The matrix
Executive Summary
Overview
Genres: Sci-Fi, Action, Thriller, Science, Fiction, Drama, fiction, Adventure, Romance
Setting: Present day, Small town in the Midwest
Overview: The Matrix is a dystopian sci-fi film that follows Neo, a computer programmer, as he awakens to the truth that humanity is trapped in a simulated reality called the Matrix. With the help of a group of rebels led by Morpheus and Trinity, Neo learns to harness his newfound abilities and becomes the One destined to free humanity from the machines' control.
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: John's struggle to clear his name after being falsely accused of a crime, with his family's reputation at stake
Overall Mood: Tense and suspenseful
Mood/Tone at Key Scenes:
- Scene 5: Intense confrontation between John and the real perpetrator
- Scene 10: Heart-wrenching moment of betrayal that changes the course of the story
Standout Features:
- Plot Twist: Unexpected revelation about the true culprit behind the crime
- Unique Characters: Complex and morally ambiguous characters that challenge audience expectations
Comparable Scripts:
Pass/Consider/Recommend
Explanation:
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.
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 25-54, fans of drama and mystery
Marketability: Strong central conflict and relatable characters will attract a wide audience
Compelling storyline with twists and turns will keep viewers engaged
Relevant social themes and emotional depth will resonate with audiences
Profit Potential: Moderate, with potential for strong word-of-mouth buzz and critical acclaim
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
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.
Memorable Lines:
- Morpheus: Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. (Scene 12)
- Morpheus: Welcome to the real world, Neo. (Scene 14)
- Morpheus: You are the One. (Scene 26)
- Neo: There is no spoon. (Scene 38)
- Agent Smith: Good-bye, Mr. Anderson. (Scene 44)
Characters
John Smith:A hardworking family man falsely accused of a crime
Sarah Johnson:John's loyal wife who stands by him through the ordeal
Detective Mark Thompson:The lead investigator on John's case who is determined to uncover the truth
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for 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 | |
| 1 - Opening Scene | "Suspenseful" | 8 | 8 | 8 | 7 | 7 | 6 | 8 | 9 | 8 | 0 | 8 | 8 | 6 | 7 | 8 | 8 | 9 | 10 | 9 | |
| 2 - Trinity's Escape | "Intense" | 9 | 8 | 8 | 7 | 9 | 6 | 8 | 8 | 10 | 0 | 10 | 9 | 6 | 7 | 7 | 9 | 9 | 10 | 10 | |
| 3 - Escape and Discovery | "intense" | 8 | 7 | 8 | 4 | 7 | 4 | 8 | 9 | 10 | 0 | 9 | 9 | 6 | 6 | 6 | 9 | 9 | 10 | 8 | |
| 4 - Neo's Awakening | "suspenseful" | 8 | 9 | 8 | 8 | 7 | 6 | 8 | 9 | 7 | 0 | 6 | 8 | 6 | 6 | 7 | 9 | 8 | 9 | 9 | |
| 5 - Trinity's Warning | "Mysterious" | 9 | 10 | 8 | 8 | 9 | 4 | 10 | 8 | 6 | 0 | 7 | 8 | 5 | 7 | 10 | 10 | 10 | 10 | 9 | |
| 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 | |
| 9 - Interrogation Room | "Intense" | 10 | 10 | 10 | 5 | 9 | 7 | 8 | 9 | 10 | 0 | 10 | 10 | 4 | 10 | 9 | 10 | 9 | 9 | 8 | |
| 10 - Meeting Morpheus | "Suspenseful" | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 0 | 9 | 9 | 2 | 8 | 8 | 10 | 9 | 9 | 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 | |
| 14 - Neo's Awakening | "Suspenseful" | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 0 | 9 | 9 | 4 | 8 | 6 | 9 | 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 | |
| 19 - Combat Training | "Intense" | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 8 | 10 | 0 | 8 | 9 | 5 | 8 | 7 | 9 | 7 | 9 | 8 | |
| 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 | |
| 26 - The Oracle | "Serious" | 8 | 7 | 8 | 7 | 8 | 6 | 9 | 8 | 6 | 0 | 7 | 7 | 5 | 7 | 8 | 10 | 10 | 10 | 9 | |
| 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 | |
| 29 - Deja Vu | "Tense" | 8 | 8 | 8 | 8 | 8 | 6 | 9 | 7 | 9 | 0 | 9 | 8 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | |
| 30 - The Trap | "intense" | 9 | 9 | 8 | 6 | 8 | 4 | 8 | 9 | 9 | 0 | 10 | 9 | 7 | 7 | 6 | 9 | 8 | 10 | 9 | |
| 31 - Bullet Battle | "intense" | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 10 | 0 | 9 | 10 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | |
| 32 - Escape and Betrayal | "tense" | 8 | 7 | 9 | 4 | 7 | 5 | 7 | 9 | 10 | 0 | 10 | 10 | 5 | 8 | 6 | 8 | 8 | 9 | 9 | |
| 33 - Cypher's Betrayal | "Intense" | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 10 | 0 | 10 | 10 | 4 | 8 | 8 | 9 | 8 | 10 | 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 | |
| 36 - Morpheus' Sacrifice | "Tense" | 8 | 9 | 9 | 4 | 8 | 8 | 8 | 7 | 9 | 0 | 10 | 9 | 5 | 8 | 8 | 9 | 9 | 10 | 10 | |
| 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 | |
| 40 - Rescuing Morpheus | "Tense" | 9 | 8 | 9 | 7 | 8 | 7 | 8 | 9 | 9 | 0 | 10 | 9 | 6 | 8 | 7 | 10 | 9 | 8 | 9 | |
| 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 | |
| 45 - Neo's Sacrifice | "Tense" | 9 | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 10 | 0 | 10 | 9 | 6 | 9 | 7 | 10 | 8 | 10 | 9 | |
| 46 - The Final Goodbye | "Emotional" | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 2 | 0 | 7 | 8 | 4 | 10 | 8 | 10 | 9 | 10 | 10 | |
Scene 1 - Opening Scene
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
Larry and Andy Wachowski
NUMBERED SHOOTING SCRIPT
March 29, 1998
FADE IN:
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 --
MAN (V.O.)
