CUT TO. INT-CONTROL ROOM, THE REAL WORLD: Sarah comes up behind Turkish while he is sitting at his computers staring at the lines of code.
SARAH
So, that's it?
TURKISH
Yeah. Doesn't look like much does it?
SARAH
Well, if you think about it, it looks not like much but is much to be reckoned with.
TURKISH
Yeah, I suppose you're right.
SARAH
So, how do you guide people through it if you don't know what you're seeing?
TURKISH
Through the use of blueprints and city plans I can see what's coming.
SARAH
Tell me, though its a little off topic, are you married?
TURKISH
No.
SARAH
Girlfriend?
TURKISH
No, its hard to maintain a relationship in these circumstances.
SARAH
Shame.
INT-CONTROL ROOM: Sarah and Turkish stare at eachother for a little while. But then Turkish's phone rings. This shocks the both of them.
TURKISH
Nobody's in right now.
SARAH
A Zion crew?
TURKISH
Doubt it. Nobody from Zion has been inside for at least twenty five years.
INT-CONTROL ROOM: Turkish puts on his headset.
TURKISH
Operator.
SERAPH (V.O)
I must speak with The One.
INT-CONTROL ROOM: Turkish hands the headset over to Sarah. She puts it on.
TURKISH
I think its for you.
SARAH
Hello?
SERAPH (V.O)
Antigone?
SARAH
Sure.
SERAPH (V.O)
The Oracle has been taken prisoner by the Merovingian.
SARAH
The who?
SERAPH (V.O)
You must come at once.
INT-CONTROL ROOM: The line goes dead. Sarah hands the headset to Turkish.
TURKISH
Who was it?
SARAH
I think he's called Seraph.
TURKISH
He's The Oracle's bodyguard. What'd he want?
SARAH
The Oracle was taken prisonner by someone called the Metro, the Merim, Mero...
TURKISH
Merovingian.
SARAH
That him. Who is he?
TURKISH
An asshole who should no longer exist.
INT-HEMMINGTON'S CABIN: Turkish and Sarah burst through the door. Hemmington is on his cot reading, but quickly gets up.
TURKISH
The Merovingian's got her.
HEMMINGTON
Oh shit.
CUT TO. INT-CONTROL ROOM: The ship's entire crew is on deck. Hemmington stands in the middle of the circle.
HEMMINGTON
Alright, we've got a bad thing going down in The Matrix. The Merovingian's taken The Oracle prisoner.
ANDREW
Who told you this?
TURKISH
Seraph.
NASH
Isn't he the bodyguard?
HEMMINGTON
Yeah.
HELENA
Pretty ineffective if you as me.
SARAH
Nobody was.
HEMMINGTON
Alright listen, we need to focus. We have to mount a rescue.
MICK
How that's one big fuckn' rescue. He's probably got her locked away in the train station.
HELENA
And only The One could get somebody out of that place.
ANDREW
Shame she's not around, right Antigone?
SARAH
Listen I, wait, she told me this would happen.
HEMMINGTON
What would?
SARAH
The time when I have to make the choice whether or not to become The One. It would be a test she said.
WOO
Pretty good test it seems.
SARAH
Yeah.
INT-CONTROL ROOM: Sarah begins to pace the room. She stops and turns to the crew.
SARAH
I'll get her. But I'll need help.
INT-CONTROL ROOM: The crew contemplates the dangers, risks and rewards. Turkish looks up.
TURKISH
Well I'm a nobrainer, you need an operator.
HEMMINGTON
I was in when we brought you out.
WOO
I'll be there.
ANDREW
I don't see why not.
HELENA
I'm in.
NASH
Me too.
MICK
I've got your back big guy.
HEMMINGTON
Turkish, load us up. We're going in.
CUT TO. EXT-TUNNELS, REAL WORLD: These tunnels are dank, long and dark. A blue light is seen at the end of a tunnel. This is the Dionysus. It is a reletively small, but long ship. It has its cockpit on top of the bow with many long antannai sticking off it. It also has several electric blue pads all over the ship for propultion. The ship makes it to a flat surface, scans the area and lands.
