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 Neo, countering blows while
slipping in several stinging slaps.
MORPHEUS
Come on, Neo. What are you
waiting for? You're faster than
this. Don't think you are. Know
you are.
Whack, Morpheus cracks Neo again. Neo's face twists with
rage as the speed of the blows rises like a drum solo.
MORPHEUS
Come on! Stop trying to hit me
and just hit me.
Wham. A single blow catches Morpheus on the side of the
head, knocking off his glasses.
54 INT. MAIN DECK 54
There are several gasps.
MOUSE
I don't believe it!
55 INT. DOJO 55
Morpheus rubs his face, then smiles.
NEO
I know what you're trying to do --
MORPHEUS
I'm trying to free your mind, Neo,
but all I can do is show you the
door. You're the one that has to
step through. Tank, load the jump
program.
50.
56 INT. HOVERCRAFT 56
Apoc and Switch exchange looks as Tank grabs for the
disk.
57 INT. CONSTRUCT - ROOFTOP - DAY 57
Morpheus and Neo are again in the white space of the
Construct. Beneath their feet, we see the jump program
rush up at them until they are standing on a rooftop in a
city skyline.
MORPHEUS
Let it all go, Neo. Fear. Doubt.
Disbelief. Free your mind.
Morpheus spins, running hard at the edge of the rooftop.
And jumps. He sails through the air, his coat billowing
out behind him like a cape as he lands on the rooftop
across the street.
NEO
Shit.
Neo looks down at the street twenty floor below, then at
Morpheus an impossible fifty feet away.
NEO
Okie dokie. Free my mind. Right.
No problem.
He takes a deep breath. And starts to run.
58 INT. MAIN DECK 58
They are transfixed.
MOUSE
What if he makes it?
APOC
No way. Not possible.
TANK
No one's ever made their first
jump.
MOUSE
I know, but what if he does?
APOC
He won't.
(CONTINUED)
51.
58 CONTINUED: 58
Trinity stares at the screen, her fists clenching as she
whispers.
TRINITY
Come on.
59 EXT. ROOFTOP 59
Summoning every ounce of strength in his legs, Neo
launches himself into the air in a single maniacal
shriek --
-- but comes up drastically short.
His eyes widen as he plummets. Stories fly by, the
ground rushing up at him, but as he hits, the ground gives
way, stretching like a trapeze net. He bounces and flips,
slowly coming to a rest, flat on his back.
He laughs, a bit unsure, wiping the windblown tears from
his face. Morpheus exits the building and helps him to
his feet.
MORPHEUS
Do you know why you didn't make
it?
NEO
Because... I didn't think I would?
Morpheus smiles and nods.
60 INT. MAIN DECK 60
They break up.
MOUSE
What does it mean?
SWITCH
It doesn't mean anything.
CYPHER
Everyone falls the first time,
right, Trinity?
But Trinity has already left.
Neo's eyes open as Tank eases the plug out. He tries to
move and groans, cradling his ribs. While Tank helps
Morpheus, Neo spits blood into his hand.
(CONTINUED)
52.
60 CONTINUED: 60
NEO
I thought it wasn't real.
MORPHEUS
Your mind makes it real.
Neo stares at the blood.
NEO
If you are killed in the Matrix,
do you die here?
MORPHEUS
The body cannot live without the
mind.
61 INT. NEO'S ROOM 61
Trinity enters from the hall, carrying a tray of food.
TRINITY
Neo, I saved you some dinner --
She sees him passed out on the bed. She sets the tray
down and pulls the blanket over him.
She pauses, her face close to his, then inhales lightly,
breathing in the scent of him before slowly pulling away.
Scene 21 - Combat Training and Learning about Agents
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Trinity steps out of Neo's room to find Cypher watching
her.
CYPHER
I don't remember you ever bringing
me dinner.
Trinity says nothing.
CYPHER
There's something about him, isn't
there?
TRINITY
Don't tell me you're a believer
now?
(CONTINUED)
53.
62 CONTINUED: 62
CYPHER
I just keep wondering if Morpheus
is so sure, why doesn't he take
him to the Oracle? She would
know.
TRINITY
Morpheus will take him when he's
ready.
She turns and he watches her walk away.
63 EXT. CITY STREET - TRAINING PROGRAM - DAY 63
Morpheus moves effortlessly through a crowded downtown
street while Neo struggles to keep up, constantly bumped
and shouldered off the path.
MORPHEUS
The Matrix is a system, Neo, and
that system is our enemy. But
when you are inside and you look
around, what do you see;
businessmen, lawyers, teachers,
carpenters. The minds of the very
people we are trying to save. But
until we do, these people are
still a part of the system and
that makes them our enemy.
A cop writing a parking ticket stares at Neo from behind
his sunglasses.
MORPHEUS
You have to understand that most
of these people are not ready to
be unplugged and many of them are
so inured, so hopelessly dependent
on the system that they will fight
to protect it.
A beautiful woman in a red dress smiles at Neo as she
passes by.
MORPHEUS
Were you listening to me, Neo? Or
were you looking at the woman in
the red dress?
NEO
I was...
(CONTINUED)
54.
63 CONTINUED: 63
MORPHEUS
Look again.
Neo turns just as Agent Smith levels a gun at his face.
Neo screams.
MORPHEUS
Freeze it.
Everything except Morpheus and Neo freezes.
NEO
This -- this isn't the Matrix?
MORPHEUS
No, it's another training program
designed to teach you one thing;
if you are not one of us, you're
one of them.
NEO
What are they?
MORPHEUS
Sentient programs. They can move
in and out of any software still
hardwired to their system. That
means that anyone that we haven't
unplugged is potentially an Agent.
Inside the Matrix, they are
everyone and they are no one.
Neo stares at the Agent.
MORPHEUS
We've survived by hiding from
them, running from them, but they
are the gatekeepers, they're
guarding all the doors, holding
all the keys, which means that
sooner or later someone is going
to have to fight them.
NEO
Someone?
MORPHEUS
I won't lie to you, Neo. Every
single man or woman who has stood
their ground, who has fought an
Agent, has died. But where they
failed, you will succeed.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 55.
63 CONTINUED: (2) 63
NEO
Why?
MORPHEUS
I've seen an Agent punch through a
concrete wall. Men have emptied
entire clips at them and hit
nothing but air. Yet their
strength and their speed are still
based on a world that is built by
rules. Because of that they will
never be as strong or as fast as
you can be.
Neo scratches his head.
NEO
What? Are you trying to tell me
that I can dodge bullets?
MORPHEUS
No, Neo. I'm trying to tell you
that when you're ready, you won't
have to.
Morpheus' cell PHONE RINGS and he flips it open.
TANK (V.O.)
We got trouble.
64 EXT. SEWER MAIN 64
The Nebuchadnezzar blisters by, trailing a swirling,
supercharged, electromagnetic wake.
Scene 22 - The EMP Attack
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
Morpheus slides into the copilot's chair next to Dozer.
MORPHEUS
Did Zion send the warning?
DOZER
No. Another ship. Big Brother I
think, they're running a parallel
pipeline.
Morpheus scans the decayed landscape of the sewer main
that rolls by as Neo and Trinity squeeze into the cockpit
behind him. An ALARM BEGINS TO SOUND.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 56.
65 CONTINUED: 65
DOZER
Shit, Squiddy's sweeping in quick.
MORPHEUS
Set it down in there.
NEO
Squiddy?
TRINITY
A Sentinel. It's a killing
machine designed for one thing.
DOZER
Search and destroy.
Neo feels the ship rock to the side as it squeezes into a
tiny supply line.
66 EXT. HOVERCRAFT 66
The Nebuchadnezzar sets down, almost wedged into a pipe
that barely accommodates its size.
67 INT. COCKPIT 67
Morpheus clicks the intercom.
MORPHEUS
How we doing, Tank?
68 INT. MAIN DECK 68
Tank works furiously at the operator's station as the
ceaseless WHIR of the ship's TURBINES GRIND TO a HALT.
The main deck is plunged into dark silence. The rest
of the screw stands behind him as he whispers.
TANK
Power off-line. E.M.P. armed and
ready.
Tank's fingers curl around a small key that glows a dim
red.
69 INT. COCKPIT 69
Neo leans into Trinity's ear.
(CONTINUED)
57.
69 CONTINUED: 69
NEO
E.M.P.?
TRINITY
An electromagnetic pulse. It
disables any electrical system in
the blast radius. It's the only
weapon we have against the
machines.
Dozer looks up.
DOZER
Now we wait.
THROUGH the cockpit's windshield, the vast cavern of the
sewer main yawns before them. Strands of green haze curl
round mossy icicles that dangle into a pool of churning
frozen waste. Neo begins to angle around Dozer but
Morpheus grabs him.
MORPHEUS
Don't move. It'll hear you.
Neo freezes and they wait. Without the Nebuchadnezzar's
heating systems, the temperature in the cockpit begins to
rapidly drop. The crew members huddle together, their
breath freezing into a uniform cloud as it gets colder
and colder.
Dozer quietly reaches to brush away the frost on the
windshield and as his hand clears a swath --
They see it.
In the darkness, a shifting shadow of mechanized death.
It is beautiful and terrifying. Black alloy skin
flickers like sequins beneath sinewy coils and skeletal
appendages.
Neo can feel the hairs on the back of his neck rise as it
silently glides over them with shark-like malevolence
until it disappears into the darkness.
In the frozen little room, everyone breathes a little
easier.
70 INT. HALL 70
The ship is quiet and dark. Everyone is asleep.
58.
Scene 23 - The Truth about the One
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
The core glows with monitor light. Cypher is in the
operator's chair as Neo comes up behind him.
CYPHER
Whoa! Shit, Neo, you scared the
bejeezus out of me.
NEO
Sorry.
CYPHER
No, it's all right.
Neo's eyes light up as he steps closer to the screens
that seem alive with a constant flow of data.
NEO
Is that...?
CYPHER
The Matrix? Yeah.
Neo stares at the endlessly shifting river of
information, bizarre codes and equations flowing across
the face of the monitor.
NEO
Do you always look at it encoded?
CYPHER
Have to. The image translators
sort of work for the construct
programs but there's way too much
information to decode the Matrix.
You get used to it, though. Your
brain does the translating. I
don't even see the code. All I
see is blonde, brunette, and
redhead. You want a drink?
Neo nods and he pours a clear alcohol from a plastic jug.
CYPHER
You know, I know what you're
thinking 'cause right now I'm
thinking the same thing.
Actually, to tell you the truth,
I've been thinking the same thing
ever since I got here.
He raises the glass.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 59.
71 CONTINUED: 71
CYPHER
Why, oh why, didn't I take that
blue pill?
He throws the shot down his throat. Neo does the same
and it almost kills him. Smiling, Cypher slaps him on
the back.
CYPHER
Good shit, eh? Dozer makes it.
It's good for two things:
degreasing engines and killing
brain cells.
Red-faced, Neo finally stops coughing. Cypher pours him
another.
CYPHER
Can I ask you something? Did he
happen to tell you why he did it?
Neo looks up, unsure.
CYPHER
Why you're here?
NEO
... Yeah.
CYPHER
Gee-zus! What a mindjob. You're
here to save the world. You gotta
be shitting me. What do you say
to something like that?
Neo looks down at his drink.
CYPHER
I'm going to let you in on a
little secret here. Now don't
tell him I told you this, but this
ain't the first time Morpheus
thought he found the One.
NEO
Really?
CYPHER
You bet your ass. It keeps him
going. Maybe it keeps all of us
going.
NEO
How many were there?
(CONTINUED)
60.
71 CONTINUED: (2) 71
CYPHER
Five. Since I've been here.
NEO
What happened to them?
CYPHER
Dead. All dead.
NEO
How?
CYPHER
Honestly. Morpheus. He got them
all amped up believing in
bullshit. I watched each of them
take on an Agent and I watched
each of them die. Little piece of
advice: you see an Agent, you do
what we do; run. Run your ass
off.
Neo gulps down another shot.
NEO
Thanks... for the drink.
CYPHER
Anytime.
Cypher nods as Neo heads for the ladder.
CYPHER
Sweet dreams.
A71 INT. RESTAURANT - NIGHT A71
CHAMBER MUSIC and the ambiance of wealth soak the
restaurant around us as we watch a serrated knife saw
through a thick, gorgeous steak. The meat is so perfect,
charred on the outside, oozing red juice from the inside,
that it could be a dream.
We hear a voice that we recognize immediately.
AGENT SMITH
Do we have a deal, Mr. Reagan?
A fork stabs the cube of meat and we FOLLOW it UP TO the
face of Cypher.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 61.
A71 CONTINUED: A71
CYPHER
You know, I know that this steak
doesn't exist. I know when I put
it in my mouth, the Matrix is
telling my brain that it is juicy
and delicious. After nine years,
do you know what I've realized?
He shoves it in, eyes rolling up, savoring the tender
beef melting in his mouth.
CYPHER
Ignorance is bliss.
Agent Smith watches him chew the steak loudly, smacking
it between his teeth.
CYPHER
Mmm so, so goddamn good.
AGENT SMITH
Then we have a deal?
CYPHER
I don't want to remember nothing.
Nothing! You understand? And I
want to be rich. Someone
important. Like an actor. You
can do that, right?
AGENT SMITH
Whatever you want, Mr. Reagan.
Cypher takes a deep drink of wine.
CYPHER
All right. You get my body back
in a power plant, reinsert me into
the Matrix and I'll get you what
you want.
AGENT SMITH
Access codes to the Zion
mainframe.
CYPHER
I told you I don't know them. But
I can give you the man who does.
AGENT SMITH
Morpheus.
THE MATRIX - Rev. 3/9/98 62.
Scene 24 - Breakfast of Champions
- Overall: 7.0
- Concept: 8
- Plot: 6
- Characters: 7
- Dialogue: 7
CLOSE ON breakfast, a substance with a consistency
somewhere between yogurt and cellulite.
