X-FADE TO. INT-CONTROL ROOM: Sarah opens her door and begins to roam. She is wearing the jumpsuit plus a long, dark coat. Her travels take her to the ship's mess, the infermary and a small chapel. In the chapel is a small statue of a man in a long coat with well styled hair. Camera angles to see Turkish sitting in the back corner. Sarah does not see him when he speaks.

TURKISH

His name is Neo.

INT-CHAPEL: Sarah turns around, startled.

SARAH

Shit you scared me.

TURKISH

Sorry.

SARAH

So, what's the story with you. What is this I'm on, a ship, in space?

TURKISH

You are on a ship, but not in space.

SARAH

What kind of ship?

TURKISH

A, uh, hovercraft.

SARAH

Why the hesitation?

TURKISH

I wasn't too sure what to call it.

INT-CHAPEL: Sarah sits next to Turkish.

SARAH

Why's there a chapel on a ship like this?

TURKISH

Well, some people have come to deify the Ones. Neo was the last, so they made him into a kind of Messiah.

SARAH

Sounds like you're not one for belief.

TURKISH

Not really. I see things for and as they are. Neo could do what he did only because he was programmed with those abilities.

SARAH

Do you think I'm the next One?

TURKISH

If you are, I'm glad we found you first.

SARAH

What do you mean "first"? Who else was looking for me?

TURKISH

Ships from Zion.

SARAH

What's Zion?

TURKISH

Its a city. One of the few human cities, and for a long time, the only one.

SARAH

So, are you from there?

TURKISH

Shit no. See, Zion is quite content with living in peace. Knowing that 99% of the human race is still trapped in The Matrix. We are from a city wose sole purpose is to return the human race to power. Take down the machines and The Matrix once and for all.

SARAH

You don't seem to have a very high opinion of Zion.

TURKISH

No, not really. But they are still human, and our enemy is still the machine race whether they like it or not.

SARAH

So, where are you from?

TURKISH

Another city. Smaller than Zion, but its home.

SARAH

What's it called?

TURKISH

Atlantis.

SARAH

City of mystery. Have family there?

TURKISH

Got a Mom, Dad, Aunt and Sister.

SARAH

I have a Brother. Or do I?

TURKISH

What does that mean?

SARAH

If The Matrix isn't real, he isn't really related to me at all.

TURKISH

I wouldn't say that.

SARAH

Why not?

TURKISH

Well, in order to create a human, you need the seed from two others, your Mom and Dad. Biologically, your family is your family.

SARAH

Makes sense. What do you do here?

TURKISH

I'm your operator. I guide you through The Matrix as best I can. I upload training programs when necessary.

SARAH

What training programs?

TURKISH

I was acually coming to wake you up to get you started.

SARAH

Well then, what are we waiting for?

INT-CHAPEL: Sarah and Turkish stand up.

CUT TO. INT-CONTROL ROOM: Sarah is now sitting in one of the chairs with a plug in her head. Turkish is sitting at the computers. He is wearing a headset.

TURKISH

Okay, you have your options, combat or operations?

SARAH

Combat sounds like fun.

TURKISH

Alright. Weapons or fighting?

SARAH

Fighting.

TURKISH

Good choice.

INT-CONTROL ROOM: Turkish scans through several files. He arrives at one marked "Inner Matrix Combat (Hand to Hand)" He opens the file and selects "Styles". A long list of Martial Art styles fly across the screen.

TURKISH

Just say when.

INT-CONTROL ROOM: Sarah is amazed by the information flying across her eyes.

SARAH

Whoa. Uh, when.

INT-CONTROL ROOM: Turkish stops the list at Tai Kwon Do.

TURKISH

Good choice. Ready?

SARAH

Yeah.

INT-CONTROL ROOM: Turkish hits the button marked "LOAD". Sarah's reaction is immidiate. She closes her eyes and reacts as though she put her head out the window of a moving car. Seconds later, she stops.

SARAH

Wow!

TURKISH

Fun?

SARAH

Yeah.

TURKISH

More?

SARAH

Absolutely.

INT-CONTROL ROOM: Turkish makes another selection and hits "LOAD" again.

INT-CONTROL ROOM, HOURS LATER: Sarah is still in the chair. Hemmington comes up behind her. He looks at her then at Turkish.