CUT TO. INT-CONTROL ROOM: Turkish climbs down a ladder into the room. Hemmington is seated in a chair, everyone else, but Sarah, have been plugged in.
TURKISH
We're at brodcast depth.
HEMMINGTON
Good. (To Sarah) Ready for this?
SARAH
As ready as I'll ever be.
INT-CONTROL ROOM: Turkish plugs Hemmington in. Sarah sits in her seat. Turkish moves behind her.
TURKISH
You'll be fine.
SARAH
You'll be my guardian angel.
TURKISH
I wish. I can alwa...
INT-CONTROL ROOM: Sarah leand up and kisses Turkish fully on the lips. This leaves Turkish a little stunned. Sarah leans back down.
Turkish begins to plug her in.
SARAH
Keep us safe.
TURKISH
You know I will.
INT-CONTROL ROOM: Turkish plugs Sarah in.
CUT TO. EXT-CITY, NIGHT: The crew walks out of an older hotel. They are all now very nicely dressed, but also very well armed underneith. They hear something in a nearby ally. They all draw one gun each. Seraph quietly slips out of the ally.
SERAPH
I apologize if I suprised you.
HEMMINGTON
No apologies necessary. Where may we find The Merovigian?
SERAPH
He has a penthouse north of here. I will show you the way.
SARAH
Just one thing.
SERAPH
Why didn't I stop those men from taking The Oracle?
SARAH
Yeah.
SERAPH
She told me not to.
SARAH
That sneaky little...
HEMMINGTON
Take us then.
SERAPH
Very well.
EXT-HOTEL: Seraph takes out a pair of nickle plated 9mm guns, cocks them and begins to lead the way.
CUT TO. EXT-CITY STREETS, NIGHT: Seraph has led the crew to a tall, window covered tower in the nicer part of town. The streets are nearly empty. Seraph looks at the enterence to the building and sees two large, leather clad men guarding it. Seraph turns back to the group.
SERAPH
The Merovingian is having a little party tonight to celebrate his capture.
SARAH
Let's crash it then.
HEMMINGTON
I'm all for that.
EXT-STREETS: The crew begins to walk towards the building. Andrew pulls out a large shotgun, Helena pulls out a pair of Uzis, Nash takes out a pair of Desert Eagles, Mick takes out a pair of very large automatic shotguns and Woo takes out his Katanas.
ANDREW
I've got the neck.
MICK
Eyes.
NASH
Skull.
WOO
Arms.
HELENA
Balls.
CUT TO. EXT-FRONT DOORS: Seraph walks up to the men. They look at all the crewmembers with guns.
BOUNCER#1
He doesn't have time for you or them.
SERAPH
They're with me.
BOUNCER#2
Just leave now and there won't be any trouble.
SARAH
We have invitations.
BOUNCER#1
They in your shirt.
SARAH
No, (indicating Seraph) he's got em.
EXT-BUILDING: Seraph smiles.
CUT TO. INT-LOBBY, NIGHT: The two bouncers fly through the doors and plough into the walls. They fall out of the walls in bloody heaps. The crew walks into the lobby. They look around for anybody to shoot them. No one.
HEMMINGTON
Split up. Woo, Helena, Andrew, Nash and Mick take the stairs. I, Antigone or Sarah, or whatever the hell your name is, and Seraph we'll take the elevators. Got that?
WOO
Got it.
HEMMINGTON
Get moving.
CUT TO. INT-ELEVATOR: Sarah, Hemmington and Seraph are re checking their guns. They finish and holster them.
SARAH
So, this Mero...
SERAPH
Merovingian.
SARAH
I was gonna get there. But anyway, what's his story?
SERAPH
He was at one time a program designed to counter the effects of the first One. The One, however, did not destroy him totally rather he destroyed his abilities to function as a Nemesis.
HEMMINGTON
Now he gets other programs to do his dirty work.
SARAH
What kind of party are we expecting?