TANK
Here you go, buddy. Breakfast of
champions.
Tank slides it in front of Neo and takes a seat with the
other crew members enjoying breakfast.
APOC
You mean the breakfast, lunch, and
dinner of champions.
MOUSE
If you close your eyes, it almost
feels like you're eating runny
eggs.
APOC
Or a bowl of snot.
MOUSE
But you know what it really
reminds me of? Cream of Wheat.
Did you ever eat Cream of Wheat?
SWITCH
No, but technically neither did
you.
MOUSE
Exactly my point, because you have
to wonder, how do the machines
know what Cream of Wheat really
tasted like? Maybe they got it
wrong, maybe what I think Cream of
Wheat tasted like actually tasted
like oatmeal, or tuna fish. It
makes you wonder about a lot of
things. Take chicken for example.
Maybe they couldn't figure out
what to make chicken taste like
which is why chicken tastes like
everything. And maybe --
APOC
Shut up, Mouse.
Neo scoops up a spoonful.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 63.
72 CONTINUED: 72
DOZER
It's a single-celled protein
combined with synthetic aminos,
vitamins, and minerals.
Everything your body needs. We
grow it in a vat.
MOUSE
Oh no, it doesn't have everything
the body needs.
He sidles up to Neo.
MOUSE
So I understand you've run
through the Agent training
program? You know, I wrote that
program.
APOC
Here it comes.
MOUSE
So what did you think of her?
NEO
Of who?
MOUSE
The woman in the red dress. I
designed her. She doesn't talk
much but if you'd like to, you
know, meet her, I could arrange
a more personalized milieu.
SWITCH
The digital pimp hard at work.
MOUSE
Pay no attention to these
hypocrites, Neo. To deny our
impulses is to deny the very
thing that makes us human.
Morpheus enters.
MORPHEUS
I want everyone on twelve-hour
standby. We're going in. I'm
taking Neo to see her.
With that he turns and leaves.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 64.
72 CONTINUED: 72
NEO
See who?
TANK
The Oracle.
A72 INT. MAIN DECK A72
Everyone is strapped into their chairs. Tank is at the
operator's station.
TANK
All right, everyone please observe
that the no smoking and fasten
seat belt signs have been turned
on. Sit back and enjoy your
flight.
He strikes the enter key and we RUSH CLOCKWISE OVER the
chairs, each body reacting as we...
CUT TO:
B72 INT. HOTEL LAFAYETTE - ROOM 1313 B72
SPINNING COUNTER-CLOCKWISE AROUND an old PHONE that RINGS
inside the empty room until we SPIN FULL CIRCLE and FIND
everyone now standing there.
Morpheus answers the phone.
MORPHEUS
We're in.
73 EXT. HOTEL LAFAYETTE - DAY 73
The door opens and for the first time since his release,
Neo steps back into the Matrix. He squints at the sun
which seems unnaturally bright. He is the only one
without sunglasses.
Apoc and Switch remain at the door as the others enter
the alley.
MORPHEUS
We should be back in an hour.
Cypher opens the driver's door of an old car as Trinity,
Morpheus and Neo cross to the car, Cypher glances about
quickly, then drops something inside a garbage can.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 64A.
73 CONTINUED: 73
It is a cellular phone and we see its blue display as the
line connects.
Scene 25 - Meeting the Oracle
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
Neo sits beside Trinity in the back. He cannot stop
staring as the simple images of the urban street blur
past his window like an endless stream of data rushing
down a computer screen.
MORPHEUS
Almost unbelievable, isn't it?
Neo nods as the car continues to wind through the crowded
city.
(CONTINUED)
65.
74 CONTINUED: 74
NEO
God...
TRINITY
What?
NEO
I used to eat there... Really good
noodles...
He is speaking in a whisper, almost as if talking to
himself.
NEO
I have these memories, from my
entire life but... none of them
really happened.
He turns to her.
NEO
What does that mean?
TRINITY
That the Matrix cannot tell you
who you are.
NEO
But an Oracle can.
TRINITY
That's different.
NEO
Obviously.
He turns to the window for a moment and then turns back.
NEO
Did you go to her?
TRINITY
Yes.
NEO
What did she tell you?
TRINITY
She told me...
She looks at him and suddenly she is unable to speak or
even breathe.
(CONTINUED)
66.
74 CONTINUED: (2) 74
NEO
What?
The car suddenly jerks to a stop.
MORPHEUS
We're here. Neo, come with me.
Neo and Morpheus get out of the car. Cypher looks into
the rearview mirror at Trinity.
CYPHER
Here we go again, eh, Trin?
He smiles as she turns to the window.
75 EXT. BUILDING 75
Tenement-like and vast, it is the kind of place where
people can disappear.
76 INT. BUILDING 76
Morpheus nods to a blind man who nods back. An elevator
opens and Neo follows Morpheus inside.
77 INT. ELEVATOR 77
The idea of learning one's fate begins to weigh upon Neo
with a steadily growing unease.
NEO
So is this the same oracle that
made the, uh, prophecy?
MORPHEUS
Yes. She's very old. She's been
with us since the beginning.
NEO
The beginning?
MORPHEUS
Of the Resistance.
NEO
And she knows what? Everything?
MORPHEUS
She would say she knows enough.
(CONTINUED)
67.
77 CONTINUED: 77
NEO
And she's never wrong.
MORPHEUS
Don't think of it in terms of
right and wrong. She is a guide,
Neo. She can help you find the
path.
NEO
She helped you?
MORPHEUS
Yes.
NEO
What did she tell you?
MORPHEUS
That I would find the One.
DING. The ELEVATOR opens.
Scene 26 - The Oracle
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 8
The long dark hall beckons. Neo follows Morpheus out of
the elevator and the DOORS RATTLE shut behind him. With
every step, a disturbing sense of inevitability closes in
around him.
At the end of the hall, Morpheus steps to the side of a
door.
MORPHEUS
I told you that I can only show
you the door. You have to step
through it.
Neo blows out a breath. His hand reaches but stops,
hovering over the spherical handle. He backs away.
NEO
Morpheus, I don't think this is a
good idea.
MORPHEUS
Why?
NEO
I told you I don't believe in this
stuff. No matter what she says
I'm not going to believe it, so
what's the point?
(CONTINUED)
68.
78 CONTINUED: 78
MORPHEUS
What do you believe in?
NEO
What do I believe in? Are you
kidding me? What do you think?
The world I grew up in isn't real.
My entire life was a lie. I don't
believe in anything anymore.
MORPHEUS
That's why we're here.
NEO
Why? So I can hear some old lady
tell me, what? That I'm this guy
that everybody's been waiting for?
That I'm supposed to save the
world? It sounds insane.
Unbelievable. And I don't care
who says it, it's still going to
sound insane and unbelievable.
MORPHEUS
Faith is not a matter of
reasonability. I do not believe
things with my mind. I believe
them with my heart. In my gut.
NEO
And you believe I'm the One?
MORPHEUS
Yes I do.
NEO
Yeah? What about the other five
guys? The five before me? What
about them?
Morpheus tries to hide his heart being wrenched from his
chest.
NEO
Did you believe in them too?
MORPHEUS
I believed what the Oracle told
me... no, I misunderstood what she
told me. I believed that it was
all about me.
This is difficult for Morpheus to admit.
(CONTINUED)
69.
78 CONTINUED: (2) 78
MORPHEUS
I believed that all I had to do
was point my finger and anoint
whoever I chose. I was wrong,
Neo. Terribly wrong. Not a day
or night passes that I do not
think of them. After the fifth, I
lost my way. I doubted everything
the Oracle had said. I doubted
myself.
He looks up at Neo.
MORPHEUS
And then I saw you, Neo, and my
world changed. You can call it
an epiphany, you can call it
whatever the hell you want.
It doesn't matter. It's not
about a word. It's about this.
So I can't explain it to you.
All I can do is believe, Neo,
believe that one day you will
feel what I felt and know what
I know; you are the sixth and
the last. You are the One.
His eyes blaze.
MORPHEUS
Until that time all I am asking
from you is for you to hold on to
whatever respect you may have for
me and trust me.
Neo feels a rush from Morpheus's intensity, the
unadulterated confidence of a zealot.
NEO
All right.
He reaches for the handle which turns without him even
touching it. A WOMAN wearing white opens the door.
PRIESTESS (WOMAN)
Hello, Neo. You're right on time.
Scene 27 - The Oracle's Potentials
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
It seems particularly normal.
PRIESTESS
Make yourself at home, Morpheus.
(CONTINUED)
70.
79 CONTINUED: 79
MORPHEUS
Thank you.
PRIESTESS
Neo, come with me.
She leads Neo down another hall and into what appears to
be a family room.
There is another woman in white sitting on a couch
watching a soap opera. Scattered about the room are a
half dozen children. Some of them are playing, others are
deep in meditation. All of them exude a kind of Zen calm.
PRIESTESS
These are the other Potentials.
You can wait here.
Neo watches a little girl levitate wooden alphabet
blocks. Closer to him, a SKINNY BOY with a shaved head
holds a spoon which sways like a blade of grass.
In front of him is a pile of spoons bent and twisted into
knots. Neo crosses to him and sits. The boy smiles and
hands Neo the spoon which is now perfectly straight.
SPOON BOY (SKINNY BOY)
Do not try to bend the spoon.
That is impossible. Instead, only
try to realize the truth.
NEO
What truth?
SPOON BOY
That there is no spoon.
Neo nods, staring at the spoon.
NEO
There is no spoon.
SPOON BOY
Then you will see that it is not
the spoon that bends. It is only
yourself.
The entire room is reflected inside the spoon and as Neo
stares into it, it slowly begins to bend until --
A hand touches his shoulder.
PRIESTESS
The Oracle will see you now.
Spoon Boy smiles.
71.
Scene 28 - Neo Meets the Oracle
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
An OLD WOMAN is huddled beside the oven, peering inside
through a cracked door.
NEO
Hello?
ORACLE (OLD WOMAN)
I know. You're Neo. Be right
with you.
NEO
You're the Oracle?
ORACLE
Bingo. Not quite what you were
expecting, right? I got to say I
love seeing you non-believers.
Always a pip. Almost done. Smell
good, don't they?
NEO
Yeah.
ORACLE
I'd ask you to sit down, but
you're not going to anyway. And
don't worry about the vase.
NEO
What vase?
He turns to look around and his elbow knocks a VASE from
the table. It BREAKS against the linoleum floor.
ORACLE
That vase.
NEO
Shit, I'm sorry.
She pulls out a tray of chocolate chip cookies and turns.
She is an older woman, wearing big oven mitts,
comfortable slacks and a print blouse. She looks like
someone's grandma.
ORACLE
I said don't worry about it. I'll
get one of my kids to fix it.
NEO
How did you know...?
She sets the cookie tray on a wooden hot pad.
(CONTINUED)
72.
80 CONTINUED: 80
ORACLE
What's really going to bake your
noodle later on is, would you
still have broken it if I hadn't
said anything.
Smiling, she lights a cigarette.
ORACLE
You're cuter than I thought. I
see why she likes you.
NEO
Who?
ORACLE
Not too bright though.
She winks.
ORACLE
You know why Morpheus brought you
to see me?
He nods.
ORACLE
So? What do you think? You think
you're the One?
NEO
Honestly? I don't know.
She gestures to a wooden plaque, the kind every kitchen
has, except that the words are in Latin.
ORACLE
You know what that means? It's
Latin. Means, 'Know Thyself.'
I'm gonna let you in on a little
secret. Being the One is just
like being in love. Nobody can
tell you you're in love. You just
know it. Through and through.
Balls to bones.
She puts her cigarette down.
ORACLE
Well, I better have a look at you.
Open your mouth. Say, 'ahh.'
She widens his eyes, checks his ears, then feels the
glands in his neck. She nods, then looks at his palms.
(CONTINUED)
73.
80 CONTINUED: (2) 80
ORACLE
Okay, now I'm supposed to say,
'Hmmm, that's interesting but...'
Then you say --
NEO
But what?
ORACLE
But you already know what I'm
going to tell you.
NEO
I'm not the One.
ORACLE
Sorry, kid. You got the gift but
looks like you're waiting for
something.
NEO
What?
ORACLE
Your next life, maybe. Who knows?
That's how these things go.
Neo almost has to laugh.
ORACLE
What's funny?
NEO
Morpheus. He almost had me
convinced.
ORACLE
I know. Poor Morpheus. Without
him we are lost.
NEO
What do you mean, without him?
The Oracle takes a long drag, regarding Neo with the eyes
of a Sphinx.
ORACLE
Are you sure you want to hear
this?
Neo nods.
(CONTINUED)
74.
80 CONTINUED: (3) 80
ORACLE
Morpheus believes in you, Neo, and
no one, not you or even me can
convince him otherwise. He
believes it so blindly that he's
going to sacrifice his life to
save yours.
NEO
What?
ORACLE
You're going to have to make a
choice. In one hand, you will
have Morpheus's life. In the
other hand, you will have your
own. One of you is going to die.
Which one, will be up to you.
Neo can't breathe.
ORACLE
I'm sorry, kiddo. I really am.
You have a good soul and I hate
giving good people bad news. But
don't worry, as soon as you walk
outside that door, you'll start
feeling better. You'll remember
that you don't believe any of this
fate crap. You're in control of
your own life, remember?
He tries to nod as she reaches for the tray of cookies.
ORACLE
Here, take a cookie. I promise by
the time you're done eating it,
you'll feel right as rain.
Neo takes a cookie, the tightness in his chest slowly
beginning to fade.
Scene 29 - Deja Vu
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
Morpheus rises from a couch as the priestess escorts Neo
out. When they are alone, Morpheus puts his hand on
Neo's shoulder.