HEMMINGTON

How long?

TURKISH

About, twelve hours.

HEMMINGTON

Holy shit. Straight?

TURKISH

Yup.

HEMMINGTON

That's a new record.

INT-CONTROL ROOM: A small alarm sounds on Turkish's console. He shuts it off.

TURKISH

That's it, she's done.

INT-CONTROL ROOM: Sarah wakes. She looks as though she just had amazing sex.

SARAH

Is that all you got?

TURKISH

Actually yes, you're done.

HEMMINGTON

How do you feel?

SARAH

Amazing. I feel as though there wasn't anything I can't do.

HEMMINGTON

Really?

SARAH

Yeah.

HEMMINGTON

Show me.

CUT TO. EXT-CITY STREETS, DAY: Sarah is standing in the middle of the street, hair regrown, and wearing a pair of red leather pants and red tank top. She looks down the street. Hemmington is standing there wearing black, formal pants, nice, shiny shoes and a black tee shirt.

HEMMINGTON

Remarkable isn't it. Seems real, feels real even smells real. But it isn't. You must learn that the rules in here are no differant than any other computer program. Some can be bent, others, broken.

SARAH

I get it.

HEMMINGTON

Then hit me. If you can.

EXT-STREETS: Sarah and Hemmington ball up their fists. They circle eachother for a while before Hemmington makes his move putting Sarah on the defencive. They fight in Kung Fu style. Sarah is a little choppy whereas Hemmington's motions are fluid and precice. At one point their faces are in close proximity. Sarah winces and Hemmington smiles.

HEMMINGTON

Not bad for a newbie.

SARAH

But...

HEMMINGTON

You're still being bound to rules that don't exist.

EXT-STREET: Sarah shoves Hemmington away. Hemmington stands as Sarah rushes him. Hemmington spins around and kicks her in the gut. She flies into a wall, putting a dent into it. Hemmington moves to her. He looks at her, she seems to be unconscious. Hemmington leans down to check on her. She shoots her hand out at him, grabbing his throat.

CUT TO. INT-CONTROL ROOM: Turkish and the rest of the crew are watching the action.

TURKISH

Yes!!!

HELENA

Holy shit she's ballsy.

CUT TO. EXT-STREETS: Sarah smiles at Hemmington as she throws him away. He spirals in the air and makes a hard landing. Sarah walks to his position.

HEMMINGTON

Is that all you've got?

SARAH

Come on, haven't you had enough?

HEMMINGTON

I was just warming up.

EXT-STREETS: Hemmington crouches down, then leaps high into the sky. Sarah looks at his actions in astonishment. She closes her eyes and speaks quietly.

SARAH

Okay, it's not real, its not real, its not real.

EXT-STREETS: As Sarah is saying this she too is crouching as Hemmington did.

CLOSE ON SARAH'S EYES: The city around her begins to fall away and her hair is reacing as though she was moving very fast.

CUT TO. INT-CONTROL ROOM: All of whom are watching are amazed as to what Sarah is doing.

CUT TO. EXT-CITY, CLOSE ON SARAH'S EYES: Her eyes open. Reflected in them is the city around her. It is falling and spinning. A small tear rolls out her eye and falls away.

CUT TO. EXT ROOFTOP, DAY: Hemmington is standing on the roof as Sarah lands. He is in a state of disbelief. Sarah lands. She turns and begins to walk towards Hemmington.

HEMMINGTON

Not one first timer has ever done that. How was that possible?

SARAH

I guess I have a very free mind.

EXT-ROOFTOP: She snaps out of conversation mode and throws a torrent of kicks and punches, most of which Hemmington blocks though some make it through. Sarah is becoming more and more precise. She kicks Hemmington and he flies through the air on to the roof of another building. Sarah follows him. Hemmington gets on his feet as Sarah makes a hard landing. Hemmigton puts out his hand to stop the fight. Sarah doesn't even take time to breathe when she makes several more attacks. Hemmington dodges and blocks all of them. At one point he and Sarah are in close proximity again. Hemmington looks angry.

HEMMINGTON

What the hell's wrong with you?!

SARAH

This is too much fun to stop now.

HEMMINGTON

When my hand goes up, we stop! That's the way things are done!!