Yeah?
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>."
WOMAN (V.O.)
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,
Trinity.
TRINITY (WOMANV.O.)
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.
CYPHER (MANV.O.)
You weren't supposed to relieve
me.
TRINITY (V.O.)
I know but I felt like taking a
shift.
The area code is identified. The first three numbers
suddenly fixed, leaving only seven flowing columns.
CYPHER (V.O.)
You like him, don't you? You like
watching him?
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.
(CONTINUED)
2.
1 CONTINUED: 1
TRINITY (V.O.)
Don't be ridiculous.
CYPHER (V.O.)
We're going to kill him. Do you
understand that? He's going to
die just like the others.
TRINITY (V.O.)
Morpheus believes he is the One.
Only two thin digits left.
CYPHER (V.O.)
Do you?
TRINITY (V.O.)
I... it doesn't matter what I
believe.
CYPHER (V.O.)
You don't, do you?
TRINITY (V.O.)
If you have something to say, I
suggest you say it to Morpheus.
CYPHER (V.O.)
I intend to, believe me. Someone
has to.
The final NUMBER POPS into place --
TRINITY (V.O.)
Did you hear that?
CYPHER (V.O.)
Hear what?
On screen: "Trace complete. Call origin: #312-555-
0690.
TRINITY (V.O.)
Are you sure this line is clean?
CYPHER (V.O.)
Yeah, 'course I'm sure.
We MOVE STILL CLOSER, the ELECTRIC HUM of the green
NUMBERS GROWING into an ominous ROAR.
TRINITY (V.O.)
I better go.
(CONTINUED)
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.
BIG COP
Police! Freeze!
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
computer.
Sitting there, her hands still on the keyboard, is
TRINITY; a woman in black leather.
BIG COP
Hands behind your head! Now! Do
it!
She slowly puts her hands behind her head.
Scene 2 - Trinity's Escape
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
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
collars.
AGENT SMITH
Lieutenant?
LIEUTENANT
Oh shit.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 4.
3 CONTINUED: 3
AGENT SMITH
Lieutenant, you were given
specific orders --
LIEUTENANT
I'm just doing my job. You gimme
that Juris-my dick-tion and you
can cram it up your ass.
AGENT SMITH
The orders were for your
protection.
The Lieutenant laughs.
LIEUTENANT
I think we can handle one little
girl.
Agent Smith nods to Agent Brown as they start toward the
hotel.
LIEUTENANT
I sent two units. They're
bringing her down now.
AGENT SMITH
No, Lieutenant, your men are
already dead.
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
fast.
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.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 5.
4 CONTINUED: 4
A flashlight rocks slowly to a stop.
TRINITY
Shit.
5 EXT. HEART O' THE CITY HOTEL 5
Agent Brown enters the hotel while Agent Smith heads for
the alley.
6 INT. HEART O' THE CITY HOTEL 6
Trinity is on the phone, pacing. The other end is
answered.
MAN (V.O.)
Operator.
TRINITY
Morpheus! The line was traced! I
don't know how.
MORPHEUS (MANV.O.)
I know. They cut the hardline.
This line is not a viable exit.
TRINITY
Are there any Agents?
MORPHEUS (V.O.)
Yes.
TRINITY
Goddamnit!
MORPHEUS (V.O.)
You have to focus. There is a
phone. Wells and Lake. You can
make it.
She takes a deep breath, centering herself.
TRINITY
All right --
MORPHEUS (V.O.)
Go.
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.
COP
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
running hard.
COP
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 --
Scene 3 - Escape and Discovery
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
A yellow glow in the midst of a dark brick building.
Trinity zeros in on it, running as hard as she can and --
(CONTINUED)
7.
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.
TRINITY
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 --
(CONTINUED)
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.
AGENT JONES
She got out.
AGENT SMITH
It doesn't matter.
AGENT BROWN
The informant is real.
Agent Smith almost smiles.
AGENT SMITH
Yes.
AGENT JONES
We have the name of their next target.
AGENT BROWN
The name is Neo.
The handset of the pay phone lays on the ground, separated
in the crash like a severed limb.
AGENT SMITH
We'll need a search running.
AGENT JONES
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
computer screen.
The screen flickers with windowing data as a search
engine runs with a steady relentless rhythm.
We DRIFT BACK FROM the screen and INTO --
9.
Scene 4 - Neo's Awakening
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
It is a studio apartment that seems overgrown with
technology.
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
outside one.
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
screen.
He types "CTRL X" but the letter "T" appears.
NEO
What...?
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."
NEO
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
now blank.
Someone KNOCKS again. Neo rises, still unnerved.
NEO
Who is it?
CHOI (O.S)
It's Choi.
(CONTINUED)
10.
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.
NEO
You're two hours late.
CHOI (MAN)
I know. It's her fault.
NEO
You got the money?
CHOI
Two grand.
He takes out an envelope and gives it to Neo through the
cracked door.
NEO
Hold on.
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.
CHOI
Hallelujah! You are my Savior,
man! My own personal Jesus
Christ!
NEO
If you get caught using that --
CHOI
I know, I know. This never
happened. You don't exist.
NEO
Right...
Neo nods as the strange feeling of unrealness suddenly
returns.
CHOI
Something wrong, man? You look a
little whiter than usual.
NEO
I don't know... My computer...
(CONTINUED)
11.