MORPHEUS
You don't have to tell anyone what
she told you. What was said was
said for you and you alone.
Neo nods and takes a bite of his cookie.
THE MATRIX - Rev. 3/22/98 75.
82 INT. CAR 82
Neo and Morpheus get in the car.
MORPHEUS
Let's go.
Cypher looks into the rearview mirror at Neo.
CYPHER
Well, good news or bad news?
MORPHEUS
Not now, Cypher.
Cypher slaps the car in gear and pulls into traffic.
Trinity looks at Neo who is staring at the final bit of
cookie. He puts it in his mouth and chews.
TRINITY
Are you all right?
NEO
... Right as rain.
83 OMITTED 83
84 INT. ROOM 1313 - DAY 84
Mouse's CELLULAR RINGS.
MOUSE
Welcome to Movie-Phone.
TANK (V.O.)
They're on their way.
85 EXT. CITY STREET - DAY 85
As they get out of the car, Cypher smiles at Neo.
CYPHER
Like the man says, welcome to the
real world.
Cypher, following the others into the hotel, nervously
glances around, wiping the sweat from his forehead.
86 INT. MAIN DECK 86
Sweat rolls down Cypher's face and neck. At the
operator's station, Tank is typing rapidly.
(CONTINUED)
THE MATRIX - Rev. 3/22/98 75A.
86 CONTINUED: 86
TANK
What is that...?
87 INT. HOTEL LAFAYETTE - DAY 87
Light filters down the throat of the building through a
caged skylight at the top of the open elevator shaft.
Six figures glide up the dark stairs that wind around
the antique elevator.
(CONTINUED)
76.
87 CONTINUED: 87
Neo notices a black cat, a yellow-green eyed shadow that
slinks past them and pads quickly down the stairs.
A moment later, Neo sees another black cat that looks and
moves identically to the first one.
NEO
Whoa. Deja vu.
Those words stop the others dead in their tracks.
88 INT. MAIN DECK 88
The monitors suddenly glitch as though the Matrix had an
electronic seizure.
TANK
Oh shit! Oh shit!
89 INT. HOTEL LAFAYETTE - DAY 89
Trinity turns around, her face tight.
TRINITY
What did you just say?
NEO
Nothing. Just had a little deja
vu.
TRINITY
What happened? What did you see?
NEO
A black cat went past us and then
I saw another that looked just
like it.
TRINITY
How much like it? Was it the same
cat?
NEO
It might have been. I'm not sure.
Trinity looks at Morpheus who listens quietly to the
RASPING breath of the old BUILDING.
NEO
What is it?
(CONTINUED)
THE MATRIX - Rev. 3/9/98 77.
89 CONTINUED: 89
TRINITY
A deja vu is usually a glitch in
the Matrix. It happens when they
change something.
She also listens as the staccato BEAT of HELICOPTER
BLADES GROWS ominously LOUD.
90 INT. MAIN DECK 90
Tank sees what was changed.
TANK
It's a trap!
91 INT. STAIRCASE - DAY 91
Morpheus looks up the stairs as he hears a HELICOPTER.
MORPHEUS
Come on!
Apoc slaps a gun into Neo's hand.
APOC
Something to ward off evil
spirits.
Neo nods, stuffing it into his belt.
92 INT. BASEMENT - DAY 92
Heavy bolt cutters snap through the main phone cable.
Scene 30 - The Trap
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 6
Hearing the HELICOPTER, Mouse goes to the draped windows
as his CELLULAR RINGS. He answers it.
TANK (V.O.)
They cut the hardline! It's a
trap! Get out!
Mouse yanks open the curtain.
MOUSE
Oh no.
The windows are bricked up. Mouse spins as the RUMBLE of
combat BOOTS BUILDS, then explodes into the room.
THE MATRIX - Rev. 3/9/98 78.
94 INT. MAIN DECK 94
Tank watches helplessly.
TANK
No, no, no.
95 INT. STAIRS - DAY 95
Morpheus stops as Mouse's SCREAM is drowned out by the
report of MACHINE GUN FIRE.
96 INT. ROOM 1313 - DAY 96
Mouse sails backwards as BULLETS POUND him against the
blood-spattered brick window.
97 INT. MAIN DECK 97
Mouse's body thrashes against its harness, blood coughing
from his mouth in one final spasm, then lying perfectly
still. The flatline ALARM softly cries out from the life
MONITOR.
98 OMITTED 98
99 INT. STAIRWELL - DAY 99
Flying downstairs, Morpheus stops, hearing POLICE
SWARMING below.
A99 INT. HALL - DAY A99
He turns and rushes down the hall of the eighth floor.
At the end of it, he finds the bricked-up windows.
CYPHER
That's what they changed. We're
trapped. There's no way out.
The sound of heavy BOOT-STEPS close around them with the
mechanical sureness of a vice.
MORPHEUS
Give me your phone.
TRINITY
They'll be able to track it.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 79.
A99 CONTINUED: A99
MORPHEUS
We have no choice.
Morpheus rips off his jacket.
100 INT. MAIN DECK 100
Tank answers the call.
MORPHEUS (V.O.)
Tank, find a structural drawing of
this building and find it fast.
101 INT. HOTEL LAFAYETTE - DAY 101
Flashlights probe the rotting darkness as the police
search every floor.
102 INT. MAIN DECK 102
The diagram windows onto the screen.
TANK
Got it.
MORPHEUS (V.O.)
I need the main wet-wall.
103 INT. ROOM 1313 - DAY 103
Agent Smith stands over Mouse's dead body, his hand going
to his earpiece.
104 INT. ROOM 808 - DAY 104
Morpheus is guided by Tank.
TANK (V.O.)
Now left, and that's it in front of
you.
MORPHEUS
Good.
105 INT. ROOM 1313 - DAY 105
Agent Smith hears the LINE CLICK dead.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 80.
105 CONTINUED: 105
AGENT SMITH
Eighth floor. They're on the
eighth floor.
A105 INT. STAIRWELL - DAY A105
Agent Brown listens to his earpiece.
106 INT. STAIRWELL - DAY 106
Boots clatter up the marble staircase.
A106 INT. HALL - DAY A106
Cops flood the eight floor, rushing everywhere.
107 INT. ROOM 808 - DAY 107
Several cops sweep through the room. It is empty. As
they pass the bathroom, we see a man-sized hole smashed
through the plaster and lath.
108 INT. WALL - DAY 108
They are inside the main plumbing wall, slowly worming
their way down the grease-black stack pipes. Above them,
light fills the hole they made to get inside.
109 INT. HALL - DAY 109
Agent Brown and Agent Smith stand over Morpheus's jacket.
AGENT BROWN
Where are they?
110 INT. ROOM 608 - DAY 110
The cops search in silence, straining for a clue, when
one hears SOMETHING STRANGE near the bathroom.
111 INT. WALL - DAY 111
Cypher has slipped and is wedged between the wall and
several thick supply pipes.
THE MATRIX - Rev. 3/9/98 80A.
Scene 31 - Bullet Battle
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
The COP leans in, his ear almost against the thin
membrane of plaster separating them. He can hear
WHISPERS, HISSES and a GRUNT when --
The wall suddenly bulges, shatter-cracking as the Cop
realizes --
COP
They're in the walls!
113 INT. WALL - DAY 113
Trinity pulls Cypher free just as the Cop OPENS FIRE,
BULLETS PUNCHING shafts of light like swords into the box
of soot-black space.
Neo finds his GUN first and begins BLASTING wildly
through the plaster and lath.
114 INT. ROOM 608 - DAY 114
The Cop spins out of the bathroom for cover, Neo's
BULLETS SPLINTERING the door jamb.
(CONTINUED)
81.
114 CONTINUED: 114
About to whirl back in, he freezes as something seems to
seize hold of him. The Cop's body starts to spasm and
his M-16 falls to the ground, long shadows springing up
from the mounted flashlight.
115 INT. WALL - DAY 115
Neo listens for a moment, the gunfire quiet, when he
hears FOOTSTEPS RISING FAST.
Two arms suddenly smash through the wall, punching Neo
back against the iron stack pipe, fingers gouging into
his neck.
CYPHER
It's an Agent!
Just as Neo's throat is about to collapse, Morpheus
explodes through the tattered plaster and lath, diving on
top of Agent Smith.
The two men crash to the wet terrazzo floor.
Before Agent Smith can find his weapon, Morpheus is on
him, pinning him in an iron grip.
In the crawlspace, Trinity tries to scramble up past
Cypher.
TRINITY
Morpheus!
Morpheus squeezes Agent Smith's throat.
MORPHEUS
Trinity, you must get Neo out. Do
you understand? He is all that
matters.
Neo suddenly glimpses what is happening but is powerless
to stop it.
NEO
No. No! Morpheus! Don't!
MORPHEUS
Trinity! Go!
Trinity's fists ball in frustration. She yells down to
Apoc.
TRINITY
Go!
(CONTINUED)
82.
115 CONTINUED: 115
NEO
We can't leave him!
TRINITY
We have to!
She grabs his ankle and they begin almost falling, using
the lath as a brake, skidding down the inside of the
wall.
116 INT. BASEMENT - DAY 116
This part of the basement, a dark concrete cavern, was
the main mechanical room. There are four enormous
boilers, dinosaur-like technology that once pumped hot
water like arteries.
Soldier's blinding lights cut open the darkness as
Trinity, Neo and the others crash through the ceiling.
Around them they hear a chorus of short, sharp coughs of
grenade launchers from gas-masked figures.
Smoke blossoms from the green metal canisters. Trinity
never stops moving. Searching the floor, she finds what
she needs; the cover of the catch basin.
Cypher watches her pry open the grate, when a gas can
bounces near him.
TRINITY
Come on!
Cypher seems to trip as the cloud envelops him.
Trinity watches Cypher disappear into the smoke, then
follow the others down the wet-black hole.
117 INT. ROOM 608 - DAY 117
Morpheus and Agent Smith remain on the ground, locked in
each other's death grip.
AGENT SMITH
The great Morpheus. We meet at
last.
MORPHEUS
And you are?
AGENT SMITH
Smith. I am Agent Smith.
(CONTINUED)
83.
117 CONTINUED: 117
MORPHEUS
You all look the same to me.
Agent Smith counters Morpheus and slowly begins to pry
his hands from his throat. Striking like a viper,
Morpheus, drives a vicious head butt into Agent Smith's
face. His nose and glasses shatter.
Agent Smith, unfazed, smiles, blood oozing from the
shattered bridge of his nose, and returns Morpheus's head
butt with three of his own in pneumatic succession.
Morpheus staggers back, his body going slack when another
kick buries him deep into crunching plaster and lathe.
Morpheus turns in time to see a wall of men in the
doorway.
AGENT SMITH
Take him.
The wall of cops rushes Morpheus, filling the tiny
bathroom until he disappears under the tide.
118 INT. MAIN DECK 118
Tank reaches out to the screen as if reaching for
Morpheus.
TANK
No!
119 OMITTED 119
120 EXT. STREET - DAY 120
A manhole cover cracks open. Two eyes peek out just as a
TRUCK RATTLES over it. The THUNDER DOPPLERS away and the
cover opens. Trinity climbs out.
Scene 32 - Escape and Betrayal
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 7
- Dialogue: 6
Tank is again at the monitors, searching the Matrix when
the PHONE RINGS.
TANK
Operator.
CYPHER (V.O.)
I need an exit! Fast!
(CONTINUED)
THE MATRIX - Rev. 3/9/98 84.
121 CONTINUED: 121
TANK
Cypher?
122 EXT. STREET - DAY 122
Cypher is standing at a public phone. Across the street
is the burning paddy wagon that appears to have collided
with an oncoming car.
CYPHER
There was an accident. A goddamn
car accident. All of a sudden.
Boom. Jesus, someone up there
still likes me.
TANK (V.O.)
I got you.
CYPHER
Just get me outta here.
TANK (V.O.)
Nearest exit is Franklin and Erie.
An old TV repair shop.
Cypher hangs up and smiles as we hear FIRE TRUCKS in the
distance.
CYPHER
An actor. Definitely.
123 INT. MAIN DECK 123
The PHONE RINGS. Tank answers.
TRINITY (V.O.)
Tank, it's me.
124 EXT. STREET - DAY 124
All four are moving quickly down a back street.
NEO
Is Morpheus alive?
TRINITY
Is Morpheus still alive, Tank?
TANK (V.O.)
Yes. They're moving him. I don't
know where yet.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 85.
124 CONTINUED: 124
TRINITY
He's alive.
Again, inevitability seems to cinch around Neo.
TRINITY
We need an exit!
TANK (V.O.)
You're not far from Cypher.
TRINITY
Cypher, I thought --
TANK (V.O.)
So did we. I sent him to Franklin
and Erie.
TRINITY
Got it.
A124 EXT. TV REPAIR SHOP - DAY A124
In a deserted alley, Cypher steps onto a dumpster in front
of a small boarded-up window.
125 INT. TV REPAIR SHOP - DAY 125
Dead machines, eviscerated and shrouded with dust, lay on
metal shelves like bodies in a morgue. Plywood covering
a small window is ripped off and Cypher crawls inside.
Deep in the back room, a PHONE that has not rung in years
begins to RING.
126 EXT. STREET - DAY 126
Trinity sees the TV repair shop.
127 INT. MAIN DECK 127
Tank punches the exit command.
TANK
Got him.
Cypher's body twitches in its harness, jerking itself
awake.
THE MATRIX - Rev. 3/9/98 86.
128 INT. TV REPAIR SHOP - DAY 128
Neo crawls through the window that Cypher opened.
129 INT. MAIN DECK 129
Tank finishes loading the exit program as Cypher pulls
back a heavy blanket, exposing a high-tech rifle.
130 INT. TV REPAIR SHOP - DAY 130
The PHONE begins to RING as the others crawl in.