EXT-ROOFTOP: He and Sarah look at eachother, assesing eachother's moods. They break. Sarah backs off.

SARAH

Sorry.

HEMMINGTON

Its okay. This many abilities so soon, must have been nuts on your system.

SARAH

It was.

HEMMINGTON

Ready for another simulation?

SARAH

What kind?

HEMMINGTON

Weapons training.

SARAH

Sounds like fun.

HEMMINGTON

T, load the Lobby.

CUT TO. INT-CONTROL ROOM: Turkish types in a few commands.

TURKISH

Alright baby, let's see your stuff.

HELENA

Baby?

TURKISH

I didn't say "baby".

HELENA

Yes you did.

WOO

You did.

TURKISH

I didn't.

ANDREW

Just load the program, "baby."

TURKISH

Fuck off.

INT-CONTROL ROOM: Turkish hits "LOAD".

CUT TO. EXT-ROOFTOP: The cityscape falls away. It is quickly replaced by a marble lobby equipped with sofas, a reception desk and rotating doors. Behind the desk is a panel that opens to reveal a whole arsinal of guns. Machine guns, pistols, grenades etc... Sarah and Hemmington are standing in the middle of the room. Hemmington is now dressed as he was in The Matrix. Sarah is now clad in a long red coat, black shirt, pants and shoes. Her hair hasn't changed, but she is now wearing a pair of dark sunglasses. She and Hemmington walk to the gun rack.

HEMMINGTON

Under that coat you will find enough holsters to carry six pairs of guns.

INT-LOBBY: Sarah begins to pick and choose her weapons. She checks them before loading them. She also takes off all the safeties. Hemmington walks to the other end of the lobby.

HEMMINGTON

Your objective is to rescue me from a dozen or so, well armed assholes.

SARAH

Works for me. I feel I need to make it up to you.

HEMMINGTON

Set?

INT-LOOBY: Sarah moves to the opposite end of the lobby facing Hemmington. She opens her coat to show him her selection.

SARAH

Yup.

HEMMINGTON

Then let's get this show on the road. Begin!

INT-LOBBY: Six leather clad men step out of the walls. They are all bearing a pair of large automatic weapons. Sarah smiles. She pulls out a pair of similar guns and begins firing. She ducks behind a piller as the men begin to fire at her. She empties out the guns she was firing and pulls out another pair. She jumps into The middle of the fight screaming. She cartwheels in the air taking out two "assholes".

CUT TO. INT-CONTROL ROOM: Everybody is astounded at this action.

TURKISH (whispering)

That's my girl.

CUT TO. INT-LOBBY: Sarah finishes off those two guns. She drops them and pulls out a pair of Desert Eagles. She takes out one more man. She spins around and backflips while firing, killing one more.

HEMMINGTON

Holy shit.

INT-LOBBY: Sarah finishes off the Eagles. She throws them away and, in an act that Hemmington is confused with, takes off the rest of her guns. She runs back behind a piller. The remaining men move in for the kill. Sarah spins out from behind the piller. She is wearing the world's largest grin and holing a minigun.

SARAH

Miss me?

INT-LOBBY: Sarah opens fire, killing all of the men at once. She drops the minigun and moves to Hemmington. She is about to say something when, out of nowhere, another man jumps in front of her. He is holding one automatic weapon to Sarah's head. She sighs and takes off her glasses. The man chuckles. Sarah smiles again. She dodges her head to one side when the man fires. She pulls out a small revolver and fires it into the man's head, killing him. Sarah puts the gun in Hemmington's hand. Hemmington is shocked at what he saw.

SARAH

Enjoy the show?

HEMMINGTON

I've never seen anything like that before.

SARAH

I've never done anything like that before.

CUT TO. INT-CONTROL ROOM: Sarah and Hemmington wake up in the chairs. Turkish pulls out Sarah's plug, Helena pulls out Hemmington's. Turkish smiles at Sarah

TURKISH

That was simply the most amazing thing I have ever seen.

SARAH

Thanks. I'll be here all week.

INT-CONTROL ROOM: Hemmington stands up and leaves. Everyone watches him go.

MICK

What's up with him?

HELENA

I don't know.

SARAH

I guess I just out shined him.

TURKISH

I think you did.