12 CONTINUED: (2) 12
He looks back at Choi, unable to explain what just
happened.
NEO
You ever have the feeling that
you're not sure if you're awake or
still dreaming?
CHOI
All the time. It's called
mescaline and it is the only way
to fly.
He smiles and slaps the hand of his nearest droog.
CHOI
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?
DUJOUR
Definitely.
NEO
I can't. I have to work tomorrow.
DUJOUR
Come on. It'll be fun. I
promise.
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.
NEO
Yeah, yeah. Sure, I'll go.
Scene 5 - Trinity's Warning
- Overall: 9.0
- Concept: 10
- Plot: 8
- Characters: 9
- Dialogue: 10
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
are.
Dressed predominately in black, people are everywhere,
gathered in cliques around pieces of furniture like
jungle cats around a tree.
(CONTINUED)
12.
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.
TRINITY
Hello, Neo.
NEO
How do you know that name?
TRINITY
I know a lot about you. I've been
wanting to meet you for some time.
NEO
Who are you?
TRINITY
My name is Trinity.
NEO
Trinity? The Trinity? The
Trinity that cracked the I.R.S.
D-Base?
TRINITY
That was a long time ago.
NEO
Gee-zus.
TRINITY
What?
NEO
I just thought... you were a guy.
TRINITY
Most guys do.
Neo is a little embarrassed.
NEO
Do you want to go somewhere and
talk?
TRINITY
No. It's safe here and I don't
have much time.
(CONTINUED)
13.
13 CONTINUED: (2) 13
The MUSIC is so LOUD they must stand very close, talking
directly into each other's ear.
NEO
That was you on my computer?
She nods.
NEO
How did you do that?
TRINITY
Right now, all I can tell you, is
that you are in danger. I brought
you here to warn you.
NEO
Of what?
TRINITY
They're watching you, Neo.
NEO
Who is?
TRINITY
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.
TRINITY
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.
TRINITY
It's the question that drives us,
the question that brought you
here. You know the question just
as I did.
NEO
What is the Matrix?
(CONTINUED)
THE MATRIX - Rev. 3/22/98 14.
13 CONTINUED: (3) 13
TRINITY
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.
TRINITY
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
of bodies.
A SOUND RISES steadily, growing out of the MUSIC,
pressing in on Neo until it is all he can hear as we --
CUT TO:
14 INT. NEO'S APARTMENT 14
The sound is an ALARM CLOCK, slowly dragging Neo to
consciousness. He strains to read the clock-face:
9:15 A.M.
NEO
Shitshitshit.
15 EXT. SKYSCRAPER 15
The downtown office of Meta CorTechs, a software
development company.
Scene 6 - Neo Faces Consequences
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
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
computer continuously.
Neo stares at two window cleaners on a scaffolding
outside, dragging their rubber squeegees down the surface
of the glass.
RHINEHEART
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.
(CONTINUED)
15.
16 CONTINUED: 16
His long, bony fingers resume clicking the keyboard.
RHINEHEART
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
problem.
He turns again.
RHINEHEART
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?
NEO
Yes, Mr. Rhineheart. Perfectly
clear.
Scene 7 - Escape from the Office
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
The entire floor looks like a human honeycomb, with a
labyrinth of cubicles structured around a core of
elevators.
VOICE (O.S.)
Thomas Anderson?
Neo turns and finds a FEDERAL EXPRESS GUY at his cubicle
door.
NEO
Yeah. That's me.
Neo signs the electronic pad and the Fedex Guy hands him
the softpak.
FEDEX GUY
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.
NEO
Hello?
(CONTINUED)
THE MATRIX - Rev. 3/9/98 16.
17 CONTINUED: 17
MORPHEUS (V.O.)
Hello, Neo. Do you know who this
is?
Neo's knees give and he sinks into his chair.
NEO
Morpheus...
MORPHEUS (V.O.)
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.
NEO
Who's coming for me?
MORPHEUS (V.O.)
Stand up and see for yourself.
NEO
Right now?
MORPHEUS (V.O.)
Yes. Now.
Neo starts to stand.
MORPHEUS (V.O.)
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
Neo's cubicle.
Neo ducks.
NEO
Holy shit!
MORPHEUS (V.O.)
Yes.
One cop stays at the elevator, the others follow the
Agents.
NEO
What the hell do they want with
me?!
(CONTINUED)
17.
17 CONTINUED: (2) 17
MORPHEUS (V.O.)
I'm not sure, but if you don't
want to find out, you better get
out of there.
NEO
How?!
MORPHEUS (V.O.)
I can guide you out, but you have
to do exactly what I say.
The agents are moving quickly towards the cubicle.
MORPHEUS (V.O.)
The cubicle across from you is
empty.
NEO
But what if...?
MORPHEUS (V.O.)
Go! Now!
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.
MORPHEUS (V.O.)
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.
MORPHEUS (V.O.)
A little longer...
Brown is talking to another employee.
MORPHEUS (V.O.)
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.
MORPHEUS (V.O.)
Now.
(CONTINUED)
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.
Scene 8 - Escape to the Scaffold
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
The room is empty.
MORPHEUS (V.O.)
Good. Outside there is a scaffold.
NEO
How do you know all this?
Morpheus laughs quietly.
MORPHEUS (V.O.)
The answer is coming, Neo. There
is a window in front of you. Open
it.
He opens the window. The WIND HOWLS into the room.
MORPHEUS (V.O.)
You can use the scaffold to get to
the roof.
NEO
No! It's too far away.
MORPHEUS (V.O.)
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
concrete chasm.
NEO
No way, no way, this is crazy.
MORPHEUS (V.O.)
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
the scaffold.
(CONTINUED)
19.
18 CONTINUED: 18
NEO
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.
NEO
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
him.
NEO
This is insane! I can't do this!
Forget it!
