Genres: Sci-Fi, Action, Thriller, Science, Fiction, Drama, fiction, Adventure, Romance
Setting: Futuristic, Various locations including a high-tech computer screen, a decrepit hotel room, the Matrix, and the real world
Themes: Dystopia, Identity and Self-discovery, Escape and Freedom, Reality vs Illusion, Power and Control, Sacrifice and Redemption, The Nature of Reality and Perception, Technology and its Effects, Resistance and Rebellion, Destiny and Fate
Conflict and Stakes: The primary conflicts in this story revolve around Neo's journey to discover the truth about the Matrix, his role as the One, and the resistance's fight against the machines. The stakes are high as the fate of humanity hangs in the balance and Neo must confront powerful enemies and make difficult choices.
Overall Mood: Dark, suspenseful, and thought-provoking
Mood/Tone at Key Scenes:
- Scene 3: Intense action and suspense as Trinity escapes from the police and Agents
- Unique Hook: The concept of the Matrix and the exploration of reality vs. illusion
- Major Twist: The revelation that Neo is the One and his journey to fulfill his destiny
- Distinctive Setting: The juxtaposition of the high-tech Matrix and the gritty real world
USP: The Unique Selling Proposition in this screenplay lies in its high-tech, dystopian world where humans are trapped in a simulated reality called the Matrix. The script combines intense action sequences with thought-provoking philosophical themes, creating a compelling piece of storytelling that sets it apart from other films in its genre. Through innovative storytelling techniques, such as the use of bullet-time and captivating visual effects, the script immerses the audience in a unique and visually stunning world. The distinctive characters, including Trinity and Neo, showcase extraordinary abilities and undergo personal transformations that make them relatable and compelling to the target audience. With its combination of thrilling action, philosophical depth, and innovative storytelling, this script offers a compelling and unique cinematic experience unlike any other.
Budget Estimate:$100-150 million
Target Audience Demographics: Adults aged 18-45, fans of science fiction and action films
Marketability: The Matrix is a highly successful and influential franchise with a dedicated fan base. The combination of action, sci-fi, and philosophical themes makes it appealing to a wide audience.
The Matrix has a unique blend of genres and explores compelling themes with a diverse cast, which could attract a niche audience.
The Matrix has compelling characters and a gripping storyline, with relevant social themes that resonate with audiences.
Profit Potential: High, due to the strong appeal to a wide adult audience and the potential for franchise expansion and merchandise sales.
Analysis Criteria Percentiles
Summary:The writer's voice is characterized by concise, action-driven dialogue, vivid and evocative descriptions, and a focus on tension and urgency. The voice contributes to the overall mood, themes, and depth of the screenplay by creating a sense of danger and foreboding, exploring complex philosophical and existential themes, and highlighting the physicality and emotional depth of the characters.
Best representation: Scene 10 - Extracting a Bug. This scene is the best representation of the author's voice because it showcases the writer's use of concise and sharp dialogue, as well as the focus on essential details to build tension and mystery. The dramatic pauses in the scene also contribute to the overall mood and tone, creating a sense of heightened suspense and intrigue.
- Morpheus: Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. (Scene 12)
Neo:A man who discovers the truth about the Matrix and becomes the One
Trinity:A skilled hacker and member of the resistance who helps Neo on his journey
Morpheus:The leader of the resistance who believes Neo is the One
Agent Smith:An Agent within the Matrix who is determined to stop Neo and the resistance
The Percentile is against the screenplays in our library.