HEMMINGTON
Not the kind you'd want your kids ever knowing about.
SARAH
So, that's it?
TURKISH
Yeah. Doesn't look like much does it?
SARAH
Well, if you think about it, it looks not like much but is much to be reckoned with.
TURKISH
Yeah, I suppose you're right.
SARAH
So, how do you guide people through it if you don't know what you're seeing?
TURKISH
Through the use of blueprints and city plans I can see what's coming.
SARAH
Tell me, though its a little off topic, are you married?
TURKISH
No.
SARAH
Girlfriend?
TURKISH
No, its hard to maintain a relationship in these circumstances.
SARAH
Shame.
INT-CONTROL ROOM: Sarah and Turkish stare at eachother for a little while. But then Turkish's phone rings. This shocks the both of them.
TURKISH
Nobody's in right now.
SARAH
A Zion crew?
TURKISH
Doubt it. Nobody from Zion has been inside for at least twenty five years.
INT-CONTROL ROOM: Turkish puts on his headset.
TURKISH
Operator.
SERAPH (V.O)
I must speak with The One.
INT-CONTROL ROOM: Turkish hands the headset over to Sarah. She puts it on.
TURKISH
I think its for you.
SARAH
Hello?
SERAPH (V.O)
Antigone?
SARAH
Sure.
SERAPH (V.O)
The Oracle has been taken prisoner by the Merovingian.
SARAH
The who?
SERAPH (V.O)
You must come at once.
INT-CONTROL ROOM: The line goes dead. Sarah hands the headset to Turkish.
TURKISH
Who was it?
SARAH
I think he's called Seraph.
TURKISH
He's The Oracle's bodyguard. What'd he want?
SARAH
The Oracle was taken prisonner by someone called the Metro, the Merim, Mero...
TURKISH
Merovingian.
SARAH
That him. Who is he?
TURKISH
An asshole who should no longer exist.
INT-HEMMINGTON'S CABIN: Turkish and Sarah burst through the door. Hemmington is on his cot reading, but quickly gets up.
TURKISH
The Merovingian's got her.
HEMMINGTON
Oh shit.
CUT TO. INT-CONTROL ROOM: The ship's entire crew is on deck. Hemmington stands in the middle of the circle.
HEMMINGTON
Alright, we've got a bad thing going down in The Matrix. The Merovingian's taken The Oracle prisoner.
ANDREW
Who told you this?
TURKISH
Seraph.
NASH
Isn't he the bodyguard?
HEMMINGTON
Yeah.
HELENA
Pretty ineffective if you as me.
SARAH
Nobody was.
HEMMINGTON
Alright listen, we need to focus. We have to mount a rescue.
MICK
How that's one big fuckn' rescue. He's probably got her locked away in the train station.
HELENA
And only The One could get somebody out of that place.
ANDREW
Shame she's not around, right Antigone?
SARAH
Listen I, wait, she told me this would happen.
HEMMINGTON
What would?
SARAH
The time when I have to make the choice whether or not to become The One. It would be a test she said.
WOO
Pretty good test it seems.
SARAH
Yeah.
INT-CONTROL ROOM: Sarah begins to pace the room. She stops and turns to the crew.
SARAH
I'll get her. But I'll need help.
INT-CONTROL ROOM: The crew contemplates the dangers, risks and rewards. Turkish looks up.
TURKISH
Well I'm a nobrainer, you need an operator.
HEMMINGTON
I was in when we brought you out.
WOO
I'll be there.
ANDREW
I don't see why not.
HELENA
I'm in.
NASH
Me too.
MICK
I've got your back big guy.
HEMMINGTON
Turkish, load us up. We're going in.
CUT TO. EXT-TUNNELS, REAL WORLD: These tunnels are dank, long and dark. A blue light is seen at the end of a tunnel. This is the Dionysus. It is a reletively small, but long ship. It has its cockpit on top of the bow with many long antannai sticking off it. It also has several electric blue pads all over the ship for propultion. The ship makes it to a flat surface, scans the area and lands.