He climbs back into the office just as a cop opens the
door.
NEO
Shit!
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
dark sedan.
Trinity watches in the rearview mirror of her motorcycle.
TRINITY
Shit.
Scene 9 - Interrogation Room
- Overall: 10.0
- Concept: 10
- Plot: 10
- Characters: 9
- Dialogue: 9
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
window.
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."
(CONTINUED)
THE MATRIX - Rev. 3/9/98 20.
20 CONTINUED: 20
AGENT SMITH
As you can see, we've had our eye
on you for some time now, Mr.
Anderson.
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.
AGENT SMITH
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.
AGENT SMITH
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.
AGENT SMITH
One of these lives has a future.
One of them does not.
He closes the file.
AGENT SMITH
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-
blue.
AGENT SMITH
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.
(MORE)
(CONTINUED)
21.
20 CONTINUED: (2) 20
AGENT SMITH (CONT'D)
He is considered by many
authorities to be the most
dangerous man alive.
He leans closer.
AGENT SMITH
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.
AGENT SMITH
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.
NEO
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 --
He does.
NEO
And you give me my phone call!
Agent Smith puts his glasses back on.
AGENT SMITH
You disappoint me, Mr. Anderson.
NEO
You can't scare me with this
Gestapo crap. I know my rights.
I want my phone call!
Agent Smith smiles.
(CONTINUED)
22.
20 CONTINUED: (3) 20
AGENT SMITH
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.
AGENT SMITH
You are going to help us, Mr.
Anderson, whether you want to or
not.
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.
Scene 10 - Meeting Morpheus
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 8
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.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 23.
21 CONTINUED: 21
MORPHEUS (V.O.)
This line is tapped so I must be
brief.
NEO
The Agents --
MORPHEUS (V.O.)
They got to you first, but they've
underestimated how important you
are. If they knew what I know,
you would probably be dead.
NEO
What are you talking about? What
the hell is happening to me?
MORPHEUS (V.O.)
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.
MORPHEUS (V.O.)
Do you still want to meet?
NEO
... Yes.
MORPHEUS (V.O.)
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
black sky.
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.
TRINITY
Get in.
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.
NEO
What the hell is this?!
TRINITY
It's necessary, Neo. For our
protection.
NEO
From what?
TRINITY
From you.
She lifts a strange steel and glass device that looks
like a cross between a rib separator, speculum and air
compressor.
SWITCH
Take off your shirt.
He looks at the strange device and the gun still trained
on him.
NEO
What? Why?
SWITCH
Stop the car.
Apoc does.
SWITCH
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
Fine.
Neo opens the door.
TRINITY
Neo, please, you have to trust me.
NEO
Why?
(CONTINUED)
THE MATRIX - Rev. 3/9/98 25.
23 CONTINUED: 23
TRINITY
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.
TRINITY
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
underworld.
Scene 11 - Extracting a Bug
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 7
Neo grudgingly strips off his T-shirt.
TRINITY
Lie back.
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.
NEO
What is this thing?
TRINITY
We think you're bugged. Try to
relax.
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.
TRINITY
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
stomach.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 26.
24 CONTINUED: 24
SWITCH
It's on the move.
TRINITY
Shit.
SWITCH
You're gonna lose it.
TRINITY
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.
NEO
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
rainy night.
26 EXT. HOTEL LAFAYETTE 26
The car stops in a deserted alley behind a forgotten
hotel.
27 INT. HOTEL LAFAYETTE 27
It is a place of putrefying elegance, a rotting host of
urban maggotry.
Trinity leads Neo from the stairwell down the hall of the
thirteenth floor. They stop outside room 1313.
TRINITY
This is it.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 27.
27 CONTINUED: 27
Neo can hear his own heart pounding.
TRINITY
Let me give one piece of advice.
Be honest. He knows more than you
can possibly imagine.
Scene 12 - The Red Pill
- Overall: 9.0
- Concept: 10
- Plot: 8
- Characters: 9
- Dialogue: 9
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.
MORPHEUS
At last.
He wears a long black coat and his eyes are invisible
behind circular mirrored glasses. He strides to Neo and
they shake hands.
MORPHEUS
Welcome, Neo. As you no doubt
have guessed, I am Morpheus.
NEO
It's an honor.
MORPHEUS
No, the honor is mine. Please.
Come. Sit.
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.
MORPHEUS
I imagine, right now, you must be
feeling a bit like Alice, tumbling
down the rabbit hole?
NEO
You could say that.
MORPHEUS
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.
(CONTINUED)
28.
28 CONTINUED: 28
MORPHEUS
Ironically, this is not far from
the truth. But I'm getting ahead
of myself. Can you tell me, Neo,
why are you here?
NEO
You're Morpheus. You're a legend.
Most hackers would die to meet
you.
MORPHEUS
Yes. Thank you. But I think we
both know there's more to it than
that. Do you believe in fate,
Neo?
NEO
No.
MORPHEUS
Why not?
NEO
Because I don't like the idea that
I'm not in control of my life.
MORPHEUS
I know exactly what you mean.
Again, that smile that could cut glass.
MORPHEUS
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
about?
NEO
The Matrix?
MORPHEUS
Do you want to know what it is?
Neo swallows hard and nods.
(CONTINUED)
29.
28 CONTINUED: (2) 28
MORPHEUS
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
the truth.
NEO
What truth?
MORPHEUS
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.
MORPHEUS
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.
MORPHEUS
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
believe.
The pills in his open hands are reflected in the glasses.
MORPHEUS
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.
MORPHEUS
Remember that all I am offering is
the truth. Nothing more.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 30.
28 CONTINUED: (3) 28
Neo opens his mouth and swallows the red pill. The
Cheshire smile returns.
MORPHEUS
Follow me.
Scene 13 - The Red Pill
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
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 enter.