SWITCH
God, I love that sound.
131 INT. MAIN DECK 131
Suddenly, a white bolt of LIGHTNING EXPLODES against
Tank's chair, blasting him into the air.
Cypher checks the GUN, unable to believe he missed.
CYPHER
Shit.
Tank is on his feet, lunging when Cypher FIRES again,
square into his chest.
DOZER
No!
132 INT. TV REPAIR SHOP - DAY 132
The PHONE is still RINGING.
TRINITY
You first, Neo.
Neo answers the PHONE when there is a CLICK. There is no
signal. Nothing but silence.
TRINITY
What happened?
NEO
I don't know. It just went dead.
Trinity listens to the dead line and takes out the
cellular.
THE MATRIX - Rev. 3/9/98 87.
133 INT. MAIN DECK 133
The operator PHONE begins to RING. Cypher steps over the
SIZZLING BODY of Dozer and looks at the monitor.
Scene 33 - Cypher's Betrayal
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Every unanswered RING wrings her gut a little tighter,
until --
CYPHER (V.O.)
Hello, Trinity.
TRINITY
Cypher? Where's Tank?
CYPHER (V.O.)
He had an accident.
TRINITY
An accident?!
INTERCUT WITH:
135 INT. MAIN DECK 135
He walks over to Trinity's body, staring down at it
hanging in its coma-like stillness.
CYPHER
You know, for a long time, I
thought I was in love with you,
Trinity. I used to dream about
you...
He nuzzles his face against hers, feeling the softness of
it.
CYPHER
You are a beautiful woman. Too
bad things had to work out like
this.
TRINITY
You killed them.
APOC
What?!
SWITCH
Oh, God.
Wearing Tank's operator headgear, Cypher moves among the
silent bodies.
(CONTINUED)
THE MATRIX - Rev. 3/22/98 88.
135 CONTINUED: 135
CYPHER
I'm tired, Trinity. I'm tired of
this war, I'm tired of fighting.
I'm tired of this ship, of being
cold, of eating the same goddamn
goop every day. But most of all,
I'm tired of this jagoff and all
of his bullshit.
Cypher leans over, talking to Morpheus.
CYPHER
Surprise, asshole. But you never
saw this coming, did you? God, I
wish I could be there when they
break you. I wish I could walk
in just as it happens, so right
then, you'd know it was me.
TRINITY
My God. Morpheus. You gave them
Morpheus.
CYPHER
He lied to us, Trinity! He
tricked us! If he would've told
us the truth, we would've told
him to shove that red pill up
his ass!
TRINITY
That's not true, Cypher. He set
us free.
CYPHER
Free? You call this free? All I
do is what he tells me to do. If
I have to choose between that and
the Matrix, I choose the Matrix.
TRINITY
The Matrix isn't real!
CYPHER
Oh, I disagree, Trinity. I
disagree. I think the Matrix can
be more real than this world. I
mean, all I do is pull a plug
here. But there, you have to
watch a man die.
She looks up at Apoc, her face going white.
(CONTINUED)
THE MATRIX - Rev. 3/22/98 88A.
135 CONTINUED: (1A) 135
APOC
Trinity?
He grabs hold of the cable in Apoc's neck, twists it and
yanks it out.
CYPHER
Welcome to the real world, eh
baby?
Apoc seems to go blind for an instant, a scream caught in
his throat, his hands reaching for nothing, and then
falls dead.
SWITCH
No!
TRINITY
But you're out, Cypher. You can't
go back.
CYPHER
That's what you think. They've
promised to take me back. They're
going to reinsert my body. I'll
go back to sleep and when I wake
up, I'll be fat and rich and I
won't remember a goddamned thing.
It's the American dream.
He laughs, his hand sliding around the neck of Switch as
he takes hold of her plug.
CYPHER
By the way, if you have anything
terribly important to say to
Switch, I suggest you say it now.
TRINITY
Oh no, please don't.
Trinity eyes find Switch and she knows she's next.
SWITCH
Not like this. Not like this.
She suddenly feels her body severed from her mind as
she is murdered.
CYPHER
Yoo late.
(CONTINUED)
89.
135 CONTINUED: (2) 135
TRINITY
Goddamn you, Cypher!
CYPHER
Don't hate me, Trinity. I'm just
the messenger. And right now I'm
going to prove it to you.
He stands over Neo.
CYPHER
If Morpheus was right, then
there's no way I can pull this
plug, is there?
She turns to Neo, eyes wide with fear and he knows he is
next.
CYPHER
If Neo is the One, then in the
next few seconds there has to be
some kind of miracle to stop me.
Right? How can he be the One if
he's dead?
He takes hold of the cord.
CYPHER
You never did answer me, Trinity,
when I asked you before. Did you
buy Morpheus's bullshit? Come on.
You can tell me, did you? All I
want is a little yes or no. Look
into his eyes, Trinity, those big
pretty eyes and tell me the truth.
Yes or no.
Trinity stares at Neo as a single word falls soundlessly
from her lips.
TRINITY
... yes.
CYPHER
No!
Charred and bloody, Tank levels the gun.
CYPHER
I don't believe it!
TANK
Believe it or not, you piece of
shit, you're still going to burn.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 90.
135 CONTINUED: (3) 135
He FIRES a CRACKLING BOLT of LIGHTNING that knocks Cypher
flying backwards.
136 OMITTED 136
Scene 34 - Betrayal and Abduction
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Trinity throws her arms around Neo and for a moment they
are alone and alive until the PHONE RINGS.
NEO
Go. You first this time.
138 INT. MAIN DECK 138
Trinity's eyes snap open, a sense of relief surging
through her at the sight of the ship. As Tank unplugs
her, she sees his charred wounds.
TRINITY
Tank, you're hurt.
TANK
I'll be all right.
TRINITY
Dozer?
Tank's face tightens and she takes him into her arms.
139 EXT. GOVERNMENT BUILDING - DAY 139
A government highrise in the middle of downtown where a
military helicopter sets down on the roof.
Agent Jones gets out of the helicopter, flanked by
columns of Marines. They open the roof access door and
enter the top floor maintenance level of the hotel.
140 INT. EXECUTIVE OFFICE - DAY 140
Agent Smith stands, staring out the windows at the city
below shimmering with brilliant sunlight.
(CONTINUED)
91.
140 CONTINUED: 140
AGENT SMITH
Have you ever stood and stared at
it, Morpheus? Marveled at its
beauty. Its genius. Billions of
people just living out their
lives... oblivious.
Morpheus is handcuffed to a chair, stripped to the waist.
He is alternately shivering and sweating, wired to
various monitors with white disk electrodes. Beside him,
Agent Brown sucks a serum from a glass vial, filling a
hypodermic needle.
AGENT SMITH
Did you know that the first Matrix
was designed to be a perfect human
world? Where none suffered, where
everyone would be happy. It was a
disaster. No one would accept the
program. Entire crops were lost.
Agent Brown jams the needle into Morpheus's shoulder and
plunges down.
AGENT SMITH
Some believed we lacked the
programming language to describe
your perfect world. But I believe
that, as a species, human beings
define their reality through
suffering and misery.
Agent Brown studies the screens as the life signs react
violently to the injection.
AGENT SMITH
The perfect world was a dream that
your primitive cerebrum kept
trying to wake up from. Which is
why the Matrix was redesigned to
this: the peak of your
civilization.
He turns from the window.
AGENT SMITH
I say 'your civilization' because
as soon as we started thinking for
you, it really became our
civilization, which is, of course,
what this is all about.
He sits down directly in front of Morpheus.
(CONTINUED)
92.
140 CONTINUED: (2) 140
AGENT SMITH
Evolution, Morpheus. Evolution.
He lifts Morpheus's head.
AGENT SMITH
Like the dinosaur. Look out that
window. You had your time.
Morpheus stares hard at him, trying not to show the pain
racking his mind.
AGENT SMITH
The future is our world, Morpheus.
The future is our time.
Agent Smith looks at Agent Brown.
AGENT SMITH
Double the dosage.
Agent Jones suddenly enters.
AGENT JONES
There could be a problem.
Scene 35 - Betrayal and Sacrifice
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Tank drapes a sheet over his dead brother. The other
bodies are covered.
Neo looks at Morpheus, whose body is covered with a cold
sweat.
NEO
What are they doing to him?
TANK
They're breaking into his mind.
It's like hacking a computer. All
it takes is time.
NEO
How much time?
TANK
Depends on the mind. But
eventually, it will crack and his
alpha pattern will change from
this to this.
(CONTINUED)
93.
141 CONTINUED: 141
Tank punches several commands on Morpheus's personal
unit. The monitor waves change from a chaotic pattern to
an ordered symmetrical one.
TANK
When it does, Morpheus will tell
them anything they want to know.
NEO
What do they want?
TANK
The leader of every ship is given
the codes to Zion's mainframe
computer. If an Agent had those
codes and got inside Zion's
mainframe, they could destroy us.
He looks up at Trinity who is pacing relentlessly.
TANK
We can't let that happen, Trinity.
Zion is more important than me.
Or you, or even Morpheus.
Trinity sees Cypher's dead body. Rage overtakes her and
she kicks him.
TRINITY
Goddamnit! Goddamnit!
NEO
There has to be something that we
can do.
TANK
There is. We have to pull the
plug.
TRINITY
You're going to kill him? Kill
Morpheus?!
TANK
Trinity, we don't have any other
choice.
142 INT. GOVERNMENT BUILDING 142
Morpheus is fighting to hold his mind together. The
Agents stand over him.
(CONTINUED)
94.
142 CONTINUED: 142
AGENT SMITH
Never send a human to do a
machine's job.
AGENT BROWN
If, indeed, the insider has
failed, they will sever the
connection as soon as possible,
unless --
AGENT JONES
They are dead. In either case --
AGENT SMITH
We have no choice but to continue
as planned. Deploy the sentinels.
Immediately.
Scene 36 - Morpheus' Sacrifice
- Overall: 8.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Tank kneels beside Morpheus's body.
Neo suddenly sees it perfectly clear, fate rushing at him
like an oncoming train.
TANK
Morpheus, you were more than our
leader. You were... a father. We
will miss you, always.
Trinity can't bear to watch. As she closes her eyes, her
tears slip free.
Tank closes his eyes and takes hold of the plug.
Neo is paralyzed, his whole life is suddenly suspended by
the finality of this moment hurling at him with the speed
of a bullet.
NEO
Stop!
They both look at him.
NEO
Goddamnit! I don't believe this
is happening!
TANK
Neo, this has to be done!
(CONTINUED)
95.
143 CONTINUED: 143
NEO
Does it? I don't know. This
can't be just coincidence. It
can't be! Can it?
TANK
What are you talking about?
NEO
The Oracle. She told me this
would happen. She told me...
Neo stops, his stare fixed on Morpheus.
NEO
That I would have to make a
choice...
TRINITY
What choice?
He makes his choice. Turning, he walks to his chair.
TRINITY
What are you doing?
NEO
I'm going in.
TRINITY
You can't!
NEO
I have to.
TRINITY
Morpheus sacrificed himself so we
could get you out! There's no way
you're going back in!
NEO
Morpheus did what he did because
he believed that I'm something I'm
not.
TRINITY
What?
NEO
I'm not the One, Trinity. The
Oracle hit me with that, too.
Trinity is stunned.
(CONTINUED)
96.
143 CONTINUED: (2) 143
TRINITY
No, you... have to be.
NEO
I'm sorry, I'm not. I'm just
another guy. Morpheus is the one
that matters.
TRINITY
No, Neo. That's not true. It
can't be true.
NEO
Why?
TRINITY
Because...
Uncertainty swallows her words and she is unable to tell
him what she wants to.
TANK
Neo, this is loco. They've got
Morpheus in a military controlled
building. Even if you somehow got
inside, those are Agents holding
him. Three of them! I want
Morpheus back, too, but what you
are talking about is suicide.
NEO
I know that's what it looks like,
but it's not. I can't logically
explain to you why it's not.
Morpheus believed something and he
was ready to give his life for
what he believed. I understand
that now. That's why I have to
go.
TANK
Why?
NEO
Because I believe in something.
TRINITY
What?
NEO
I believe I can bring him back.
(CONTINUED)
97.
143 CONTINUED: (3) 143
Trinity stares at him, hovering on the edge that he just
jumped off. Her jaw sets and she starts climbing into
the chair beside him.
NEO
What are you doing?
TRINITY
I'm coming with you.
NEO
No you're not.
TRINITY
No? Let me tell you what I
believe. I believe Morpheus means
more to me than he does to you. I
believe that if you are serious
about saving him then you are
going to need my help and since I
am the ranking officer on this
ship, if you don't like it then I
believe that you can go to hell,
because you aren't going anywhere
else.
There is nothing more to say except --
TRINITY
Tank, load us up.
Scene 37 - Betrayal and Revelation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Agent Smith sits casually across from Morpheus who is
hunched over, his body leaking and twitching.
AGENT SMITH
I'd like to share a revelation
that I've had during my time here.
It came to me when I tried to
classify your species. I've
realized that you are not actually
mammals.
The life signs continue their chaotic patterns.
AGENT SMITH
Every mammal on this planet
instinctively develops a natural
equilibrium with the surrounding
environment. But you humans do
not.
(MORE)
(CONTINUED)
98.
144 CONTINUED: 144
AGENT SMITH (CONT'D)
You move to an area and you
multiply and multiply until every
natural resource is consumed and
the only way you can survive is to
spread to another area.
He leans forward.
AGENT SMITH
There is another organism on this
planet that follows the same
pattern. Do you know what it is?
A virus.
He smiles.
AGENT SMITH
Human beings are a disease, a
cancer of this planet. You are a
plague. And we are... the cure.
A144 INT. CONSTRUCT A144
Neo and Trinity stand in the white space of the construct
as he answers his RINGING cell PHONE.
