THE MATRIX (黑客帝国)原版剧本(描写+台词)精排版

THE MATRIX

Written by

Larry & Andy Wachowski

April 8, 1996

FADE IN ON:

COMPUTER SCREEN

So close it has no boundaries.

A blinking 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 m aking the call. The cursor continues to throb, relentlessly patient, until --

MAN (V.O.)

Hello?

Data now slashes across the screen, information flashing faster than we read.

SCREEN

Call trans opt: received.

2-19-96 13:24:18 REC:Log>

WOMA N (V.O.)

I'm inside. Anything to report?

We listen to the phone conversation as though we were on a third line. The m an's nam e is CYPHER. The wom an, TRINITY.

CYPHER (V.O.)

Let's see. Target left work at 5:01 PM.

SCREEN

Trace program: running.

The entire screen fills with racing colum ns of num bers.

Shimmering like green-electric rivets, they rush at a 10-digit phone num ber in the top corner.

CYPHER (V.O.)

He caught the northbound Howard line. Got off at Sheridan.

Stopped at 7-11. Purchased six- pack of beer and a box of Captain Crunch. Returned hom e.

The area code is identified. The first three num bers suddenly fixed, leaving only seven flowing colum ns. We begin MOVING TOWARD the screen, CLOSING IN as each digit is m atched, one by one, snapping into place like the wheels of a slot m achine.

TRINITY (V.O.)

All right, you're relieved. Use the usual exit. CYPHER (V.O.)

Do you know when we're going to m ake contact?TRINITY

Soon. Only two thin digits left.

CYPHER (V.O.)

Just between you and m e, you don't believe it, do you? You don't believe this guy is the one? TRINITY (V.O.)

I think Morpheus believes he is.

CYPHER (V.O.)

I know. But what about you?

TRINITY (V.O.)

I think Morpheus knows things that I don't. CYPHER (V.O.)

Yeah, but if he's wrong --

The final number pops into place --

TRINITY (V.O.)

Did you hear that?

CYPHER (V.O.)

Hear what?

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 num bers GROWING INTO an OMINOUS ROAR. TRINITY (V.O.)

I better go.

CYPHER (V.O.)

Yeah. Right. See you on the other side.

She hangs up as we PASS THROUGH the num bers, entering the netherworld of the com puter screen. Where gradually the sound of a police radio grows around us.

RADIO (V.O.)

Attention all units. Attention all units.

Suddenly, a flashlight cuts open the darkness and we find ourselves in --

INT. CHASE H OTEL - NIGHT

The hotel was abandoned after a fire licked its way across the polyester carpeting, destroying several room s as it spooled soot up the walls and ceiling leaving patterns of permanent shadow.

We FOLLOW f our arm ed 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 alm ost devoid of furniture. There is a fold-up table and chair with a phone, a m odern, and a powerbook com puter. The only light in the room is the glow of the computer.

Sitting there, her hands still on the keyboard, is TRINITY; a wom an in black leather.

BIG COP

Get your hands behind your head!

Trinity rises.

BIG COP

Hands behind your head! Now! Do it!

She slowly puts her hands behind her head.

II

EXT. CHASE HOTEL - NIGHT

A black sedan with tinted windows glides in through the police cruisers.

AGENT SMITH and AGENT BROWN 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, its cord coiling back into their shirt collars.

AGENT SMITH Lieutenant?

LIEUTENANT

Oh shit.

AGENT SMITH

Lieutenant, you were given specific orders -- LIEUTENANT

I'm just doing m y job. You grim e that Juris-m y 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 m en are dead.

INT. CHASE HOTEL

The Big Cop flicks out his cuffs, the other cops holding a bead. They've done this a hundred tim es, they know they've got her, until the Big Cop reaches with the cuff and Trinity m oves --

It alm ost doesn't register, so sm ooth and fast, inhum anly fast.

The eye blinks and Trinity's palm. snaps up and the nose explodes, blood erupting. The cop is dead before he begins to fall.

And Trinity is m oving again --

Seizing a wrist, m isdirecting a gun, as a startled COP FIRES --

A head explodes.

In blind panic, another airs his gun, the barrel, a fixed black hole --

And FIRES --

Trinity twists out of the way, the bullet m issing as she reverses into a roundhouse kick, knocking the gun away.

The cop begins to scream when a jump kick crushes his windpipe, killing the scream as he falls to the ground.

She looks at the four bodies.

TRINITY

Shit.

EXT. CHASE HOTEL

Agent Brown enters the hotel, while Agent S m ith heads for the alley.

INT. CHASE HOTEL

Trinity is on the phone, pacing. The other end is answered.

MAN (V.O.) Operator.

TRINITY

Morpheus! The link was traced! I don't know how. MORPHEUS (V.O.)