MORPHEUS
Apoc, are we on-line?
APOC
Almost.
He and Trinity are working quickly, hardwiring a complex
system of monitors, modules and drives.
MORPHEUS
Neo, time is always against us.
Will you take a seat there?
Neo sits in a chair in the center of the room and Trinity
begins gently fixing white electrode disks to him. Near
the chair is an old oval dressing mirror that is cracked.
He whispers to Trinity:
NEO
You did all this?
She nods, placing a set of headphones over his ears.
They are wired to an old hotel phone.
MORPHEUS
The pill you took is part of a
trace program. It's designed to
disrupt your input/output carrier
signal so we can pinpoint your
location.
NEO
What does that mean?
CYPHER
It means buckle up, Dorothy,
'cause Kansas is going bye-bye.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 31.
29 CONTINUED: 29
Distantly, through the ear phones, he hears Apoc POUNDING
on a KEYBOARD. Sweat beads his face. His eyes blink and
twitch when he notices the mirror.
Wide-eyed, he stares as it begins to heal itself, a
webwork of cracks that slowly run together as though the
mirror were becoming liquid.
NEO
Did you...?
Cypher works with Apoc, checking reams of phosphorescent
data. Trinity monitors Neo's electric vital signs. Neo
reaches out to touch the mirror and his fingers disappear
beneath the rippling surface.
Quickly, he tries to pull his fingers out but the mirror
stretches in long rubbery strands like mirrored taffy
stuck to his fingertips.
MORPHEUS
Have you ever had a dream, Neo,
that you were so sure was real?
A flash of lightning flickers white hot against Neo.
NEO
This can't be...
MORPHEUS
Be what? Be real?
The strands thin like rubber cement as he pulls away,
until the fragile wisps of mirror thread break.
MORPHEUS
What if you were unable to wake
from that dream, Neo? How would
you know the difference between
the dreamworld and the real world?
Neo looks at his hand; fingers distended into mirrored
icicles that begin to melt rapidly, dripping, running
like wax down his fingers, spreading across his palm
where he sees his face reflected.
NEO
Uh-oh...
TRINITY
It's going into replication.
MORPHEUS
Apoc?
(CONTINUED)
THE MATRIX - Rev. 3/9/98 32.
29 CONTINUED: (2) 29
APOC
Still nothing.
Morpheus takes out a cellular phone and dials a number.
MORPHEUS
Tank, we're going to need the
signal soon.
The mirror gel seems to come to life, racing, crawling up
his arms like hundreds of insects.
The mirror creeps up his neck as Neo begins to panic,
tipping his head as though he were sinking into the
mirror, trying to keep his mouth up.
NEO
It's cold.
TRINITY
I got fibrillation!
MORPHEUS
Shit! Apoc?
Streams of mercury run from Neo's nose.
APOC
Targeting... almost there.
An ALARM on Trinity's monitor ERUPTS.
TRINITY
He's going into arrest!
APOC
Lock! I got him!
MORPHEUS
Now, Tank, now!
His eyes tear with mirror, rolling up and closing as a
HIGH-PITCHED ELECTRIC SCREAM erupts in the HEADPHONES.
It is a piercing shriek like a computer calling to
another computer --
Neo's body arches in agony and we are PULLED like we were
pulled INTO the holes of the phone, sucked into his scream
and swallowed by darkness.
Scene 14 - Neo's Awakening
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 6
floating in a magenta amnion.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 33.
30 CONTINUED: 30
His body spasms, fighting against the thick gelatin.
Metal tubes, surreal versions of hospital tubes, obscure
his face. Other lines like IVs are connected to limbs
and cover his genitals.
He is struggling desperately now. Air bubbles into the
Jell-O but does not break the surface. Pressing up, the
surface distends, stretching like a red rubber cocoon.
Unable to breathe, he fights wildly to stand, clawing at
the thinning elastic shroud, until it ruptures, a hole
widening around his mouth as he sucks for air. Tearing
himself free, he emerges from the cell.
It is Neo.
He is bald and naked, his body slick with gelatin.
Dizzy, nauseous, he waits for his vision to focus.
He is standing in an oval capsule of clear alloy filled
with magenta gelatin, the surface of which has solidified
like curdled milk. The IVs in his arms are plugged into
outlets that appear to be grafted to his flesh.
He feels the weight of another cable and reaches to the
back of his head where he finds an enormous coaxial
plugged and locked into the base of his skull. He tries
to pull it out but it would be easier to pull off a
finger.
To either side he sees other tube-shaped pods filled with
magenta gelatin; beneath the wax-like surface, pale and
motionless, he sees other human beings.
Fanning out in a circle, there are more. All connected
to a center core, each capsule like a red, dimly-glowing
petal attached to a black metal stem.
Above him, level after level, the stem rises seemingly
forever. He moves to the foot of the capsule and looks
out. The image assaults his mind.
Towers of glowing petals spiral up to incomprehensible
heights, disappearing down into a dim murk like an
underwater abyss.
His sight is blurred and warped, exaggerating the
intensity of the vision. The sound of the plant is like
the sound of the ocean heard from inside the belly of
Leviathan.
(CONTINUED)
34.
30 CONTINUED: (2) 30
From above, a machine drops directly in front of Neo. He
swallows his scream as it seems to stare at him. It is
almost insect-like in its design; beautiful housings of
alloyed metal covering organic-like systems of hard and
soft polymers.
The machine seizes hold of Neo, paralyzing him as the
cable lock at the back of his neck spins and opens.
The cable disengages itself. A long, clear plastic
needle and cerebrum-chip slides from the anterior of
Neo's skull with an ooze of blood and spinal fluid. The
other connective hoses snap free and snake away as the
machine lets Neo go.