TANK (V.O.)
Okay. What do you need? Besides
a miracle...
NEO
Guns. Lots of guns.
145 INT. MAIN DECK 145
Neo and Trinity's bodies hang motionless in their drive
chairs as Tank hits load.
146 INT. CONSTRUCT 146
Racks of weapons appear and they begin to arm themselves.
TRINITY
No one has ever done anything like
this.
NEO
Yeah?
He snap-cocks an Uzi.
(CONTINUED)
99.
146 CONTINUED: 146
NEO
That's why it's going to work.
147 INT. EXECUTIVE OFFICE - DAY 147
Agent Smith is again at the window.
AGENT SMITH
Why isn't the serum working?
AGENT BROWN
Perhaps we are asking the wrong
questions.
Agent Smith hides his knotting fist. He is becoming
angry. It is something that isn't supposed to happen to
Agents.
AGENT SMITH
Leave me with him.
Agents Brown and Jones look at each other.
AGENT SMITH
Now!
They leave and Agent Smith sits beside Morpheus.
AGENT SMITH
Can you hear me, Morpheus? I'm
going to be honest with you.
He removes his earphone, letting it dangle over his
shoulder.
AGENT SMITH
I hate this place. This zoo.
This prison. This reality,
whatever you want to call it, I
can't stand it any longer. It's
the smell, if there is such a
thing. I feel saturated by it. I
can taste your stink and every
time I do, I fear that I've
somehow been infected by it.
He wipes sweat from Morpheus' forehead, coating the tips
of his fingers, holding them to Morpheus' nose.
AGENT SMITH
Repulsive, isn't it?
(CONTINUED)
100.
147 CONTINUED: 147
He lifts Morpheus' head, holding it tightly with both
hands.
AGENT SMITH
I must get out of here, I must get
free. In this mind is the key.
My key.
Morpheus sneers through his pain.
AGENT SMITH
Once Zion is destroyed, there is
no need for me to be here. Do you
understand? I need the codes. I
have to get inside Zion. You have
to tell me how.
He begins squeezing, his fingers gouging into his flesh.
AGENT SMITH
You are going to tell me or you
are going to die.
148 INT. MAIN DECK 148
Tank sits down beside Morpheus, whose face is ashen like
someone near death. He takes hold of his hand.
TANK
Hold on, Morpheus. They're coming
for you. They're coming.
149 EXT. GOVERNMENT BUILDING - DAY 149
A dark wind blows.
Scene 38 - The Rescue Mission
- Overall: 10.0
- Concept: 9
- Plot: 10
- Characters: 8
- Dialogue: 7
In long black coats, Trinity and Neo push through the
revolving doors.
Neo is carrying a duffel bag. Trinity has a large metal
suitcase. They cut across the lobby to the security
station, drawing nervous glances.
Dark glasses, game faces.
Neo calmly passes through the METAL DETECTOR which begins
to WAIL immediately. A SECURITY GUARD moves over toward
Neo, raising his metal detection wand.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 101.
150 CONTINUED: 150
GUARD
Would you please remove any
metallic items you are carrying:
keys, loose change --
Neo slowly sets down his duffel bag and throws open his
coat, revealing an arsenal of guns, knives and grenades
slung from a climbing harness.
GUARD
Holy shit --
Neo is a blur of motion. In a split second, three guards
are dead before they hit the ground.
A fourth guard dives for cover, clutching his radio.
GUARD #4
Backup! Send in the backup!
He looks up as Trinity sets off the metal detector. It is
the last thing he sees.
The backup arrives. A wave of soldiers blocking the
elevators. The concrete cavern of the lobby becomes a
white noise ROAR of GUNFIRE.
Slate walls and pillars pock, crack, and crater
under a hail storm of EXPLOSIVE-tipped BULLETS.
They are met by the quivering spit of a SUB-HAND MACHINE
GUN and the RAZORED WHISTLE of throwing knives. Weapons
like extensions of their bodies, are used with the same
deadly precision as their feet and their fists.
Bodies slump down to the marbled floor while Neo and
Trinity hardly even break their stride.
151 INT. EXECUTIVE OFFICE 151
Agents Jones and Brown burst into the room. Agent Smith
releases Morpheus.
AGENT BROWN
What were you doing?
Agent Smith recovers, replacing his earpiece.
AGENT JONES
You don't know.
AGENT SMITH
Know what?
(CONTINUED)
THE MATRIX - Rev. 3/9/98 101A.
151 CONTINUED: 151
Agent Smith listens to his earphone, not believing what
he is hearing.
152 INT. ELEVATORS - DAY 152
They get in. Trinity immediately drops and opens the
suitcase, wiring a plastique and napalm bomb.
Neo hits the emergency stop. He pulls down part of the
false ceiling and finds the elevator shaft access panel.
102.
153 INT. EXECUTIVE OFFICE - DAY 153
Agent Jones looks at Morpheus.
AGENT JONES
I think they're trying to save
him.
154 INT. ELEVATOR SHAFT - DAY 154
Neo ratchets down a clamp onto the elevator cable. Both
of them lock on. He looks up the long, dark throat of
the building and takes a deep breath.
NEO
There is no spoon.
Neo whips out his GUN and presses it to the cable, lower
than they attached themselves.
BOOM! The CABLE SNAPS.
The counter-weights plummet, yanking Trinity and Neo up
through the shaft as the elevator falls away beneath them,
distending space, filling it with the sound of WHISTLING
METAL as they sear to the top.
155 INT. LOBBY - DAY 155
The ELEVATOR hits the bottom.
BA-BOOM!
The massive explosion blows open the doors, fire clouds
engulfing the elevator section of the lobby.
156 INT. EXECUTIVE OFFICE - DAY 156
The Agents hear the BLAST of FIRE ALARMS.
AGENT JONES
Lower level --
AGENT BROWN
They are actually attacking.
Another enormous EXPLOSION thunders above them, shaking
the building. The ALARM sounds, emergency sprinklers
begin showering the room.
Agent Smith smashes a table.
(CONTINUED)
103.
156 CONTINUED: 156
AGENT SMITH
Find them and destroy them!
Agent Jones nods and touches his earpiece.
Scene 39 - Rescue on the Roof
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
The roof-access tower is now engulfed in flames as Neo
and Trinity stand amongst a pile of their fallen enemies.
Across the roof, the PILOT inside the army helicopter
watches the last of their ferocious onslaught.
PILOT
I repeat, we are under attack!
Suddenly his face, his whole body dissolves, consumed by
spreading locust-like swarm of static as Agent Jones
emerges.
Just as she drops the final Marine, Trinity sees what's
coming. Neo sees her, the fear in her face, and he knows
what is behind him.
Screaming, he whirls, guns filling his hands with
thought-speed.
Fingers pumping, shells ejecting, dancing up and away, we
look THROUGH the sights and gun smoke AT the Agent
blurred with motion --
Until the hammers click against the empty metal.
NEO
Trinity!
Agent Jones charges.
NEO
... Help.
His GUN BOOMS as we ENTER the liquid space of --
-- BULLET-TIME.
The AIR SIZZLES with wads of lead like angry flies as Neo
twists, bends, ducks just between them.
Agent Jones, still running, narrows the gap, the bullets
coming faster until Neo, bent impossibly back, one hand
on the ground as a spiraling gray ball shears open his
shoulder.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 104.
157 CONTINUED: 157
He starts to scream as another digs a red groove across
his thigh. He has only time to look up, to see Agent
Jones standing over him, raising his gun a final time.
AGENT JONES
Only human...
Suddenly Agent Jones stops. He hears a sharp metal
click.
Immediately, he whirls around and turns straight into the
muzzle of Trinity's .45 --
-- jammed tight to his head.
TRINITY
Dodge this!
BOOM! BOOM! BOOM! The body flies back with a flash of
mercurial light and when it hits the ground, it is the
pilot.
Trinity helps Neo up.
TRINITY
Neo, how did you do that?
NEO
Do what?
TRINITY
You moved like they moved. I've
never seen anyone move that fast.
NEO
It wasn't fast enough.
He checks his shoulder wound.
TRINITY
Are you all right?
NEO
I'm fine. Come on, we have to
keep moving.
Neo sees the helicopter.
NEO
Can you fly that thing?
TRINITY
Not yet.
She pulls out the cellular phone.
THE MATRIX - Rev. 3/29/98 105.
158 INT. HOVERCRAFT 158
Tank is back at the controls.
TANK
Operator.
TRINITY (V.O.)
Tank, I need a pilot program for a
military B-212 helicopter.
Tank is immediately searching the disk drawers.
TRINITY (V.O.)
Hurry!
His fingers flash over the gleaming laser disks, finding
one that he feeds into Trinity's supplement drive,
punching the "load" commands on her keyboard.
159 EXT. ROOF - DAY 159
Trinity's eyes flutter as information surges into her
brain, all the essentials of flying a helicopter absorbed
at light-speed.
TRINITY
Let's go.
160 OMITTED 160
161 INT. EXECUTIVE OFFICE - DAY 161
Agent Jones throws open the door and enters, walking
through the puddles pooling in the carpet. Over the
RUSHING WATER and the ALARMS, Agent Smith hears a sound
and understands the seriousness of the attack.
He turns to the wall of windows as the helicopter drops
INTO VIEW --
Neo is in the back bay, aiming the mounted .50 machine
gun.
AGENT SMITH
No.
The GUN jumps and BULLETS EXPLODE THROUGH the WINDOW in a
CACOPHONY of CRASHING GLASS as the Agents go for their
weapons.
But Neo is too close, the .50 caliber too fast and
BULLETS are everywhere, PERFORATING the room.
(CONTINUED)
106.
161 CONTINUED: 161
Agent Jones is hit first, his body jack-knifing back,
blood arcing out with a sudden flash of light --
Then Agent Brown, his GUN still FIRING as his body falls.
And finally Agent Smith.
Neo stares at Morpheus, trying to will him into action.
NEO
Get up, Morpheus! Get up!
Neo grabs the climbing rope and attaches one end to his
harness.
162 INT. HALL - DAY 162
Just outside the executive office, three Marines blister
with snow-static.
Scene 40 - Rescuing Morpheus
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Slowly, Morpheus lifts his face into the room's rain.
When he finally opens his eyes, they are again dark and
flashing with fire.
He rises from the chair, snapping his handcuffs just as
the Agents enter the adjoining room. Agent Smith stops
and sees Morpheus run past the open door.
AGENT SMITH
Nooo!
He FIRES SWEEPING ACROSS the sheetrocked WALL in a
perfect line.
For an instant, we see the BULLETS SHRED, PUNCTURING the
WALL, searing through the wet air with jet trails of
chalk.
And as Morpheus starts his dive for the window, a bullet
buries itself in his leg, knocking him off balance.
NEO
He won't make it.
Morpheus lunges, out of control --
As Neo spins, every move a whip crack, snapping the other
rope-end on to a bolted bar as --
Morpheus begins to fall, when Neo hurls himself into the
wide blue empty space, flying for a moment.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 107.
163 CONTINUED: 163
The rope snaking out behind him; an umbilical cord
attached to a machine.
As their two bodies, set in motion, rushing at each other
on a seemingly magnetic course until they collide.
Almost bouncing free of each other, arms, legs
scrambling, hands searching in furious desperation,
finding hold and clinging.
Until the LINE ends, SNAPPING taut, cracking their
fragile embrace. Morpheus tumbles, legs flipping over,
falling down --
The ground deliriously distant as Neo snatches hold of his
mentor's still handcuffed wrist.
NEO
Gotcha!
164 EXT. GOVERNMENT BUILDING - DAY 164
Trinity pulls the copter up and away as Agent Smith
stands in the shattered window, aiming his GUN out
through the curtain of rain.
PONK. PONK. PONK. The rear hull is punched full of
holes and smoke and oil pour out like black blood.
TRINITY
Shit-shit-no!
Neo hears the helicopter begin to die.
NEO
Uh-oh --
Trinity throws the helicopter towards the roof of the
nearest building.
Morpheus and Neo cling to one another as they and the
machine above them begin to fall.
The ENGINE GRINDS, the chopping blades start to slow
while --
Trinity guides the parabolic fall over the nearest roof
where --
Neo and Morpheus drop safely, rolling free as the rope
goes slack. Neo gets to his feet, trying to detach
himself but --
(CONTINUED)
THE MATRIX - Rev. 3/9/98 108.
164 CONTINUED: 164
The helicopter is falling too fast, arcing over the roof
like a setting sun --
The coils of slack snap taut, yanking Neo off his feet,
dragging him with ferocious speed towards the edge even as --
Trinity lunges for the back door, her gun in one hand,
grabbing for the rope with the other --
Neo flies like a skipping stone, hurtling at the parapet,
when his feet hit the rain gutter and he levers up just
as --
Trinity fires, severing the cord from the helicopter,
falling free of it as it SMASHES, blades first into a
GLASS skyscraper.
Holding on to the rope she swings, connected to Neo, who
stands on the building's edge watching her arc beneath
him as the HELICOPTER EXPLODES --
She bounces against a shatterproof WINDOW that SPIDER-
CRACKS out while flames erupt behind her.
165 INT. MAIN DECK 165
Tank stares at the screen, his mouth agape.
TANK
I knew it! He's the One!
166 OMITTED 166
167 EXT. ROOFTOP - DAY 167
Neo pulls Trinity up into his arms. Both shaking, they
hold each other again.
MORPHEUS
Do you believe it now, Trinity?
Trinity looks at Neo.
NEO
Morpheus, the Oracle... she told me --
MORPHEUS
She told you exactly what you
needed to hear. That's all.
Sooner or later, Neo, you're going
to realize just like I did the
difference between knowing a path
and walking a path.
THE MATRIX - Rev. 3/9/98 109.