I know. Stay calm.

TRINITY

Are there any agents?

MORPHEUS (V.O.)

Yes.

TRINITY

God dam n it!

MORPHEUS (V.O.)

You have to focus. There is a phone. Wells and Laxer. You can m ake it.

She takes a deep breath, centering herself. TRINITY

All right --

MORPHEUS (V.O.)

Go.

She drops the phone.

INT. HALL

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.

III

EXT. FIRE E5CAPE

In the alley below, Trinity sees Agent Smith staring at her. She can only go up.

EXT. ROOF

On the roof, Trinity is running as Agent Brown rises over the parapet, leading the cops in pursuit.

Trinity begins to jum p from one roof to the next, her m overents so clean, gliding in and out of each jum p,contrasted to the wild jum ps of the cops. Agent Brown, however, has the sam e unnatural grace.

The METAL SCREAM of an EL TRAIN is heard and Trinity turns to it, racing for the back of the building. The edge falls away into a wide back alley. The next building is over 40 feet away, but Trinity's face is perfectly calm, staring at som e point beyond the other roof.

The cops slow, realizing they are about to see som ething ugly as Trinity drives at the edge, launching herself into the air.

From above, the ground seem s to flow beneath her as she hangs in flight

Then hitting, som ersaulting up, still running hard. COP Motherfucker -- that's impossible!

They stare, slack-jawed, as Agent Brown duplicates the m ove exactly, landing, rolling over a shoulder, up onto one knee.

Just below the building are the rumbling tracks of riveted steel. The TRAIN SCREECHES beneath her, a rattling blur of gray m etal. Trinity jum ps, landing easily.

She looks back just as Agent Brown hurls through the air barely reaching the last car

Agent Brown stands, yanking out a gun.

Trinity is running hard as BULLETS WHISTLE past her head.

Ahead she sees her only chance, 50 feet beyond the point where the train has begun to turn, there is --A window; a yellow glow in the m idst of a dark brick building.

Trinity zeroes in on it, running as hard as she can, her speed compounded by the train. The SCREAM of the STEEL rises as she nears the edge where the train rocks into the turn.

Trinity hurtles into the empty night space, her body leveling into a dive. She falls, arms covering her head as --

The whole world seem s to spin on its axis --

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.

Through the sm ashed window, she glimpses Agent Brown, still on the train, his tie and coat whipping in the wind; stone-faced, he touches his ear piece as the train slides him past the window.

Trinity tries to m ove. Everything hurts.

TRINITY

Get up, Trinity. You're fine.

Get up -- just get up!

She stands and limps down the rest of the stairs.

EXT. STREET

Trinity em erges 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, its TIRES SCREAMING as it accelerates.

Trinity sees the headlights on 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 m etal lurches up onto the sidewalk --Barreling through the booth, bulldozing it into a brick wall, smashing it to Plexiglas pulp.

After a m om ent, a black loafer steps down from the cab of the garbage truck. Agent Sm ith inspects the wreckage.

There is no body. Trinity is gone.

His jaw sets as he grinds his m olars in frustration. AGENT JONES walks up behind him.

AGENT SMITH

Did you get anything from the room?

AGENT JONES

Their next target. The nam e is Neo.

The handset of the pay phone lays on the ground, separated in the crash like a severed lim b.

AGENT SMITH

We'll need a search running.

AGENT J ONES

It's already begun.

We are SUCKED TOWARDS the m outhpiece of the phone, CLOSER and CLOSER, UNTIL the sm ooth gray plastic spreads out like a horizon and the small HOLES WIDEN until we fall through one --Swallowed by the darkness that becom es --A computer screen.

We are on-line, inside a chat room called "The Matrix."

It is an exclusive web-site where hackers hang out. SCREEN

JACKON: I heard Morpheus has been on this board. SUPERASTIC: Morpheus doesn't even exist and the Matrix is nothing but an advertising gimmick 4 a new gam e.

TIMAXE: All I want to know is Trinity really a girl? LODIII: 87% of all wom en on line are really m en. QUARK: The Matrix is a euphem ism for the governm ent.

UPERASTIC: No, The Matrix is the system controlling our lives.

TIMAXE: You m ean MTV.

SUPERASTIC: I m ean Sega.

FOS4: ALL HAIL SEGA!!!

We drift back from the electric conversation entering --

INT. NEO'S APARTMENT

It is a studio apart rent 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.

We turn towards the center of this rat-nest of technology, following the slurping and crunching of cereal. We pass an open box of Capln Crunch as we find --

NEO, a younger m an who knows m ore about living inside a computer than living outside one.

NEO

Fuckin' idiots don't know shit.

He finishes his cereal and is about to disconnect when an anonym ous m essage slices onto the screen.