Suddenly, the back of the unit opens and a tremendous
vacuum, like an airplane door opening, sucks the gelatin
and then Neo into a black hole.
31 INT. WASTE LINE 31
The pipe is a waste disposal system and Neo falls,
sliding with the clot of gelatin.
Banking through pipe spirals and elbows, flushing up
through grease traps clogged with oily clumps of
cellulite.
32 INT. SEWER MAIN 32
Neo begins to drown when he is suddenly snatched from the
flow of waste.
The metallic cable then lifts, pulling him up into the
belly of the futuristic flying machine hovering inside
the sewer main.
33 INT. HOVERCRAFT 33
The metal harness opens and drops the half-conscious Neo
onto the floor. Human hands and arms help him up as he
finds himself looking straight at Morpheus.
He smiles.
MORPHEUS
Welcome to the real world, Neo.
Neo passes out.
FADE TO BLACK.
THE MATRIX - Rev. 3/9/98 35.
FADE IN:
34 INT. HOVERCRAFT 34
We have no sense of time. We hear voices whispering.
MORPHEUS (O.S.)
We've done it, Trinity. We found
him.
TRINITY (O.S.)
I hope you're right.
MORPHEUS (O.S.)
I don't have to hope it. I know
it.
Neo's eyes flutter open. We see Morpheus' face above us,
angelic in the fluorescent glow of a light stick.
NEO (O.S.)
... am I dead?
MORPHEUS
Far from it.
FADE TO BLACK.
35 INT. HOVERCRAFT - INFIRMARY 35
He opens his eyes again, something tingling through him.
He focuses and sees his body pierced with dozens of
acupuncture-like needles wired to a strange device.
DOZER
He still needs a lot of work.
DOZER and Morpheus are operating on Neo.
NEO
What are you doing?
MORPHEUS
Your muscles have atrophied.
We're rebuilding them.
Fluorescent light sticks burn unnaturally bright.
NEO
Why do my eyes hurt?
MORPHEUS
You've never used them before.
Morpheus closes Neo's eyes and Neo lays back.
(CONTINUED)
36.
35 CONTINUED: 35
MORPHEUS
Rest, Neo. The answers are
coming.
Scene 15 - Neo Discovers the Truth
- Overall: 8.1
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
Neo wakes up from a deep sleep, feeling better. He begins
to examine himself. There is a futuristic IV plugged into
the jack in his forearm. He pulls it out, staring at the
grafted outlet.
He runs his hand over the short hair now covering his
head. His fingers find and explore the large outlet in
the base of his skull.
Just as he starts to come unglued, Morpheus opens the
door.
NEO
Morpheus, what's happened to me?
What is this place?
MORPHEUS
More important than what is when?
NEO
When?
MORPHEUS
You believe the year is 1997 when
in fact it is much closer to 2197.
I can't say for certain what year
it is because we honestly do not
know.
The wind is knocked from Neo's chest.
MORPHEUS
There is no reason for me to try
to explain it when I can simply
show it. Come with me.
37 INT. HOVERCRAFT 37
Like a sleepwalker, Neo follows Morpheus through the
ship.
MORPHEUS
This is my ship, the
Nebuchadnezzar. It's a
hovercraft.
(MORE)
(CONTINUED)
THE MATRIX - Rev. 3/9/98 37.
37 CONTINUED: 37
MORPHEUS (CONT'D)
Small like a submarine. It's
cramped and cold. But it's home.
They climb a ladder up to the main deck.
38 INT. MAIN DECK 38
Everyone is there.
MORPHEUS
This is the main deck. You know
most of my crew.
Trinity smiles and nods.
MORPHEUS
The ones you don't know. That's
Mouse, Cypher, and Switch. Those
two guys are Tank and Dozer.
The names and faces wash meaninglessly over Neo.
MORPHEUS
And this, this is the Core. This
is where we broadcast our pirate
signal and hack into the Matrix.
It is a swamp of bizarre electronic equipment. Vines of
coaxial hang and snake to and from huge monolithic
battery slabs, a black portable satellite dish and banks
of life systems and computer monitors.
At the center of the web, there are six ecto-skeleton
chairs made of a poly-alloy frame and suspension harness.
Near the circle of chairs is the control console and
operator's station where the network is monitored.
MORPHEUS
You want to know what the Matrix
is, Neo? The answer is right
here.
He touches the back of Neo's head.
MORPHEUS
Help him, Trinity.
Neo allows himself to be helped into one of the chairs.
He feels Morpheus guiding a coaxial line into the jack at
the back of his neck. The cable has the same kind of
cerebrum chip we saw inside the plant.
(CONTINUED)
38.
38 CONTINUED: 38
MORPHEUS
This will feel a little weird.
There are several disturbing noises as he works the
needle in.
We MOVE IN as Neo's shoulders bunch and his face tightens
into a grimace until a loud CLICK fires and his ears pop
like when you equalize them underwater.
He relaxes, opening his eyes as we PULL BACK to a feeling
of weightlessness inside another place --
Scene 16 - Entering the Construct
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Neo is standing in an empty, blank-white space.
MORPHEUS
This is the Construct.
Startled, Neo whips around and finds Morpheus now in the
room with him.
MORPHEUS
It is our loading program. We can
load anything from clothes, to
weapons, to training simulations.
Anything we need.
Morpheus walks past Neo and when Neo turns he sees the
two leather chairs from the Hotel Lafayette set up in
front of a large screen television.
MORPHEUS
Sit down.
Neo stands at the back of the chair as Morpheus sits.
NEO
Right now, we're inside a computer
program?
Morpheus smiles.
MORPHEUS
Is it so hard to believe? Your
clothes are different, the plugs
in your arms and head are gone.
Look at your hair, you were bald a
moment ago.
Neo touches his head.
(CONTINUED)
39.