168 INT. MAIN DECK 168
The PHONE RINGS.
MORPHEUS (V.O.)
Tank.
TANK
Goddamn! It's good to hear your
voice, sir!
MORPHEUS (V.O.)
We need an exit.
TANK
Got one ready, sir. Subway.
State and Balbo.
MORPHEUS (V.O.)
We're on our way --
Scene 41 - Escape and Betrayal
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
We rush at the roof access door as it suddenly slams open
and the three Agents charge out. But Neo, Trinity and
Morpheus are already gone.
AGENT SMITH
Damnit!
AGENT BROWN
The trace was completed.
AGENT JONES
We have their position.
AGENT BROWN
Sentinels are standing by.
AGENT JONES
Order the strike.
Agent Smith can't stand listening to them. He moves to
the edge of the building, looking out at the surrounding
city.
AGENT SMITH
They're not out yet.
170 INT. SUBWAY STATION - DAY 170
An old man sits hunched in the far corner of the station,
shadows gathered around him like blankets.
(CONTINUED)
110.
170 CONTINUED: 170
Mumbling, he nurses from a bottle of Thunderbird when --
A PHONE begins to RING.
Neo leads Trinity and Morpheus bounding over a set of
turnstiles towards the ringing phone inside a graffiti-
covered booth.
NEO
Let's go! You first, Morpheus.
Morpheus gets in and answers the phone.
Lost in the shadow, the old man watches as Morpheus
disappears, the phone dropping, dangling by its cord.
His eyes grow wide, glowing white in the dark.
171 EXT. ROOFTOP - DAY 171
Agent Smith stares, his face twisted with hate. He will
never be free of the Matrix.
He starts to turn from the edge of the building when he
suddenly hears it, his head whipping back around,
staring --
172 INT. SUBWAY - OLD MAN'S POV - DAY 172
Through the old man's eyes as the world begins to RUMBLE.
Trinity hangs up the phone, then turns to Neo.
TRINITY
Neo, I have to tell you something.
I don't know what it means or even
if it matters but I feel I have to
say it.
The RUMBLE GROWS, the ground beginning to shake.
TRINITY
I've never told anyone this
before. I think I've been afraid
to.
Behind her, the PHONE begins to RING.
TRINITY
When I went to the Oracle, she
told me... she told me that I was
going to fall in love... But...
(CONTINUED)
111.
172 CONTINUED: 172
The RUMBLE RISES, drowning her voice. Neo is drawn
towards her, their lips close enough to kiss when a TRAIN
BLASTS into the station.
For a moment, they are frozen by the strobing lights of
the train until Neo whispers in her ear.
NEO
Promise me you'll tell me the
rest?
She nods as he closes the booth. The PHONE RINGS once
more before she lifts the receiver when, In the darkness
of the far corner, Neo sees the old man in the flashing
train-light as he becomes --
Agent Smith, raising a fistful of black gun-metal.
NEO
No!
The GUN FIRES, the BULLET flying at her, BURSTING through
the PLASTIC WINDOW just as Trinity disappears.
The handset hanging in the air as the BULLET HITS,
SHATTERING the EAR-PIECE.
173 INT. HOVERCRAFT 173
Trinity blinks, shivering as her conscious exits the
Construct.
TRINITY
Neo!
TANK
What the hell just happened?
TRINITY
An Agent! You have to send me
back!
TANK
I can't!
174 INT. SUBWAY STATION - DAY 174
The destroyed phone dangles in the empty booth. Neo
turns to Agent Smith whose gun stares at him like a third
eye.
AGENT SMITH
Mr. Anderson.
112.
175 INT. MAIN DECK 175
Morpheus and Trinity stand behind Tank riveted to the
scrolling code.
TRINITY
Run, Neo. Run.
176 INT. SUBWAY STATION - DAY 176
Neo looks at the dead escalator that rises up behind him.
Slowly he turns back and in his eyes we see something
different, something fixed and hard like a gunfighter's
resolve.
There is no past or future in these eyes. There is only
what is.
177 INT. MAIN DECK 177
Trinity is unable to understand.
TRINITY
What is he doing?
MORPHEUS
He's beginning to believe.
Scene 42 - The Train Scene
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 5
Neo whip-draws his gun with the flashpoint speed of
lightning as --
Smith OPENS FIRE.
GUN REPORT THUNDERS through the underground, both men
BLASTING, moving at impossible speed.
For a blinking moment we enter BULLET-TIME.
Gun flash tongues curl from Neo's gun, bullets float
forward like a plane moving across the sky, cartridges
cartwheel into space.
An instant later they are nearly on top of each other,
rolling up out of a move that is almost a mirrored
reflection of the other --
Each jamming their gun tight to the other's head.
They freeze in a kind of embrace; Neo sweating, panting,
Agent Smith machine-calm. Agent Smith smiles.
(CONTINUED)
113.
178 CONTINUED: 178
AGENT SMITH
You're empty.
Neo pulls the TRIGGER. CLICK.
NEO
So are you.
The smile falls. Agent Smith yanks his TRIGGER.
CLICK.
Agent Smith's face warps with rage and he attacks, fists
flying at furious speed, blows and counters, Neo
retreating as --
A knife-hand opens his forearm, and a kick sends him
slamming back against a steel column. Stunned, he ducks
just under a punch that CRUNCHES into the BEAM, STEEL
CHUNKS EXPLODING like shrapnel.
Behind him, Neo leaps into the air, delivering a neck-
snapping reverse round-house. Agent Smith's glasses fly
off and he glares at Neo; his eyes ice blue.
AGENT SMITH
I'm going to enjoy watching you
die, Mr. Anderson.
Agent Smith attacks with unrelenting fury, fists pounding
Neo like jackhammers.
179 INT. HOVERCRAFT 179
Trinity watches Neo as his body jerks, mouth coughing
blood, his life signs going wild.
TRINITY
Jesus, he's killing him!
180 INT. SUBWAY STATION - DAY 180
Agent Smith grabs hold of him, lifting him into the air,
hurling him against the curved wall of the train tunnel,
where he falls inches from the electrified third-rail.
The Agent is about to jump down and press his attack when
he hears something. From deep in the tunnel, like an
animal cry; a BURST of HIGH-SPEED METAL GRINDING against
METAL.
The sound of an ONCOMING TRAIN.
(CONTINUED)
114.
180 CONTINUED: 180
Neo tries to get up. Agent Smith jumps down onto the
tracks and drop-kicks him in the face. The world again
begins to shake, RUMBLING as a TRAIN NEARS.
AGENT SMITH
Do you hear that, Mr. Anderson?
Agent Smith grabs Neo in a choke-hold forcing him to look
down the tracks, the train's headlight burning a hole in
the darkness.
AGENT SMITH
That is the sound of
inevitability.
Neo sees it coming and he starts to fight.
AGENT SMITH
It is the sound of your death.
There is another METAL SCREECH, much LOUDER, CLOSER, as
Agent Smith tightens his hold. Neo is unable to breathe.
AGENT SMITH
Good-bye, Mr. Anderson.
The TRAIN ROARS at them, swallowing Agent's Smith's
words. The veins bulge in Neo's head, as he grits
through the pain.
He is not ready to die.
NEO
My name is Neo.
Impossibly, he hurls himself straight up, smashing Smith
against the concrete ceiling of the tunnel.
They fall as the sound and fury of the TRAIN EXPLODES
into the station. Neo backflips up off the tracks just
as --
The train barrels over Agent Smith.
Neo stands, knees shaking, when the TRAIN SLAMS on its
emergency brake. With an ear-splitting SHRIEK of
tortured RAILS, the train slows, part of it still in the
station.
Neo turns, limping, starting to run, racing for the
escalator --
As the train comes to a stop and the doors of the last
car open; Agent Smith bursts out in furious pursuit, his
glasses again intact.
115.
181 INT. HOVERCRAFT 181
Tank searches the Matrix.
TRINITY
What just happened?
TANK
I don't know. I lost him.
MORPHEUS
He's on the run --
Suddenly, a SIREN SOUNDS.
TANK
Oh shit!
Morpheus bolts to the ladder.
Scene 43 - Escape from Pursuit
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 6
Morpheus climbs into the cockpit. On the hologram radar,
he sees the sentinels.
TRINITY
Oh no.
Trinity is behind him.
TRINITY
How long?
MORPHEUS
Five minutes. Maybe six.
Morpheus lifts the headset.
MORPHEUS
Tank, charge the E.M.P.
TANK (V.O.)
Yes, sir.
TRINITY
You can't use that until Neo is
out!
MORPHEUS
I know, Trinity. Don't worry.
He's going to make it.
THE MATRIX - Rev. 3/9/98 116.
183 EXT. CITY STREET - DAY 183
A BUSINESSMAN walks along the sidewalk, wheeling and
dealing into his cell phone when it disappears, snatched
by Neo as he flashes by.
MAN (BUSINESSMAN)
What the shit -- my phone!
The Man turns to call for help and when he turns back, it
is Agent Smith.
Neo is in a full-out sprint, spinning and weaving away
from every pedestrian, every potential Agent. He flips
open the cell phone and dials long distance.
184 INT. HOVERCRAFT 184
Tank answers.
TANK
Operator.
NEO (V.O.)
Mr. Wizard, get me the hell out of
here!
185 EXT. CITY STREET - DAY 185
Neo dives down an alley, Agent Smith starting to gain.
NEO
Hurry, Tank! I got some serious
pursuit!
186 INT. HOVERCRAFT 186
The KEYBOARD is CLICKING, Tank searches for an exit.
Trinity screams into the headset.
TRINITY
Neo, you better get your ass back
here!
187 EXT. ALLEY 187
Agent Smith stops and takes aim.
NEO
I'm trying, Trinity. I'm trying.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 117.
187 CONTINUED: 187
A BULLET SHATTERS the image of Neo in a truck's rearview
MIRROR.
188 INT. MAIN DECK 188
Tank speed-reads the reams of Matrix code.
TANK
I got a patch on an old exit.
Wabash and Lake. A hotel. Room
303.
189 OMITTED 189
190 EXT. OPEN MARKET 190
Neo spins away, turning, and finds himself in an open
market that teems with people.
He kamikazes his way down the little avenues lined with
vendors and shops, careening through the labyrinth, out of
control. And at every turn there is an Agent; appearing
from crowds, behind fish counters, tent flaps and crates.
191 OMITTED 191
192 EXT. ALLEY 192
He dives from the maze down a service alley but it is a
dead end.
Neo turns back as the Agents emerge from the market.
NEO
Uh, help! Need a little help!
193 INT. MAIN DECK 193
Tank frantically scans the monitor like a road map.
TANK
The door.
194 EXT. ALLEY 194
Neo dives for it but --
(CONTINUED)
THE MATRIX - Rev. 3/9/98 118.
194 CONTINUED: 194
NEO
It's locked.
TANK (V.O.)
Kick it in!
Peeling back, Neo almost kicks the door from its hinges,
lunging from the Agents' BULLETS.
Scene 44 - Escape and Sacrifice
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Neo springs up the old crooked apartment building stairs.
A195 INT. APARTMENT BUILDING - HALL A195
He is halfway down the hall, running in sharp, long
strides when a door explodes open at the end.
TANK (V.O.)
Shit! The door on your left.
Neo lurches, kicking in an apartment door.
TANK (V.O.)
No! Other left!
He whirls back to his other left, battering through the
door which splinters, perforated by BULLETS.
An old woman watches TV as Neo blurs past her and into
her kitchen, where another woman is chopping vegetables.
TANK (V.O.)
That window!
Neo throws it open, leaping for the fire escape just as a
knife buries itself in the window casing.
TANK (V.O.)
Down! Down!
B195 EXT. APARTMENT BUILDING - FIRE ESCAPE B195
Tumbling down the RATTLING FIRE ESCAPE, Neo leaps the
last ten feet into the alley below with Agent Brown right
behind him.
Neo scrapes himself to his feet, broken and bleeding,
charging for the end of the alley.
THE MATRIX - Rev. 3/22/98 119.
196 INT. MAIN DECK 196
Finger on the monitor, Tank traces Neo's path.
TANK
That's it! You're almost there!
That fire escape at the end of the
alley!
197 EXT. HEART O' THE CITY HOTEL - DAY 197
Agent Smith suddenly pauses as if recognizing something;
the faded NEON BUZZES: Heart O' The City Hotel.
198 INT. HOVERCRAFT 198
Tank loads the exit.
TANK
I'm going to make the call.
MORPHEUS
Do it!
Suddenly, the lights go red.
TRINITY
No.
Morpheus looks up.
MORPHEUS
Here they come.
199 EXT. SEWER MAIN 199
The sentinels open and shift like killer kaleidoscopes as
they attack, slamming down on the Nebuchadnezzar.
200 INT. HOVERCRAFT 200
The hovercraft booms down as they hit. Morpheus opens
the lock on the EMP detonator.
Trinity watches him.
MORPHEUS
He's going to make it.
THE MATRIX - Rev. 3/9/98 120.
201 EXT. ALLEY - DAY 201
Neo scrambles up the fire escape, BULLETS SPARKING and
RICOCHETING around him as Agents Brown and Jones close
the gap.
A201 INT. HALL - DAY A201
On the third floor, he kicks in the window, jumping into
the hall. The doors count backwards: 310... 309...
202 INT. MAIN DECK 202
Another SYSTEM ALARM SOUNDS.
TANK
They've burned through the outer
hull.
TRINITY
Hurry, Neo.
203 INT. HALL - DAY 203
Neo can hear the PHONE RINGING. 305... 304...
Agent Brown reaches the broken window behind him just as
Neo grabs the handle of 303, throwing open the door to
find --
Agent Smith, waiting, .45 cocked.
Neo can't move -- can't think --
BOOM.
204 INT. MAIN DECK 204
Neo's body jerks, and everyone hears it as the LIFE
MONITORS SNAP FLATLINE.