|At least one Character Changes in the scene||6.3||66|
|Story Moves Forward||8.6||92|
|Internal Goal Score||8.4||92|
|External Goal Score||8.3||82|
Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Concept||8.4||94||Suits: 8.3||Inception: 8.4|
|Pacing||8.74||94||The Good place release: 8.73||The matrix: 8.74|
|Story Forward||8.6||92||Stranger things: 8.5||The matrix: 8.6|
|Engagement||9.11||91||The usual suspects: 8.88||The matrix: 9.11|
|Internal Goal||8.37||91||Amadeus: 8.36||The matrix: 8.37|
|High Stakes||8.8||89||Black panther: 8.7||The matrix: 8.8|
|Structure||8.61||87||Lucifer: 8.59||Back to the future: 8.61|
|Formatting||9.20||83||The Good place release: 9.18||The matrix: 9.20|
|Conflict Level||8.5||81||Everything Everywhere All at Once: 8.2||Avatar: 8.5|
|Originality||7.09||81||Pinocchio: 7.05||The matrix: 7.09|
|Overall||8.5||80||Thor: 8.4||Inception: 8.5|
|External Goal||8.33||79||Lucifer: 8.32||Dr. Horrible's Sing-Along Blog: 8.33|
|Plot||8.3||71||Mr Robot: 8.2||Inception: 8.3|
|Character Changes||6.3||62||Dr. Horrible's Sing-Along Blog: 6.2||Black panther: 6.3|
|Emotional Impact||7.5||56||Deadpool: 7.4||Inception: 7.5|
|Dialogue||7.4||30||The sweet hereafter: 7.3||the dark knight rises: 7.4|
|Characters||8.0||29||Hors de prix: 7.9||Donnie Darko: 8.0|
|Story Content||Character Development||Scene Elements||Audience Engagement||Technical Aspects|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Originality Score||Characters||Character Changes||Internal Goal||External Goal||Conflict||Opposition||High stakes||Story forward||Twist||Emotional Impact||Dialogue||Engagement||Pacing||Formatting||Structure|
|3||Escape and Discovery||"intense"||8||7||8||4||7||4||8||9||10||0||9||9||6||6||6||9||9||10||8|
|6||Neo Faces Consequences||"Tense"||9||8||9||4||9||6||9||10||9||0||6||7||6||7||9||7||9||8||8|
|7||Escape from the Office||"tense"||9||8||9||8||7||5||9||8||9||0||10||10||6||7||6||9||8||8||9|
|8||Escape to the Scaffold||"tense"||8||8||8||5||7||6||8||9||9||0||9||8||3||7||7||9||8||10||8|
|11||Extracting a Bug||"Tense"||9||9||8||8||9||6||8||9||8||0||9||7||6||8||7||8||9||10||9|
|12||The Red Pill||"Serious"||9||10||8||8||9||8||10||9||10||0||10||10||5||10||9||10||8||10||9|
|13||The Red Pill||"Intense"||9||9||9||9||8||7||8||9||10||0||10||9||3||9||8||10||9||9||8|
|15||Neo Discovers the Truth||"Tense"||8.1||9||8||9||7||7||9||9||6||0||9||9||2||7||8||9||9||9||8|
|16||Entering the Construct||"Informative"||9||8||7||9||8||4||9||8||4||0||6||8||8||4||7||10||10||9||9|
|17||Revealing the Truth||"Tense"||9||8||9||6||8||7||8||7||8||0||10||9||4||9||8||9||9||9||8|
|18||The Truth About the Matrix||"Serious"||8||9||8||9||7||5||8||9||6||0||7||8||5||5||8||9||9||8||9|
|20||Training and Jumping||"Intense"||7.5||8||7||6||7||5||8||9||9||0||8||7||4||6||6||9||9||10||9|
|21||Combat Training and Learning about Agents||"Intense"||8||9||8||9||7||6||9||8||10||0||10||8||7||8||7||10||9||9||8|
|22||The EMP Attack||"Tense"||8||8||9||7||7||5||8||9||9||0||10||9||6||6||6||9||8||9||8|
|23||The Truth about the One||"Tense, Intense"||8||9||8||8||9||8||9||8||10||0||10||9||6||7||8||8||8||8||9|
|24||Breakfast of Champions||"Suspenseful"||7||8||6||5||7||6||7||6||7||0||8||6||6||6||7||8||8||8||9|
|25||Meeting the Oracle||"Inquisitive"||8||9||8||9||7||4||8||8||4||0||4||7||6||5||8||9||8||8||7|
|27||The Oracle's Potentials||"Mysterious"||9||8||8||10||9||6||9||5||4||0||5||7||4||5||8||8||9||8||9|
|28||Neo Meets the Oracle||"Tense"||8||8||8||9||7||6||8||8||7||0||9||7||6||8||8||9||9||9||8|
|32||Escape and Betrayal||"tense"||8||7||9||4||7||5||7||9||10||0||10||10||5||8||6||8||8||9||9|
|34||Betrayal and Abduction||"Tense"||8||9||8||7||9||7||9||8||10||0||10||10||4||9||8||10||8||10||9|
|35||Betrayal and Sacrifice||"Tense"||9||8||9||7||9||7||8||9||10||0||10||9||6||9||8||9||9||10||8|
|37||Betrayal and Revelation||"Intense"||9||9||9||5||9||7||8||6||10||0||10||10||4||8||8||8||9||9||8|
|38||The Rescue Mission||"intense"||10||9||10||8||8||6||8||9||10||0||10||10||4||8||7||10||9||10||10|
|39||Rescue on the Roof||"Intense"||8||7||8||7||8||5||9||9||10||0||10||9||6||7||7||9||9||8||8|
|41||Escape and Betrayal||"Tense"||8||8||8||7||8||8||8||9||9||0||9||9||6||7||7||9||9||9||8|
|42||The Train Scene||"Intense"||9||8||9||5||8||7||9||9||10||0||10||9||7||8||5||10||10||10||9|
|43||Escape from Pursuit||"Intensity"||8||8||8||5||7||5||8||8||10||0||10||9||7||7||6||9||9||10||8|
|44||Escape and Sacrifice||"Intense"||9||9||8||4||9||8||9||8||9||0||10||9||6||10||8||9||9||9||8|
|46||The Final Goodbye||"Emotional"||9||8||8||9||9||9||9||9||2||0||7||8||4||10||8||10||9||10||10|
Larry and Andy Wachowski
NUMBERED SHOOTING SCRIPT
March 29, 1998
1 ON COMPUTER SCREEN 1
so close it has no boundaries.