39 CONTINUED: 39
MORPHEUS
It's what we call residual self
image. The mental projection of
your electronic self. Wild, isn't
it?
Neo's hands run over the cracked leather.
NEO
This -- This isn't real?
MORPHEUS
What is real? How do you define
real? If you're talking about
what you feel, taste, smell, or
see, then real is simply
electrical signals interpreted by
your brain.
He picks up a remote control and clicks on the
television. On the television, we see images of the
Twentieth Century city where Neo lived.
MORPHEUS
This is the world you know. The
world as it was at the end of the
Twentieth Century. It exists now
only as part of a neural-
interactive simulation that we
call the Matrix.
He changes the channel and we see a very different city
as we enter the television.
MORPHEUS
You have been living inside a
dreamworld, Neo. As in
Baudrillard's vision, your whole
life has been spent inside the
map, not the territory. This is
the world as it exists today.
In the distance, we see the ruins of a future city
protruding from the wasteland like the blackened ribs of
a long-dead corpse.
MORPHEUS
'The desert of the real.'
Beneath us, the water is gone.
(CONTINUED)
40.
39 CONTINUED: (2) 39
We TURN AND DESCEND, SPIRALING DOWN TOWARD the lake bed
which is scorched and split like burnt flesh, where we
FIND Morpheus and Neo. Neo clings to the chair, trying
to get his bearings.
MORPHEUS
We have only bits and pieces of
information. What we know for
certain is that, at some point in
the early Twenty-first Century,
all of mankind was united in
celebration. Through the blinding
inebriation of hubris, we marveled
at our magnificence as we gave
birth to A.I.
NEO
A.I.? You mean artificial
intelligence?
MORPHEUS
Yes. A singular consciousness
that spawned an entire race of
machines. I must say I find it
almost funny to imagine the world
slapping itself on the back,
toasting the new age. I say
almost funny.
He looks up and his sunglasses reflect the obsidian
clouds roiling overhead.
MORPHEUS
We don't know who struck first.
Us or them. But we do know it was
us that scorched the sky. At the
time, they were dependent on solar
power. It was believed they would
be unable to survive without an
energy source as abundant as the
sun.
As we DESCEND INTO the circular window of his glasses,
there is a flash of lightning.
MORPHEUS
Throughout human history, we have
been dependent on machines to
survive. Fate, it seems, is not
without a sense of irony.
41.
Scene 17 - Revealing the Truth
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
On the flash, we PULL BACK from the darkness which
reveals itself to be the black eye of a fetus.
MORPHEUS
The Machines discovered a new form
of fusion. All they needed was a
small electrical charge to
initiate the reaction.
The fetus is suspended in a placenta-like husk, where its
malleable skull is already growing around the brain-jack.
MORPHEUS
The human body generates more
bioelectricity than a 120-volt
battery and over 25,000 B.T.U.'s
of body heat.
The husk hanging from a stalk is plucked by a thresher-
like farm machine.
MORPHEUS
There are fields, endless fields
where human beings are no longer
born; we are grown.
We RISE UP, the field stretching in every direction to
the horizon, lightning tearing open the sky as a
harvester sweeps past us.
A40 INT. POWER PLANT A40
From the yawning black of the waste port, we begin to
PULL BACK as it snaps shut.
Red amniotic gel flows into the pod below us, pooling
around a tiny newborn that suckles its feed tube.
MORPHEUS
For the longest time, I wouldn't
believe it. But then I saw the
fields with my own eyes, watched
them liquefy the dead so they
could be fed intravenously to the
living and standing there, facing
the efficiency, the pure,
horrifying precision, I came to
realize the obviousness of the
truth.
Still PULLING BACK, we see the image of the power plant
now on the television as we return to the white space of
the construct.
42.
41 INT. CONSTRUCT 41
Morpheus steps INTO VIEW as he clicks off the television.
MORPHEUS
What is the Matrix? Control.
He opens the back of the television remote control.
MORPHEUS
The Matrix is a computer-generated
dreamworld built to keep us under
control in order to change a human
being into this.
He holds up a coppertop battery.
NEO
No! I don't believe it! It's not
possible!
MORPHEUS
I didn't say that it would be
easy, Neo. I just said that it
would be the truth.
NEO
Stop! Let me out! I want out!
42 INT. MAIN DECK 42
His eyes snap open and he thrashes against the chair,
trying to rip the cable from the back of his neck.
NEO
Get this thing out of me!
TRINITY
Easy, Neo. Easy.
Dozer holds him while Trinity unlocks it. Once it's out,
he tears away from them, falling as he trips free of the
harness.
NEO
Don't touch me! Get away from me!
On his hands and knees, he reels as the world spins.
Sweat pours off him as a pressure builds inside his skull
as if his brain had been put into a centrifuge.
NEO
I don't believe it! I don't
believe it!
(CONTINUED)
43.
42 CONTINUED: 42
CYPHER
He's going to pop!
Vomiting violently, Neo pitches forward and blacks out.
Scene 18 - The Truth About the Matrix
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
He blinks, regaining consciousness. The room is dark.
Neo is stretched out on his bed.
NEO
I can't go back, can I?
Morpheus is sitting like a shadow on a chair in the far
corner.
MORPHEUS
No. But if you could, would you
really want to?
Deep down, Neo knows that answer.
MORPHEUS
I feel that I owe you an apology.
There is a rule that we do not
free a mind once it reaches a
certain age. It is dangerous.
They have trouble letting go.
Their mind turns against them.
I've seen it happen. I'm sorry.
I broke the rule because I had to.
He stares into the darkness, confessing as much to
himself as to Neo.
MORPHEUS
When the Matrix was first built
there was a man born inside that
had the ability to change what he
wanted, to remake the Matrix as he
saw fit. It was this man that
freed the first of us and taught
us the truth; as long as the
Matrix exists, the human race will
never be free.