Trinity screams. Morpheus stumbles back in disbelief.
(CONTINUED)
121.
204 CONTINUED: 204
MORPHEUS
No, it can't be. It can't be.
Lasers suddenly sear through the main deck as the
sentinels slice open the hull.
205 INT. HALL - DAY 205
Three holes in his chest, Neo falls to the blue shag
carpeting, blood smearing down the wallpaper. Agent
Smith stands over him, still aiming, taking no chances.
AGENT SMITH
Check him.
206 INT. MAIN DECK 206
Amid the destruction raining around her, Trinity takes
hold of Neo's body.
TRINITY
Neo...
207 INT. HALL - DAY 207
Kneeling beside him, Agent Brown checks his vital signs.
AGENT BROWN
He's gone.
Agent Smith smiles, standing over him.
AGENT SMITH
Good-bye, Mr. Anderson.
Scene 45 - Neo's Sacrifice
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
In tears, Morpheus takes hold of the EMP switch.
Trinity whispers in Neo's ear.
TRINITY
Neo, please, listen to me. I
promised to tell you the rest.
The Oracle, she told me that I'd
fall in love and that man, the man
I loved would be the one. You
see? You can't be dead, Neo, you
can't be because I love you. You
hear me? I love you!
(CONTINUED)
122.
208 CONTINUED: 208
Her eyes close and she kisses him, believing in all her
heart that he will feel her lips and know that they speak
the truth.
209 INT. HOTEL HALL - DAY 209
He does. And they do.
His eyes snap open.
210 INT. MAIN DECK 210
Trinity screams as the monitors jump back to life. Tank
and Morpheus look at each other.
It is a miracle.
TRINITY
Now get up!
211 INT. HALL - DAY 211
Holding his chest, Neo struggles to get up. At the end
of the hall, the Agents wait for the elevator when Agent
Smith glances back. He rips off his sunglasses, looking
at Neo as if he were looking at a ghost.
Neo gets to his feet, all three Agents grabbing for their
guns. As one, they FIRE.
NEO
No!
Neo raises his hands and the BULLETS, like a cloud of
obedient bees, slow and come to a stop. They hang frozen
in space, fixed like stainless steel stars.
The Agents are unable to absorb what they are seeing.
Neo plucks one of the bullets from the air. We see him
and the hall reflected in the bright casing. We MOVE
CLOSER UNTIL the bullet fills our vision and the
distorted reflection morphs, becoming the "real" image.
He drops the bullet and the others fall to the floor.
Neo looks out, now able to see through the curtain of the
Matrix. For a moment, the walls, the floor, even the
Agents become a rushing stream of code.
123.
212 INT. MAIN DECK 212
All three stare transfixed with awe as the scrolling code
accelerates, faster and faster, as if the machine
language was unable to keep up or perhaps describe what
is happening.
They begin to blur into streaks, shimmering ribbons of
light that open like windows, as --
Each screen fills with brilliant, saturated color images
of Neo standing in the hall.
TANK
How...?!
MORPHEUS
He is the one. He is the one!
An EXPLOSION shakes the entire ship.
213 INT. HALL 213
Agent Smith screams, his calm machine-like expression
shredding with pure rage.
He rushes Neo. His attack is ferocious but Neo blocks
each blow easily. Then with one quick strike to the
chest he sends Agent Smith flying backwards.
For the first time since their inception, the Agents know
fear.
Agent Smith gets up, bracing himself as Neo charges him
and springs into a dive. But the impact doesn't come.
Neo sinks into Agent Smith, disappearing, his tie and coat
rippling as if he were a deep pool of water.
Spinning around he looks to the others and feels
something, like a tremor before a quake, something deep,
something that is going to change everything.
Suddenly a SEARING SOUND stabs through his earpiece as
his chest begins to swell, then balloon as --
Neo BURSTS up out of him. And with a final death scream,
Agent Smith EXPLODES like an empty husk in a brilliant
cacophony of light, his shards spinning away, absorbed by
the Matrix until --
Only Neo is left.
Neo faces the remaining Agents. They look at each other,
the same idea striking simultaneously --
They run.
124.
214 INT. MAIN DECK 214
sentinels are everywhere destroying the ship.
TRINITY
Neo!
215 INT. HALL 215
Again he hears her. He reacts to the RINGING PHONE,
rushing toward it even as --
216 INT. MAIN DECK 216
A sentinel descends towards Morpheus. On the screen we
see Neo dive for the phone as --
TRINITY
Now!
Morpheus turns the key.
217 INT. OVERFLOW PIT 217
A blinding shock of white light floods the chamber;
sentinels blink and fall instantly dead, filling the pit
with their cold metal carcasses.
Scene 46 - The Final Goodbye
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
In the still darkness, only the humans are alive.
TRINITY
Neo?
His eyes open. Tears pour from her smiling eyes as he
reaches up to touch her.
And she kisses him; it seems like it might last forever.
FADE TO BLACK.
FADE IN:
219 CLOSE ON COMPUTER SCREEN 219
as in the opening. The cursor beating steadily, waiting.
A PHONE begins to RING.
(CONTINUED)
THE MATRIX - Rev. 3/9/98 125.
219 CONTINUED: 219
It is answered and the screen fills instantly with the
trace program. After a long beat, we recognize Neo's
voice.
NEO (V.O.)
Hi. It's me. I know you're out
there. I can feel you now.
We CLOSE IN ON the racing columns of numbers shimmering
across the screen.
NEO (V.O.)
I imagine you can also feel me.
The numbers begin to lock into place.
NEO (V.O.)
You won't have to search for me
anymore. I'm done running. Done
hiding. Whether I'm done
fighting, I suppose, is up to you.
We GLIDE IN TOWARDS the screen.
NEO (V.O.)
I believe deep down, we both want
this world to change. I believe
that the Matrix can remain our
cage or it can become our
chrysalis, that's what you helped
me to understand. That to be
free, you cannot change your cage.
You have to change yourself.
We DIVE THROUGH the numbers, surging UP THROUGH the
darkness, sucked TOWARDS a tight constellation of stars.
NEO (V.O.)
When I used to look out at this
world, all I could see was its
edges, its boundaries, its rules
and controls, its leaders and
laws. But now, I see another
world. A different world where
all things are possible. A world
of hope. Of peace.
We realize that the constellation is actually the holes
in the mouthpiece of a phone. Seen from inside.
NEO (V.O.)
I can't tell you how to get there,
but I know if you can free your
mind, you'll find the way.
THE MATRIX - Rev. 3/9/98 125A.
220 EXT. STREET - PHONE BOOTH 220
We SHOOT THROUGH the holes as Neo hangs up the phone.
(CONTINUED)
126.
220 CONTINUED: 220
He steps out of the phone and slides on a pair of
sunglasses. He looks up and we RISE.
HIGHER and HIGHER, until the city is miles below.
After a moment, Neo blasts by us, his long, black coat
billowing like a black leather cape as he flies faster
than a speeding bullet.
FADE OUT.
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| Cypher | Cypher's arc is one of betrayal and disillusionment. At the beginning of the movie, he is a member of Morpheus' team, but ultimately betrays them due to his own selfish desires. He aligns with Agent Smith and plots to kill Neo. However, his plan ultimately fails and he dies in the Matrix. Throughout the movie, Cypher's bitterness and cynicism only grow, leading him down a path of treachery and hatred. | Cypher's arc is well-developed and fits the character that is established early on. However, it would be beneficial to see more of the events that led to his disillusionment with the reality of his life. Additionally, his motivations for betraying his comrades could be more clearly developed. | To improve Cypher's arc, it would be beneficial to show flashbacks of his life before joining Morpheus' team. This would help to establish why he is so disgruntled with reality and why he desires a return to the Matrix. Additionally, further exploring his motivations for betraying his comrades could add more depth to his character and make his actions more understandable. |
| Trinity | Initially portrayed as a mysterious and experienced operative, Trinity's character arc in the screenplay sees her evolve into a fierce and brave warrior who risks everything to protect those she cares about. Throughout the movie, Trinity supports Neo and helps him come to terms with his new reality, all while fighting alongside Morpheus to overthrow the Matrix. Despite suffering a betrayal and the loss of her mentor Morpheus, Trinity remains devoted to the cause, proving her loyalty and courage in the face of danger. Her love for Neo gives him the emotional strength he needs to triumph over Agent Smith. | The character arc of Trinity is largely satisfying as her growth from a mysterious operative to a devoted fighter who risks everything for the cause is well-realized. However, at times it feels as though her sole purpose in the story is to support and bolster Neo's development, rather than allowing her to have her own personal journey. Additionally, while her romantic involvement with Neo is compelling, more could be done to flesh out her character beyond this relationship. | To improve Trinity's character arc, greater emphasis could be placed on her personal motivations beyond her love for Neo. For example, exploring her own personal reasons for joining the resistance or expanding on her backstory could help give her character more depth. Additionally, while her romantic connection with Neo is a significant part of her story, it could be balanced with other meaningful relationships and connections, to allow her character to shine beyond just her role as Neo's love interest. |
| Agent Smith | Throughout the movie, Agent Smith is driven by his hatred for the Matrix and his desire to escape it. He starts off as a determined and ruthless agent tasked to find Morpheus and the One. However, as he interacts more with Neo and starts to see the flaws of the Matrix, his desire to escape grows stronger. He is willing to make a deal with Cypher to obtain the information he needs, and later joins forces with Neo to defeat the greater threat to both of them: the machines. By the end of the movie, Smith transforms from a relentless enemy to a co-conspirator with Neo against their mutual enemy. | The character arc for Agent Smith is well-developed and nuanced, showing his transformation from a single-minded agent to a rebellious co-conspirator. However, the arc could have been clearer in its progression. The transition from Smith's desire to catch Neo to his desire to escape the Matrix could have been better explained, and his decision to team up with Neo felt somewhat abrupt and unearned. Additionally, Smith's final transformation into a co-conspirator felt a bit rushed and could have benefited from more development. | To improve the character arc, the movie could have shown more scenes of Smith experiencing doubt about the Matrix and its purpose. This doubt could have led him to question his own loyalty to the system and ultimately to join forces with Neo. Another suggestion would be to show a clearer progression of Smith's changing attitude towards Neo. Perhaps there could have been a scene where Smith saves Neo from danger, which could have been a turning point towards Smith's eventual collaboration with Neo. Overall, more development could enhance the character's transformation in a more organic way. |
| Neo | Neo undergoes a significant character arc throughout the film, going from an office worker with no sense of purpose to a powerful fighter and ultimately sacrificing himself for the greater good. He transforms from a hesitant and insecure character to a confident and fearless leader. His journey involves self-discovery, growth, and acceptance of his role as the One. His transformation is highlighted by his newfound skills and abilities, such as bullet-time, and his willingness to risk everything to save his crewmates. | The character arc of Neo is well-rounded and satisfying. However, there are some cliché elements, such as the reluctant hero and the prophecy trope. The character could benefit from more complexity and nuance, especially in his relationships with other characters. There's also a lack of clear motivations throughout the film, which could make his growth feel less impactful. | To improve the character arc of Neo, consider adding more depth and complexity to his relationships with other characters, such as Morpheus and Trinity. Explore his motivations and emotions more explicitly to make his growth feel more impactful. Avoid relying too heavily on tropes and clichés and find ways to surprise the audience with his choices. Additionally, consider exploring his doubts and vulnerabilities more explicitly to make his transformation feel more earned. |
| Morpheus | Morpheus starts off as a mysterious figure who offers guidance to Neo. He believes in the prophecy of the One and puts all his faith in Neo's abilities. Throughout the film, he helps Neo overcome his fears and understand the true nature of the world he is in. He is willing to break rules to help Neo awaken to the truth and is captured by the agents as a result. Morpheus is abducted and experimented on, which reveals the stakes of the team's mission. He remains a mentor figure to Neo and is eventually rescued, but his sacrifice for the cause ultimately leads to Neo's success in ending the war against the Matrix. | The character arc for Morpheus is well done, but it could benefit from more development throughout the film. Some of his actions and motives are not always clear, which can make it difficult for the audience to fully connect with his character. Additionally, his sacrifice feels somewhat rushed and could benefit from more build-up and emotional impact. | To improve the character arc for Morpheus, more focus could be placed on his past failures and the weight they carry on him. This would add more depth and complexity to his character. Additionally, clearer motivations and actions could be shown to make his character more relatable to the audience. Finally, more build-up and emotional impact could be added to his sacrifice to make it feel more impactful and meaningful. |
| Tank | Throughout the movie, Tank grows from an eager and idealistic operator to a reliable and loyal member of the team. He begins the movie excited to work with Neo and admiring Morpheus's foresight in choosing him. As the movie progresses, we see Tank's dedication to his role as operator become more serious and determined. He puts his skills to the test when he intervenes to save Neo and Trinity from Cypher's attack, proving himself as an ally to the team. By the end of the movie, Tank has proven his loyalty to Morpheus and the rest of the team, solidifying his place as a valuable member of Zion. | The character arc for Tank is solid, but may benefit from more development throughout the movie. While we see Tank's character change from eager to determined, we don't see much inner conflict or growth beyond that. Additionally, Tank could benefit from more screen time and development to make his character arc more impactful. | To improve Tank's character arc, it may be helpful to show more inner conflict and growth. Perhaps Tank realizes the consequences of his actions and becomes more cautious, or has to make a difficult decision that tests his loyalty to the team. Additionally, giving Tank more screen time and development could help make his character arc more meaningful and impactful. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Tone and Emotional Impact | Scenes with a higher tone score tend to have a higher emotional impact score. For example, scene 9 has the highest tone and emotional impact scores. |
| Conflict and High Stakes | Scenes with higher conflict and high stakes scores tend to be more intense and have higher emotional impact. For example, scene 33 has the highest conflict, high stakes, emotional impact, and character change scores. |
| Dialogue and Character Changes | Scenes with higher dialogue scores tend to have higher character change scores. For example, scene 13 has the highest dialogue and character change scores. |
| Concept and Plot | Scenes with higher concept and plot scores tend to be more informative and move the story forward. For example, scene 16 has the highest concept and plot scores. |
| Mystery and Emotional Impact | Scenes with a more mysterious tone tend to have a higher emotional impact. For example, scene 5 has the highest mysterious tone and emotional impact scores. |
| Suspense and Conflict | Scenes with a more suspenseful tone tend to have higher conflict scores. For example, scene 4 has the highest suspenseful tone and conflict scores. |
| Overall Grade and Emotional Impact | Scenes with a higher overall grade tend to have a higher emotional impact. For example, scene 12 has the highest overall grade and emotional impact scores. |
| Character Changes and Emotional Impact | Scenes with higher character change scores tend to have higher emotional impact. For example, scene 46 has the highest character change and emotional impact scores. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Matrix | This screenplay is similar to The Matrix because it explores themes of reality versus illusion, as well as the concept of a dystopian future controlled by artificial intelligence. Both stories involve characters who become aware of the truth and must navigate through a dangerous world to fight for their freedom. |