A blinding cursor pulses in the electric darkness like a
heart coursing with phosphorous light, burning beneath
the derma of black-neon glass.
A PHONE begins to RING, we hear it as though we were
making the call. The cursor continues to throb,
relentlessly patient, until --
Data now slashes across the screen, information flashing
faster then we can read: "Call trans opt: received.
2-19-98 13:24:18 REC:Log>."
Is everything in place?
On screen: "Trace program: running."
We listen to the phone conversation as though we were on
a third line. The man's name is Cypher. The woman,
I said, is everything in place?
The entire screen with racing columns of numbers.
Shimmering like green-electric rivers, they rush at a
10-digit phone number in the top corner.
You weren't supposed to relieve
I know but I felt like taking a
The area code is identified. The first three numbers
suddenly fixed, leaving only seven flowing columns.
You like him, don't you? You like
We begin MOVING TOWARD the screen, CLOSING IN as each
digit is matched, one by one, snapping into place like
the wheels of a slot machine.
1 CONTINUED: 1
Don't be ridiculous.
We're going to kill him. Do you
understand that? He's going to
die just like the others.
Morpheus believes he is the One.
Only two thin digits left.
I... it doesn't matter what I
You don't, do you?
If you have something to say, I
suggest you say it to Morpheus.
I intend to, believe me. Someone
The final NUMBER POPS into place --
Did you hear that?
On screen: "Trace complete. Call origin: #312-555-
Are you sure this line is clean?
Yeah, 'course I'm sure.
We MOVE STILL CLOSER, the ELECTRIC HUM of the green
NUMBERS GROWING into an ominous ROAR.
I better go.
THE MATRIX - Rev. 3/9/98 3.
1 CONTINUED: (2) 1
She hangs up as we PASS THROUGH the numbers, entering the
nether world of the computer screen. Suddenly, a flash-
light cuts open the darkness and we find ourselves in --
2 INT. HEART O' THE CITY HOTEL - NIGHT 2
The hotel was abandoned after a fire licked its way
across the polyester carpeting, destroying several rooms
as it spooled soot up the walls and ceiling, leaving
patterns of permanent shadow.
We FOLLOW four armed POLICE OFFICERS using flashlights as
they creep down the blackened hall and ready themselves
on either side of Room 303.
The biggest of them violently kicks in the door. The other
cops pour in behind him, guns thrust before them.
The room is almost devoid of furniture. There is a fold-
up table and chair with a phone, a modem, and a powerbook
computer. The only light in the room is the glow of the
Sitting there, her hands still on the keyboard, is
TRINITY; a woman in black leather.
Hands behind your head! Now! Do
She slowly puts her hands behind her head.
A black sedan with tinted windows glides in through the
police cruisers. AGENT SMITH, AGENT BROWN, and AGENT
JONES get out of the car.
They wear dark suits and sunglasses even at night. They
are also always hardwired; small Secret Service earphones
in one ear, the cord coiling back into their shirt
THE MATRIX - Rev. 3/9/98 4.
3 CONTINUED: 3
Lieutenant, you were given
specific orders --
I'm just doing my job. You gimme
that Juris-my dick-tion and you
can cram it up your ass.
The orders were for your
The Lieutenant laughs.
I think we can handle one little
Agent Smith nods to Agent Brown as they start toward the
I sent two units. They're
bringing her down now.
No, Lieutenant, your men are
4 INT. HEART O' THE CITY HOTEL 4
The Big Cop flicks out his cuffs, the other cops holding
a bead. They've done this a hundred times, they know
they've got her, until the Big Cop reaches with the cuffs
and Trinity moves --
It almost doesn't register, so smooth and fast, inhumanly
The eye blinks and Trinity's palm snaps up and the nose
explodes, blood erupting. Her leg kicks with the force
of a wrecking ball and he flies back, a two-hundred-fifty
pound sack of limp meat and bone that slams into the cop
farthest from her.
Trinity moves again, BULLETS RAKING the walls,
flashlights sweeping with panic as the remaining cops try
to stop a leather-clad ghost.
A GUN still in the cop's hand is snatched, twisted, and
FIRED. There is a final violent exchange of GUNFIRE and
when it's over, Trinity is the only one standing.
THE MATRIX - Rev. 3/9/98 5.
4 CONTINUED: 4
A flashlight rocks slowly to a stop.
5 EXT. HEART O' THE CITY HOTEL 5
Agent Brown enters the hotel while Agent Smith heads for
6 INT. HEART O' THE CITY HOTEL 6
Trinity is on the phone, pacing. The other end is
Morpheus! The line was traced! I
don't know how.