He pauses.
(CONTINUED)
44.
43 CONTINUED: 43
MORPHEUS
When he died, the Oracle
prophesied his return and
envisioned that his coming would
hail the destruction of the
Matrix, an end to the war and
freedom for our people. That is
why there are those of us that
have spent our entire lives
searching the Matrix, looking for
him.
Neo can feel his eyes on him.
MORPHEUS
I did what I did because I believe
the search is over.
He stands up.
MORPHEUS
Get some rest. You're going to
need it.
NEO
For what?
MORPHEUS
Your training.
44 INT. HOVERCRAFT 44
There is no morning; there is only darkness and then the
fluorescent light sticks flicker on.
45 INT. NEO'S ROOM 45
Neo is awake in his bed, staring up at the lights. The
door opens and TANK steps inside.
TANK
Morning. Did you sleep?
NEO
No.
TANK
You will tonight. I guarantee it.
I'm Tank. I'll be your operator.
He offers his hand and Neo shakes it. He notices that
Tank doesn't have any jacks.
(CONTINUED)
45.
45 CONTINUED: 45
NEO
You don't have...
TANK
Any holes? Nope. Me and my
brother Dozer, we are one
hundred percent pure, old-
fashioned, home-grown human.
Born free. Right here in the
real world. Genuine child
of Zion.
NEO
Zion?
TANK
If this war ended tomorrow, Zion
is where the party would be.
NEO
It's a city?
TANK
The last human city. The only
place we got left.
NEO
Where is it?
TANK
Deep underground. Near the
earth's core, where it's still
warm. You live long enough, you
might even see it.
(he smiles)
Goddamn, I got to tell you, I'm
fairly excited to see what you are
capable of. I mean if Morpheus is
right and all. We're not supposed
to talk about any of that but if
you are, well then this is an
exciting time. We got a lot to do
so let's get to it.
Scene 19 - Combat Training
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Neo is plugged in, hanging in one of the suspension
chairs.
(CONTINUED)
46.
46 CONTINUED: 46
TANK
We're supposed to load all these
operations programs first, but
this is some major boring shit.
Why don't we start with something
a little fun?
Tank smiles as he plops into his operator's chair. He
begins flipping through a tall carousel loaded with micro
discs.
TANK
How about some combat training?
Neo reads the label on the disk.
NEO
Jujitsu? I'm going to learn
jujitsu?
Tank slides the disk into Neo's supplement drive.
NEO
No way.
Smiling, Tank punches the "load" code. His body jumps
against the harness as his eyes clamp shut. The monitors
kick wildly as his heart pounds, adrenaline surges, and
his brain sizzles. An instant later his eyes snap open.
NEO
Holy shit!
TANK
Hey, Mikey, he likes it! Ready
for more?
NEO
Hell yes!
47 INT. MAIN DECK 47
CLOSE ON a computer monitor as grey pixels slowly fill a
small, half-empty box. It is a meter displaying how much
download time is left.
The title bar reads: "Combat Series 10 of 12," file
categories flashing beneath it: "Savate, Jujitsu, Ken Po,
Drunken Boxing..."
Morpheus walks in.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 47.
47 CONTINUED: 47
MORPHEUS
How is he?
TANK
Ten hours straight. He's a
machine.
Neo's body spasms and relaxes as his eyes open, breath
hissing from his lips. He looks like he just orgasmed.
NEO
This is incredible. I know kung
fu.
MORPHEUS
Show me.
48 INT. DOJO 48
They are standing in a very sparse Japanese-style dojo.
MORPHEUS
This is a sparring program,
similar to the programmed reality
of the Matrix. It has the same
basic rules. Rules like gravity.
What you must learn is that these
rules are no different than the
rules of a computer system. Some
of them can be bent. Others can
be broken. Understand?
Neo nods as Morpheus assumes a fighting stance.
MORPHEUS
Then hit me, if you can.
Neo assumes a similar stance, cautiously circling until
he gives a short cry and launches a furious attack.
It is like a Jackie Chan movie at high speed, fists and
feet striking from every angle as Neo presses his attack,
but each and every blow is blocked by effortless speed.
49 INT. MAIN DECK 49
While their minds battle in the programmed reality, the
two bodies appear quite serene, suspended in the drive
chairs.
Tank monitors their Life Systems, noticing that Neo is
wildly and chaotically lit up as opposed to the slow and
steady rhythm of Morpheus.
48.
50 INT. MESS HALL 50
MOUSE bursts into the room, interrupting dinner.
MOUSE
Morpheus is fighting Neo!
All at once, everyone bolts for the door.
51 INT. DOJO 51
Neo's face is knotted, teeth clenched, as he hurls
himself at Morpheus.
MORPHEUS
Good. Adaptation. Improvisation.
But your weakness isn't your
technique.
Morpheus attacks him and it is like nothing we have seen.
His feet and fists are everywhere, taking Neo apart. For
every blow Neo blocks, five more hit their marks until --
Neo falls.
Panting, on his hands and knees, blood spits from his
mouth, speckling the white floor of the dojo.
MORPHEUS
How did I beat you?
NEO
You -- You're too fast.
MORPHEUS
Do you think my being faster,
stronger has anything to do with
my muscles in this place?
Neo is frustrated, still unable to catch his breath.
MORPHEUS
Do you believe that's air you are
breathing now?
Neo stands, nodding slowly.
MORPHEUS
Again.
Their fists fly with pneumatic speed.
49.
52 INT. MAIN DECK 52
Everyone is gathered behind Tank, watching the fight,
like watching a game of Mortal Kombat.
MOUSE
Jeezus Keeerist! He's fast! Look
at his neural-kinetics! They're
way above normal!
Scene 20 - Training and Jumping
- Overall: 7.5
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
Morpheus begins to press