

INT. SEAPLANE – DAY 364

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

EXT. SEAPLANE – DAY 365

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.

INT. SEAPLANE – DAY 367

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

EXT. OCEAN – DAY 368

The seaplane closes to about FIFTEEN YARDS from the boat.

EXT. BENNETT’S BOAT – DAY 369

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. SLAM? BLAM!

EXT.’SEAPLANE – DAY 370

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

89

MATRIX 372
Matrix lowers his gun.

INT. SEAPLANE – DAY 373

Cindy PUSHES the throttle even FASTER.

EXT. OCEAN – DAY 374

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

EXT. BENNETT’S BOAT – DAY 375

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’.

EXT. SEAPLANE — DAY 376

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

INT. SEAPLANE – DAY 377

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.

EXT. BOAT — DAY 378

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. SLAM! SLAM!

EXT. WING – DAY 379

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

EXT. BOAT – DAY 380

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

90
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.

EXT. OCEAN – DAY 381

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.”

EXT. OCEAN – DAY 383

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.

EXT. BOAT – DAY 384

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

AAAHHH ! 1
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

91
,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.

EXT. BEACH – DAY 385

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

CUT TO:

EXT. U.S. COAST GUARD PATROL SHIP – DAY 386

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

CAPTAIN
Commence target practice…
The guns begin to fire their salvos.

CUT TO:

EXT. BEACH – DAY 387

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.

EXT. BOAT – DAY 388

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

EXT. BEACH – DAY 389

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.

A85

92
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.

ABRUPT CUT TO:

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.

CUT BACK TO:

EXT. BEACH – DAY 392

Bennett’s crazed mind returns to the present.

MATRIX
Let her go, Bennett and I’ll
give you a chance to twist
that knife into me.
The stern of the boat continues to burn as Bennett
considers what Matrix said.

MATRIX
Just what I thought, Bennett,
you’re still a yellow
chicken-shit.
Bennett’s eyes fill with hate. More shells EXPLODE
nearby.

BENNETT

(SCREAMS)
Throw the gun away, Matrix!!
Cont.

A8 5

93
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
.and 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.

CUT TO:

INT. KIRBY’S COPTER – DAY (TRAVELING) 397

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.

KIRBY

(INTO MIKE)
Stop that shelling NOW!

A85

94

EXT. BEACH – DAY 398

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

AAAHHH!
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.

A85

95

MATRIX AND BENNETT 402

BENNETT
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.

MATRIX
(shaking his head)
No…
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.

MATRIX
Fuck YOU, asshole…
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.

A85

96
403 Cont.

MATRIX
You know something? I’m glad
you couldn’t.
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.

EXT. BEACH 405

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.

KIRBY
I just saw what’s left of Arius’
estate… You’re the best I’ve
ever known, John… I’ve saved a
place for you if you want to
join up with me again.
Matrix notices as Cindy joins Jenny standing next to
him. Matrix looks at the two of them, then up at
Kirby.

MATRIX
This was the last one…
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?

MATRIX
No…
Cont.

A85

97
405 Cont.

ICIRB Y

(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.

EXT. OCEAN – DAY 406

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

FADE OUT

THE END[amazonjs asin=”B008MVQF76″ locale=”JP” title=”コマンドー(ディレクターズ・カット) DVD”]




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