I know. They cut the hardline.
This line is not a viable exit.
Are there any Agents?
You have to focus. There is a
phone. Wells and Lake. You can
She takes a deep breath, centering herself.
All right --
She drops the phone.
THE MATRIX - Rev. 3/9/98 6.
7 INT. HALL 7
She bursts out of the room as Agent Brown enters the
hall, leading another unit of police. Trinity races to
the opposite end, exiting through a broken window onto
the fire escape.
8 EXT. FIRE ESCAPE 8
In the alley below, Trinity sees Agent Smith staring at
her. She can only go up.
9 EXT. ROOF 9
On the roof, Trinity is running as Agent Brown rises over
the parapet, leading the cops in pursuit.
Trinity begins to jump from one roof to the next, her
movements so clean, gliding in and out of each jump,
contrasted to the wild jumps of the cops.
Agent Brown, however, has the same unnatural grace.
The roof falls away into a wide back alley. The next
building is over 40 feet away, but Trinity's face is
perfectly calm, staring at some point beyond the other roof.
That's it, we got her now.
The cops slow, realizing they are about to see something
ugly as Trinity drives at the edge, launching herself
into the air.
From above, the ground seems to flow beneath her as she
hangs in flight, then hits, somersaulting up, still
Jesus Christ -- that's impossible!
They stare, slack-jawed, as Agent Brown duplicates the move
exactly, landing, rolling over a shoulder up onto one knee.
It is a dizzying chase up and over the dark plateaued
landscape of rooftops and sheer cliffs of brick. Ahead,
she sees her only chance, 50 feet beyond the point where
her path drops away into a paved chasm, there is --
A yellow glow in the midst of a dark brick building.
Trinity zeros in on it, running as hard as she can and --
10 CONTINUED: 10
Hurtles herself into the empty night space, her body
leveling into a dive. She falls, arms covering her head
as the whole world seems to spin on its axis --
A10 INT. BACK STAIRWELL A10
And she crashes with an EXPLOSION of GLASS and WOOD, then
falls onto a back stairwell, tumbling, bouncing down
stairs bleeding, broken --
But still alive.
She wheels on the smashed opening above, her gun
instantly in her hand, trained, waiting for Agent Brown
but is met by only a slight WIND that HISSES against the
fanged maw of broken glass.
Trinity tries to move. Everything hurts.
Get up, Trinity. You're fine.
Get up -- just get up!
She stands and limps down the rest of the stairs.
11 EXT. STREET 11
Trinity emerges from the shadows of an alley and, at the
end of the block, in a pool of white street light, she
sees it --
The telephone booth.
Obviously hurt, she starts down the concrete walk,
focusing in completely, her pace quickening, as the PHONE
begins to RING.
Across the street, a garbage truck suddenly u-turns, it's
TIRES SCREAMING as it accelerates. Trinity sees the
headlights of the truck arcing at the telephone booth as
if taking aim.
Gritting through the pain, she races the truck, slamming
into the booth, the headlights blindingly bright, bearing
down on the box of Plexiglas just as --
She answers the phone.
There is a frozen instant of silence before the hulking
mass of dark metal lurches up onto the sidewalk --
THE MATRIX - Rev. 3/9/98 8.
11 CONTINUED: 11
Barreling through the booth, bulldozing it into a brick
wall, SMASHING it to PLEXIGLAS PULP.
After a moment, a black loafer steps down from the cab of
the garbage truck. Agent Smith inspects the wreckage.
There is no body. Trinity is gone.
His jaw sets as he grinds his molars in frustration.
Agent Jones and Brown walk up behind him.
She got out.
It doesn't matter.
The informant is real.
Agent Smith almost smiles.
We have the name of their next target.
The name is Neo.
The handset of the pay phone lays on the ground, separated
in the crash like a severed limb.
We'll need a search running.
It's already begun.
We are SUCKED TOWARDS the mouthpiece of the phone, CLOSER
and CLOSER, until the smooth gray plastic spreads out
like a horizon and the small holes widen until we FALL
THROUGH one --
Swallowed by DARKNESS.
The DARKNESS CRACKLES with phosphorescent energy, the
word "searching" blazing in around us as we EMERGE FROM a
The screen flickers with windowing data as a search
engine runs with a steady relentless rhythm.
We DRIFT BACK FROM the screen and INTO --
It is a studio apartment that seems overgrown with
Weed-like cables coil everywhere, duct-taped into
thickets that wind up and around the legs of several
desks. Tabletops are filled with cannibalized equipment
that lay open like an autopsied corpse.
At the center of this technological rat-nest is NEO, a
man who knows more about living inside a computer than
He is asleep in front of his PC. Behind him, the
computer screen suddenly goes blank. A prompt appears:
"Wake up, Neo."