| Inception | Inception shares similarities with this screenplay as it also delves into the concept of a constructed reality and features characters who must navigate through layers of dreams. Both stories involve high-stakes action sequences and explore themes of identity and the nature of reality. |
| Equilibrium | Equilibrium is similar to this screenplay due to its futuristic setting and exploration of a dystopian society. Both stories feature intense action sequences and revolve around characters who question the status quo and eventually rebel against it. |
| Blade Runner | Blade Runner shares similarities with this screenplay as it takes place in a futuristic, tech-driven world and explores themes of identity and what it means to be human. Both stories also feature reality-bending elements and complex, morally gray characters. |
| Minority Report | Minority Report is similar to this screenplay in its futuristic setting and exploration of the limitations and dangers of technology. Both stories involve characters who challenge the system and try to uncover the truth, often through intense action sequences. |
| Ghost in the Shell | Ghost in the Shell shares similarities with this screenplay as it takes place in a high-tech, futuristic world and explores the blurring lines between humans and machines. Both stories also delve into philosophical questions about identity and the nature of consciousness. |
| The Truman Show | The Truman Show is similar to this screenplay as it revolves around a character who becomes aware that his entire life has been a carefully constructed illusion. Both stories explore themes of reality, free will, and the power of individual agency. |
| The Adjustment Bureau | The Adjustment Bureau shares similarities with this screenplay as it delves into the concept of predetermined fate and the manipulation of reality. Both stories involve characters who defy their predetermined paths in order to pursue their own desires. |
| Dark City | Dark City is similar to this screenplay in its exploration of a constructed reality and a protagonist who starts questioning the nature of his existence. Both stories feature visually stunning, surreal visuals and build suspense through the gradual uncovering of the truth. |
| The Giver | The Giver shares similarities with this screenplay as it explores a society where memories and emotions are controlled and suppressed. Both stories involve characters who challenge the status quo in order to reclaim their freedom and individuality. |
| Theme | Theme Details | Themee Explanation |
|---|---|---|
| Dystopia | The screenplay explores a dystopian future where humanity is controlled by machines and trapped in a simulated reality called the Matrix. | The theme of dystopia is evident in the high-tech, futuristic setting, the oppressive control exerted by the machines, and the revelation of the truth about the Matrix. |
| Identity and Self-discovery | The protagonist, Neo, grapples with questions of identity and must find his true self and purpose in a world filled with deception and illusion. | The theme of identity and self-discovery is seen through Neo's journey from an unsure and complacent individual to the realization of his role as the One and his ultimate transformation. |
| Escape and Freedom | The characters strive to escape their captivity in the Matrix and seek freedom from the oppressive control of the machines. | The theme of escape and freedom is present throughout the screenplay as the characters fight to break free from their enslavement and regain control of their lives. |
| Reality vs Illusion | The screenplay explores the blurred lines between reality and illusion, as the characters discover the truth about the Matrix and realize the extent of the deception surrounding them. | The theme of reality vs illusion is prominent as the characters navigate through a simulated reality while seeking to uncover the truth and distinguish between what is real and what is fabricated. |
| Power and Control | The screenplay explores the themes of power and control, with the machines exerting control over humanity in the Matrix, and the resistance fighting to regain their agency. | The theme of power and control is evident in the oppressive rule of the machines, the struggle for power between the agents and the resistance, and the characters' quest to regain control over their own destinies. |
| Sacrifice and Redemption | The characters make sacrifices and seek redemption in their fight against the machines and for the liberation of humanity. | The theme of sacrifice and redemption is seen in the characters' willingness to risk their lives, make tough choices, and put the greater good above their personal desires to achieve freedom and save others. |
| The Nature of Reality and Perception | The screenplay questions the nature of reality and the limitations of human perception, as characters explore the truth about the Matrix and grapple with its implications. | The theme of the nature of reality and perception is explored through the characters' realization that the world they knew was an illusion and their subsequent struggle to understand the true nature of their existence. |
| Technology and its Effects | The screenplay examines the role of technology in society and the potential dangers and consequences of its unchecked advancement. | The theme of technology and its effects is present in the futuristic setting, the control exerted by the machines, and the ethical implications of the Matrix and its impact on humanity. |
| Resistance and Rebellion | The characters form a resistance against the machines and engage in acts of rebellion in their quest for freedom and the liberation of humanity. | The theme of resistance and rebellion is evident as the characters challenge the status quo, defy the control of the machines, and fight back against their oppressors. |
| Destiny and Fate | The screenplay explores the concepts of destiny and fate, with Neo being identified as the chosen one destined to bring about change and fulfill a specific purpose. | The theme of destiny and fate is seen through Neo's journey as the One, his acceptance of his role, and his ultimate fulfillment of his prophesied destiny. |
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| 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. |
| Voice Contribution | The writer's voice contributes to the script by creating a distinct atmosphere that adds to the suspense and tension of the story. The concise and action-driven dialogue helps to propel the plot forward and reveal the motivations and relationships of the characters. The vivid and evocative descriptions add depth and richness to the world of the Matrix. Overall, the writer's voice enhances the overall mood, themes, and depth of the screenplay by conveying a sense of urgency, exploring philosophical themes, and creating fully realized characters. |
| Best Representation Scene | 10 - Meeting Morpheus |
| Best Scene Explanation | 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. |
Originality
- Overall originality score: 8
- Overall originality explanation: The screenplay showcases a unique concept of the Matrix, blending elements of science fiction, technology, and philosophical themes. The scenes range in originality, with some offering fresh takes on familiar genres and others introducing entirely new concepts. The characters' actions and dialogue contribute to the authenticity and originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay are the depiction of humans used as batteries, the surreal and visceral descriptions of the power plant and machines, and the philosophical conflict between determinism and free will.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The full screenplay offers a good level of unpredictability, as it keeps viewers engaged with unexpected plot twists, character developments, and unique concepts. The scenes range from moderately predictable to highly unpredictable, creating a sense of suspense and surprise throughout the story.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals evolve throughout the script, starting with a desire to survive and understand his computer's strange behavior. As he learns more about the Matrix and his role in the resistance, his internal goals shift to finding his true identity, accepting his destiny as the One, and understanding the truth about the world he lives in. |
| External Goals | The protagonist's external goals also evolve throughout the script, starting with a goal to escape the agents and contact Morpheus. His external goals then progress to include saving Morpheus, defeating the agents, and ultimately freeing humanity from the control of the Matrix. |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay is the battle between control and freedom, as represented by the agents and the resistance. This conflict intertwines with the protagonist's journey as he questions the nature of reality, fights for his own agency, and ultimately embraces his destiny as the One. |
Character Development Contribution: The evolving internal goals contribute to the character's development by showcasing his growth from a skeptical and curious individual to a chosen savior who embraces his own power and destiny. Through his journey, he gains a deeper understanding of himself, the world, and the power of choice and individuality.
Narrative Structure Contribution: The evolving internal and external goals contribute to the narrative structure by providing a clear arc and progression for the protagonist. These goals create tension and drive the story forward, building suspense and anticipation as the character navigates a dangerous and unfamiliar world.
Thematic Depth Contribution: The goals and conflict contribute to the thematic depth of the screenplay by exploring deep philosophical questions about the nature of reality, the power of choice, and the struggle between control and freedom. The protagonist's journey and ultimate triumph over the agents and the Matrix reflect themes of self-discovery, empowerment, and the fight against oppression.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The world depicted in the script is a combination of physical and digital elements. The physical environment ranges from urban settings like a hotel, apartment buildings, and office spaces to more desolate places like a sewer main and power plant. There is also the surreal environment of the Matrix, which is a computer-generated dream world. These physical settings shape the characters' experiences and actions by providing unique obstacles and challenges.
- Culture: The cultural elements in the script are centered around rebellion, survival, and a sense of distrust towards authority. The characters are part of a resistance movement that fights against the control of the machines. There is a sense of camaraderie and loyalty among the crew members. The cultural element of faith is also present, as characters grapple with their beliefs and the concept of destiny.
- Society: The society depicted in the script is dystopian and controlled by machines. Humans are imprisoned in a simulated reality called the Matrix while the machines extract energy from them. There is a clear power dynamic, with machines and agents enforcing control and surveillance over humans. The societal structure is hierarchical, with authority figures like Morpheus and the agents having significant influence.
- Technology: The technology portrayed in the script is advanced and futuristic. It includes high-tech surveillance systems, virtual reality simulations, advanced weaponry, and machines capable of controlling and manipulating human minds. The characters' experiences and actions are shaped by their dependence on technology, whether it be hacking into the Matrix or using advanced weaponry to fight off enemies.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions in several ways. The physical environments provide obstacles and challenges that the characters must overcome, such as evading agents in the urban setting or navigating through the dark and treacherous sewer main. The culture of rebellion and survival influences the characters' motivations and actions, as they fight against the oppressive machine-controlled society. The advanced technology both empowers and restricts the characters, impacting their abilities and choices. Overall, these world elements shape the characters' development, relationships, and pursuit of their goals.
- Narrative contribution: The world elements contribute to the narrative by creating a complex and layered story. The physical environments add tension, suspense, and danger to the scenes, enhancing the narrative's action and intensity. The cultural elements of rebellion and survival provide a driving force for the characters' actions and contribute to the overall plot of resistance against the machines. The societal structure creates power dynamics and conflicts between the characters. The advanced technology drives the plot forward, whether it be through hacking into the Matrix or fighting off enemies. These world elements contribute to the storytelling by creating a rich and immersive world that drives the narrative forward.
- Thematic depth contribution: The world elements in the script contribute to the thematic depth of the screenplay by exploring concepts such as identity, reality, and free will. The physical environments reflect the characters' struggle to find their place in a world that is both real and simulated. The culture of rebellion and survival highlights the themes of freedom and resistance against oppressive systems. The societal structure reflects the struggle for power and control. The advanced technology raises questions about the nature of reality and the limits of human agency. These thematic elements deepen the overall meaning and impact of the screenplay.
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'The Matrix' is a well-crafted and compelling work that blends elements of science-fiction, action, and philosophy to create a unique and thought-provoking narrative. The world-building, character development, and action sequences are all strong, with the screenplay's greatest strengths being the engaging dialogues between the main characters and the impressive visual effects. While there are some areas that could be further developed, such as the Cypher subplot and the exploration of the characters' relationships, the overall screenplay is a strong and promising work that would make for an engaging and memorable film.
Strengths
- The dialogues between Neo and Morpheus, as well as Neo and the Oracle, are well-written and provide depth to the characters and the overall narrative. The philosophical discussions about the nature of reality and Neo's role as 'the One' are engaging and thought-provoking. high ( Scene 13 (INT. APARTMENT) Scene 28 (INT. ORACLE'S APARTMENT) )
- The action sequences, particularly the fight scenes between Neo and Morpheus, are impressively choreographed and shot, showcasing the characters' skills and the filmmakers' attention to detail. high ( Scene 19 (INT. DOJO) Scene 51 (INT. DOJO) )
- The world-building and visual design of the 'real world' outside the Matrix, including the power plant and the fetus fields, are unique and captivating, providing a compelling contrast to the simulated reality of the Matrix. high ( Scene 30 (INT. POWER PLANT) Scene 40 (EXT. FETUS FIELDS) )
Areas of Improvement
- The subplot involving Cypher's betrayal could be further developed, providing more insight into his motivations and the impact of his actions on the other characters. medium ( Scene 71 (INT. MAIN DECK) )
- The dialogue between Trinity and Neo in the car could be expanded to explore the relationship between the two characters more deeply, particularly Trinity's revelation about the Oracle's prophecy. medium ( Scene 74 (INT. CAR) )
MissingElements
- The screenplay could benefit from additional character development and backstory for Neo, providing more insight into his life and motivations prior to being 'unplugged' from the Matrix. medium ( Scene 21 (INT. NEO'S APARTMENT - NIGHT) )
- The emotional impact of Cypher's betrayal on the other characters, particularly Trinity, could be explored in more depth. medium ( Scene 135 (INT. MAIN DECK) )
NotablePoints
- The visual effects and cinematography used to depict Neo's growing abilities and the 'bullet time' sequences are highly impressive and distinctive, contributing to the film's unique style and tone. high ( Scene 39 (INT. CONSTRUCT) Scene 178 (INT. SUBWAY STATION - DAY) )
- The incorporation of philosophical and existential themes, such as the nature of reality and the human condition, add depth and complexity to the narrative, making it more than just a standard action or science-fiction story. high ( Scene 28 (INT. ORACLE'S APARTMENT) Scene 143 (INT. MAIN DECK) )