CUT TO. INT-CONTROL ROOM: Turkish climbs down a ladder into the room. Hemmington is seated in a chair, everyone else, but Sarah, have been plugged in.
TURKISH
We're at brodcast depth.
HEMMINGTON
Good. (To Sarah) Ready for this?
SARAH
As ready as I'll ever be.
INT-CONTROL ROOM: Turkish plugs Hemmington in. Sarah sits in her seat. Turkish moves behind her.
TURKISH
You'll be fine.
SARAH
You'll be my guardian angel.
TURKISH
I wish. I can alwa...
INT-CONTROL ROOM: Sarah leand up and kisses Turkish fully on the lips. This leaves Turkish a little stunned. Sarah leans back down.
Turkish begins to plug her in.
SARAH
Keep us safe.
TURKISH
You know I will.
INT-CONTROL ROOM: Turkish plugs Sarah in.
CUT TO. EXT-CITY, NIGHT: The crew walks out of an older hotel. They are all now very nicely dressed, but also very well armed underneith. They hear something in a nearby ally. They all draw one gun each. Seraph quietly slips out of the ally.
SERAPH
I apologize if I suprised you.
HEMMINGTON
No apologies necessary. Where may we find The Merovigian?
SERAPH
He has a penthouse north of here. I will show you the way.
SARAH
Just one thing.
SERAPH
Why didn't I stop those men from taking The Oracle?
SARAH
Yeah.
SERAPH
She told me not to.
SARAH
That sneaky little...
HEMMINGTON
Take us then.
SERAPH
Very well.
EXT-HOTEL: Seraph takes out a pair of nickle plated 9mm guns, cocks them and begins to lead the way.
CUT TO. EXT-CITY STREETS, NIGHT: Seraph has led the crew to a tall, window covered tower in the nicer part of town. The streets are nearly empty. Seraph looks at the enterence to the building and sees two large, leather clad men guarding it. Seraph turns back to the group.
SERAPH
The Merovingian is having a little party tonight to celebrate his capture.
SARAH
Let's crash it then.
HEMMINGTON
I'm all for that.
EXT-STREETS: The crew begins to walk towards the building. Andrew pulls out a large shotgun, Helena pulls out a pair of Uzis, Nash takes out a pair of Desert Eagles, Mick takes out a pair of very large automatic shotguns and Woo takes out his Katanas.
ANDREW
I've got the neck.
MICK
Eyes.
NASH
Skull.
WOO
Arms.
HELENA
Balls.
CUT TO. EXT-FRONT DOORS: Seraph walks up to the men. They look at all the crewmembers with guns.
BOUNCER#1
He doesn't have time for you or them.
SERAPH
They're with me.
BOUNCER#2
Just leave now and there won't be any trouble.
SARAH
We have invitations.
BOUNCER#1
They in your shirt.
SARAH
No, (indicating Seraph) he's got em.
EXT-BUILDING: Seraph smiles.
CUT TO. INT-LOBBY, NIGHT: The two bouncers fly through the doors and plough into the walls. They fall out of the walls in bloody heaps. The crew walks into the lobby. They look around for anybody to shoot them. No one.
HEMMINGTON
Split up. Woo, Helena, Andrew, Nash and Mick take the stairs. I, Antigone or Sarah, or whatever the hell your name is, and Seraph we'll take the elevators. Got that?
WOO
Got it.
HEMMINGTON
Get moving.
CUT TO. INT-ELEVATOR: Sarah, Hemmington and Seraph are re checking their guns. They finish and holster them.
SARAH
So, this Mero...
SERAPH
Merovingian.
SARAH
I was gonna get there. But anyway, what's his story?
SERAPH
He was at one time a program designed to counter the effects of the first One. The One, however, did not destroy him totally rather he destroyed his abilities to function as a Nemesis.
HEMMINGTON
Now he gets other programs to do his dirty work.
SARAH
What kind of party are we expecting?
HEMMINGTON
Not the kind you'd want your kids ever knowing about.