Neo's eye pries open. He sits up, one eye still closed,
looking around, unsure of where he is. He notices the
He types "CTRL X" but the letter "T" appears.
He hits another and an "H" appears. He keeps typing,
pushing random functions and keys while the computer
types out a message as though it had a mind of its own.
He stops and stares at the four words on the screen:
"The Matrix has you."
What the hell?
He hits the "ESC" button. Another message appears:
"Follow the white rabbit."
He hits it again and the message repeats. He rubs his
eyes but when he opens them, there is another message:
"Knock, knock, Neo."
Someone KNOCKS on his door and he almost jumps out of his
chair. He looks back at the computer, but the screen is
Someone KNOCKS again. Neo rises, still unnerved.
Who is it?
12 CONTINUED: 12
Neo flips a series of locks and opens the door, leaving
the chain on. A young Chinese MAN stands there with
several of his friends.
You're two hours late.
I know. It's her fault.
You got the money?
He takes out an envelope and gives it to Neo through the
He closes the door. On the floor near his bed is a book,
Baudrillard's Simulacra and Simulations. The book has
been hollowed out and inside are several computer disks.
He takes one, sticks the money in the book and drops it
on the floor.
Opening the door, he hands the disk to Choi.
Hallelujah! You are my Savior,
man! My own personal Jesus
If you get caught using that --
I know, I know. This never
happened. You don't exist.
Neo nods as the strange feeling of unrealness suddenly
Something wrong, man? You look a
little whiter than usual.
I don't know... My computer...
12 CONTINUED: (2) 12
He looks back at Choi, unable to explain what just
You ever have the feeling that
you're not sure if you're awake or
All the time. It's called
mescaline and it is the only way
He smiles and slaps the hand of his nearest droog.
It sounds to me like you need to
unplug, man. A little R&R. What
do you think, Dujour, should we
take him with us?
I can't. I have to work tomorrow.
Come on. It'll be fun. I
He looks up at her and suddenly notices on her black
leather motorcycle jacket dozens of pins: bands,
symbols, slogans, military medals and --
A small white rabbit. The ROOM TILTS.
Yeah, yeah. Sure, I'll go.
An older apartment; a series of halls connects a chain of
small high-ceilinged rooms lined with heavy casements.
Smoke hangs like a veil, blurring the few lights there
Dressed predominately in black, people are everywhere,
gathered in cliques around pieces of furniture like
jungle cats around a tree.
13 CONTINUED: 13
Neo stands against a wall, alone, sipping from a bottle
of beer, feeling completely out of place. He is about to
leave when he notices a woman staring at him.
The woman is Trinity. She walks straight up to him.
In the nearest room, shadow-like figures grind against
each other to the pneumatic beat of INDUSTRIAL MUSIC.
How do you know that name?
I know a lot about you. I've been
wanting to meet you for some time.
Who are you?
My name is Trinity.
Trinity? The Trinity? The
Trinity that cracked the I.R.S.
That was a long time ago.
I just thought... you were a guy.
Most guys do.
Neo is a little embarrassed.
Do you want to go somewhere and
No. It's safe here and I don't
have much time.
13 CONTINUED: (2) 13
The MUSIC is so LOUD they must stand very close, talking
directly into each other's ear.
That was you on my computer?
How did you do that?
Right now, all I can tell you, is
that you are in danger. I brought
you here to warn you.
They're watching you, Neo.
Please. Just listen. I know why
you're here, Neo. I know what
you've been doing. I know why you
hardly sleep, why you live alone
and why, night after night, you
sit at your computer. You're
looking for him.
Her body is against his; her lips very close to his ear.
I know because I was once looking
for the same thing, but when he
found me he told me I wasn't
really looking for him. I was
looking for an answer.
There is a hypnotic quality to her voice and Neo feels
the words, like a drug, seeping into him.
It's the question that drives us,
the question that brought you
here. You know the question just
as I did.
What is the Matrix?
THE MATRIX - Rev. 3/22/98 14.
13 CONTINUED: (3) 13
When I asked him, he said that no
one could ever be told the answer
to that question. They have to
see it to believe it.
She leans close, her lips almost touching his ear.
The answer is out there, Neo.
It's looking for you and it will
find you, if you want it to.
She turns and he watches her melt into the shifting wall
A SOUND RISES steadily, growing out of the MUSIC,
pressing in on Neo until it is all he can hear as we --
14 INT. NEO'S APARTMENT 14
The sound is an ALARM CLOCK, slowly dragging Neo to
consciousness. He strains to read the clock-face:
15 EXT. SKYSCRAPER 15
The downtown office of Meta CorTechs, a software
The main offices are along each wall, the windows
overlooking downtown. RHINEHEART, the ultimate company
man, lectures Neo without looking at him, typing at his
Neo stares at two window cleaners on a scaffolding
outside, dragging their rubber squeegees down the surface
of the glass.
You have a problem with authority,
Mr. Anderson. You believe that
you are special, that somehow the
rules do not apply to you.
Obviously, you are mistaken.
16 CONTINUED: 16
His long, bony fingers resume clicking the keyboard.
This company is one of the top
software companies in the world
because every single employee
understands that they are a part
of a whole. Thus, if an employee
has a problem, the company has a
He turns again.
The time has come to make a
choice, Mr. Anderson. Either you
choose to be at your desk on time
from this day forth, or you choose
to find yourself another job. Do
I make myself clear?
Yes, Mr. Rhineheart. Perfectly
The entire floor looks like a human honeycomb, with a
labyrinth of cubicles structured around a core of
Neo turns and finds a FEDERAL EXPRESS GUY at his cubicle
Yeah. That's me.
Neo signs the electronic pad and the Fedex Guy hands him
Have a nice day.
He opens the bag. Inside is a cellular PHONE. It seems
the instant it is in his hand, it RINGS. Unnerved, he
flips it open.
THE MATRIX - Rev. 3/9/98 16.
17 CONTINUED: 17
Hello, Neo. Do you know who this
Neo's knees give and he sinks into his chair.
I've been looking for you, Neo. I
don't know if you're ready to see
what I want to show you, but
unfortunately, we have run out of
time. They're coming for you,
Neo. And I'm not sure what
they're going to do.
Who's coming for me?
Stand up and see for yourself.
Neo starts to stand.
Do it slowly. The elevator.
His head peeks up over the partition. At the elevator,
he sees Agent Smith, Agent Brown and Agent Jones leading a
group of cops. A female employee turns and points out
One cop stays at the elevator, the others follow the
What the hell do they want with
17 CONTINUED: (2) 17
I'm not sure, but if you don't
want to find out, you better get
out of there.
I can guide you out, but you have
to do exactly what I say.
The agents are moving quickly towards the cubicle.
The cubicle across from you is
But what if...?
Neo lunges across the hall, diving into the other cubicle
just as the Agents turn into his row.
Neo crams himself into a dark corner, clutching the phone
tightly to him.
Stay here for a moment.
The Agents enter Neo's empty cubicle. A cop is sent to
search the bathroom.
Morpheus' voice is a whisper in Neo's ear.
A little longer...
Brown is talking to another employee.
When I tell you, go to the end of
the row to the first office on the
left, stay as low as you can.
Sweat trickles down his forehead.
THE MATRIX - Rev. 3/9/98 18.
17 CONTINUED: (3) 17
Neo rolls out of the cubicle, his eyes popping as he
freezes right behind a cop who has just turned around.
Staying crouched, he sneaks away down the row, shooting
across the opening to the first office on the left.
The room is empty.
Good. Outside there is a scaffold.
How do you know all this?
Morpheus laughs quietly.
The answer is coming, Neo. There
is a window in front of you. Open
He opens the window. The WIND HOWLS into the room.
You can use the scaffold to get to
No! It's too far away.
There's a ledge. It's a short
short climb. You can make it.
Neo looks down; the building's glass wall vertigos into a
No way, no way, this is crazy.
There are only two ways out of
this building. One is that
scaffold. The other is in their
custody. You take a chance either
way. I leave it to you.
CLICK. He hangs up. Neo looks at the door, then back at
18 CONTINUED: 18
This is insane! Why is this
happening to me? What did I do?
I'm nobody. I didn't do anything.
He climbs up onto the window ledge. Hanging onto the
frame, he steps onto the small ledge. The scaffold seems
even farther away.
I'm going to die.
The WIND suddenly BLASTS up the face of the building,
knocking Neo off balance. Recoiling, he clings harder to
the frame, and the phone falls out of his hand.
He watches as it is swallowed by the distance beneath
This is insane! I can't do this!
He climbs back into the office just as a cop opens the
19 EXT. SKYSCRAPER 19
The Agents lead a handcuffed Neo out of the revolving
doors, forcing his head down as they push him into the
Trinity watches in the rearview mirror of her motorcycle.
CLOSE ON a camera monitor; a wide angle view of a white
room where Neo is sitting at a table alone. We MOVE INTO
the monitor, entering the room as if the monitor was a
At the same moment, the door opens and the Agents enter.
Agent Smith sits down across from Neo. A thick manila
envelope slaps down on the table. The name on the file:
"Anderson, Thomas A."
THE MATRIX - Rev. 3/9/98 20.
20 CONTINUED: 20
As you can see, we've had our eye
on you for some time now, Mr.
He opens the file. Paper rattle marks the silence as he
flips several pages. Neo cannot tell if he is looking at
the file or at him.
It seems that you have been living
two lives. In one life, you are
Thomas A. Anderson, program writer
for a respectable software
company. You have a social
security number, you pay your
taxes and you help your landlady
carry out her garbage.
The pages continue to turn.
The other life is lived in
computers where you go by the
hacker alias Neo, and are guilty
of virtually every computer crime
we have a law for.
Neo feels himself sinking into a pit of shit.
One of these lives has a future.
One of them does not.
He closes the file.
I'm going to be as forthcoming as
I can be, Mr. Anderson. You are
here because we need your help.
He removes his sunglasses, his eyes are an unnatural ice-
We know that you have been
contacted by a certain individual.
A man who calls himself Morpheus.
Whatever you think you know about
this man is irrelevant. The fact
is that he is wanted for acts of
terrorism in more countries than
any other man in the world.
20 CONTINUED: (2) 20
AGENT SMITH (CONT'D)
He is considered by many
authorities to be the most
dangerous man alive.
He leans closer.
My colleagues believe that I am
wasting my time with you but I
believe you want to do the right
thing. It is obvious that you are
an intelligent man, Mr. Anderson,
and that you are interested in the
future. That is why I believe you
are ready to put your past
mistakes behind you and get on
with your life.
Neo tries to match his stare.
We are willing to wipe the slate
clean, to give you a fresh start
and all we are asking in return is
your cooperation in bringing a
known terrorist to justice.
Neo nods to himself.
Yeah. Wow. That sounds like a
real good deal. But I think I
have a better one. How about I
just give you the finger --
And you give me my phone call!
Agent Smith puts his glasses back on.
You disappoint me, Mr. Anderson.
You can't scare me with this
Gestapo crap. I know my rights.
I want my phone call!
Agent Smith smiles.
20 CONTINUED: (3) 20
And tell me, Mr. Anderson, what
good is a phone call if you are
unable to speak?
The question unnerves Neo and strangely he begins to feel
the muscles in his jaw tighten. The standing Agents
snicker, watching Neo's confusion grow into panic.
Neo feels his lips grow soft and sticky as they slowly
seal shut, melding into each other until all traces of
his mouth are gone.
Wild with fear, he lunges for the door but the Agents
restrain him, holding him in the chair.
You are going to help us, Mr.
Anderson, whether you want to or
Smith nods and the other two rip open his shirt. From a
case taken out of his suit coat, Smith removes a long,
fiber-optic wire tap.
Neo struggles helplessly as Smith dangles the wire over
his exposed abdomen. Horrified, he watches as the
electronic device animates, becoming an organic creature
that resembles a hybrid of an insect and a fluke worm.
Thin, whisker-like tendrils reach out and probe into
Neo's navel. He bucks wildly as Smith drops the creature
which looks for a moment like an uncut umbilical cord --
-- before it begins to burrow, its tail thrashing as it
worms its way inside.
Screaming, Neo bolts upright in bed.
He realizes that he is home. Was it a dream? His mouth
is normal. His stomach looks fine. He starts to take a
deep, everything-is-okay breath when --
The PHONE RINGS.
It almost stops his heart. It continues RINGING,
building pressure in the room, forcing him up out of bed,
sucking him in with an almost gravitational force. He
answers it, saying nothing.
THE MATRIX - Rev. 3/9/98 23.
21 CONTINUED: 21
This line is tapped so I must be
The Agents --
They got to you first, but they've
underestimated how important you
are. If they knew what I know,
you would probably be dead.
What are you talking about? What
the hell is happening to me?
You're the One, Neo. You see, you
may have spent the last few years
looking for me, but I've spent
most of my life looking for you.
Neo feels sick.
Do you still want to meet?
Go to the Adams Street bridge.
CLICK. He closes his eyes, unsure of what he has done.
22 EXT. CITY STREET - NIGHT 22
It is just beyond the middle of the night; that time when
it seems there are no rules and everything feels unsafe.
Neo's boots scrape against the concrete. Every pair of
eyes he passes seems to follow him. Rain pours from a
As he reaches the bridge, headlights creep in behind him.
He turns just as the car slides quickly to a stop beside
him. The back door opens.
THE MATRIX - Rev. 3/9/98 24.
23 INT. CAR 23
A large man named APOC is driving. Beside him is a
beautiful androgyne called SWITCH, aiming a large gun at
Neo. WINDOW WIPERS BEAT HEAVILY against the windshield.
What the hell is this?!
It's necessary, Neo. For our
She lifts a strange steel and glass device that looks
like a cross between a rib separator, speculum and air
Take off your shirt.
He looks at the strange device and the gun still trained
Stop the car.
Listen to me, coppertop! We don't
have time for 'twenty questions.'
Right now there is only one rule.
Our way or the highway.
Neo opens the door.
Neo, please, you have to trust me.
THE MATRIX - Rev. 3/9/98 25.
23 CONTINUED: 23
Because you've been down there,
Neo. You already know that road.
You know exactly where it ends.
Neo stares out into the sheets of rain railing against
the dark street beyond the open door.
And I know that's not where you
want to be.
He closes the door.
A23 EXT. DARK STREET A23
A moment later the green street lights curve over the
car's tinted windshield as it rushes through the wet
Neo grudgingly strips off his T-shirt.
Trinity aims the device at Neo, its glass snout forming a
seal over his navel. Switch snaps a cable into the front
seat cigarette lighter.
What is this thing?
We think you're bugged. Try to
She turns a dial and the machine bears down on Neo's
midsection, the cylinder sucking hard at his stomach.
Neo screams, squinting in pain as Trinity watches the
needle on a pressure gauge climb steadily.
Come on, come on...
On a small monitor that projects an ultrasound-like
image, we see Neo's insides begin to slither and churn.
He gasps as something wiggles beneath his skin inside his
THE MATRIX - Rev. 3/9/98 26.
24 CONTINUED: 24
It's on the move.
You're gonna lose it.
No I'm not. Clear.
The foreboding word hangs in Neo's ear for a moment when
Trinity squeezes a trigger. Electric current hammers
into Neo and rigid convulsions take hold of him beneath
the flickering car lamp until --
Something finally rockets wetly out of Neo's stomach
through the extractor's coils.
Jesus Christ! It's real?!
That thing is real?!
Trinity lifts a glass cage at the end of the tubing.
Inside, the small fluke-like bug flips and squirms, its
tendrils flapping against the clear walls.
She unrolls the window and dumps it out.
25 EXT. CAR 25
It hits the pavement with a metallic tink, reverted back
into a common wire tap, as the car disappears into the
26 EXT. HOTEL LAFAYETTE 26
The car stops in a deserted alley behind a forgotten
27 INT. HOTEL LAFAYETTE 27
It is a place of putrefying elegance, a rotting host of
Trinity leads Neo from the stairwell down the hall of the
thirteenth floor. They stop outside room 1313.
This is it.
THE MATRIX - Rev. 3/9/98 27.
27 CONTINUED: 27
Neo can hear his own heart pounding.
Let me give one piece of advice.
Be honest. He knows more than you
can possibly imagine.
Across the room, a DARK FIGURE stares out the tall
windows veiled with decaying lace. He turns and his
smile lights up the room. A dull ROAR of THUNDER shakes
the old building.
He wears a long black coat and his eyes are invisible
behind circular mirrored glasses. He strides to Neo and
they shake hands.
Welcome, Neo. As you no doubt
have guessed, I am Morpheus.
It's an honor.
No, the honor is mine. Please.
He nods to Trinity and she exits through a door to an
adjacent room. They sit across from one another in
cracked, burgundy-leather chairs.
I imagine, right now, you must be
feeling a bit like Alice, tumbling
down the rabbit hole?
You could say that.
I can see it in your eyes. You
have the look of a man who accepts
what he sees because he is
expecting to wake up.
A smile, razor-thin, curls the corner of his lips.
28 CONTINUED: 28
Ironically, this is not far from
the truth. But I'm getting ahead
of myself. Can you tell me, Neo,
why are you here?
You're Morpheus. You're a legend.
Most hackers would die to meet
Yes. Thank you. But I think we
both know there's more to it than
that. Do you believe in fate,
Because I don't like the idea that
I'm not in control of my life.
I know exactly what you mean.
Again, that smile that could cut glass.
Let me tell you why you are here.
You have come because you know
something. What you know you
can't explain but you feel it.
You've felt it your whole life,
felt that something is wrong with
the world. You don't know what,
but it's there like a splinter in
your mind, driving you mad. It is
this feeling that brought you to
me. Do you know what I'm talking
Do you want to know what it is?
Neo swallows hard and nods.
28 CONTINUED: (2) 28
The Matrix is everywhere, it's all
around us, here even in this room.
You can see it out your window or
on your television. You feel it
when you go to work, or go to
church or pay your taxes. It is
the world that has been pulled
over your eyes to blind you from
That you are a slave, Neo. Like
everyone else, you were born into
bondage, kept inside a prison that
you cannot smell, taste, or touch.
A prison for your mind.
The LEATHER CREAKS as he leans back.
Unfortunately, no one can be told
what the Matrix is. You have to
see it for yourself.
Morpheus opens his hands. In the right is a red pill.
In the left, a blue pill.
This is your last chance. After
this, there is no going back. You
take the blue pill and the story
ends. You wake in your bed and
you believe whatever you want to
The pills in his open hands are reflected in the glasses.
You take the red pill and you stay
in Wonderland and I show you how
deep the rabbit-hole goes.
Neo feels the smooth skin of the capsules, the moisture
growing in his palms.
Remember that all I am offering is
the truth. Nothing more.
THE MATRIX - Rev. 3/9/98 30.
28 CONTINUED: (3) 28
Neo opens his mouth and swallows the red pill. The
Cheshire smile returns.
He leads Neo into the other room, which is cramped with
high-tech equipment, glowing ash-blue and electric green
from the racks of monitors. Trinity, Apoc, Switch and
Cypher look up as they ente