SCREEN

Do you want to know what the Matrix is, Neo?

Neo is frozen when he reads his nam e.

SCREEN

SUPERASTIC: Who said that?

JACKON: Who's Neo?

GIBSON: This is a private board.

If you want to know, follow the white rabbit.

NEO

What the hell...

SCREEN

TIMAXE: Som eone is hacking the hackers!

FOS4: It's Morpheus!!!!!

JACKON: Identify yourself.

Knock, knock, Neo.

A chill runs down his spine and when som eone KNOCKS on his door he alm ost jumps out of his chair.

He looks at the door, then back at the computer but the m essage is gone.

He shakes his head, not completely sure what happened.

Again, som eone knocks.

Cautiously, Neo approaches the door.

VOICE (O.S.)

Hey, Tomm y-boy! You in there?

Recognizing the voice, he relaxes and opens it. ANTHONY, who lives down the hall, is standing outside with a group of friends.

NEO

What do you want, Anthony?

ANTH ONY

I need your help, man. Desperate. They got m e, man. The shackles of fascism.

He holds up the red notice that accom panies the Denver boot.

NEO

You got the m oney this tim e?

He holds up two hundred dollars and Neo opens the door.

Anthony's girlfriend, DUJOUR, stops in front of Neo. DUJ OUR

You can really get that thing off, right now?

ANTH ONY

I told you, honey, he m ay look like just another geek but this here is all we got left standing between Big Brother and the New World Order.

IV

EXT. STREET

A police officer unlocks a yellow m etal boot from the wheel of an enorm ous Oldsm obile.

INT. NEO'S APARTMENT

They watch from the window as the cops, silently, robotically, climb into their van.

ANTH ONY

Look at 'em. Autom atons. Don't think about what they're- doing or why. Com puter tells 'em what to do and they do it. FRIEND #l

The banality of evil.

He slaps the m oney in Neo's hand.

ANTH ONY

Thanks, neighbor.

DUJ OUR

Why don't you com e to the party with us?

NEO

I don't know. I have to work tom orrow.

DUJ OUR

Com e on. It'll be fun.

He looks up at her and suddenly notices on her black leather m otorcycle jacket dozens of pins: bands, sym bols, slogans, m ilitary m edals and --A small white rabbit.

The ROOM TILTS.

NEO

Yeah, yeah. Sure, I'll go.

INT. APARTMENT

An older Chicago apartment; a series of halls connects a chain of sm all high-ceilinged room s lined with heavy casem ents.

Sm oke hangs like a veil, blurring the few lights there are.

Dressed predom inantly in black, people are everywhere, gathered in cliques around pieces of furniture like jungle cats around a tree.

Neo stands against a wall, alone, sipping from a bottle of beer, feeling com pletely out of place, he is about to leave when he notices a wom an staring at him.

The wom an 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 did you know that --

TRINITY

I know a lot about you. I've been wanting to m eet you for som e time.

NEO

Who are you?

TRINITY

My nam e is Trinity.

NEO

Trinity? The Trinity? The Trinity that cracked the I.R.S.

Kansas City D-Base?

TRINITY

That was a long tim e 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 som ewhere and talk?

TRINITY

No. It's safe here and I don't have m uch tim e.

The MUSIC is so loud they m ust stand very close, talking directly into each other's ear.

NEO

That was you on the board tonight. That was your note, wasn't it?

TRINITY

I had to gamble that you would see and they wouldn't.

NEO

Who wouldn't?

TRINITY

I can't explain everything to you. I'm sure that it's all going to seem very strange, but I brought you here to

warn you, Neo. You are in a lot of danger.

NEO

What? Why?

TRINITY

They're watching you. Som ething happened and they found out about you. Normally, if our target is exposed we let it go. But this tim e, we can't do that. NEO

I don't understand --

TRINITY

You cam e here because you wanted to know the answer to a hacker's question.

NEO

The Matrix. What is the Matrix?

TRINITY

Twelve years ago I m et a man, a great m an, who said that no one could be told the answer to that question. That they had to see it, to believe it.

Her body is against his; her lips very close to his ear. TRINITY

He told m e that no one should look for the answer unless they have to because once you see it, everything changes. Your life and the world you live in will never be the sam e. It's as if you wake up one m orning and the sky is falling.

There is a hypnotic quality to her voice and Neo feels the words like a drug, seeping into him.

TRINITY

The truth is out there, Neo. It's looking for you and it will find you, if you want it to.

She takes hold of him with her eyes.

TRINITY

That's all I can tell you right now. Good-bye, Neo. And good luck.

NEO

Wait. Who was it? Who was the m an?

She leans close, her lips alm ost touching his ear as she whispers.

TRINITY

You know who.

She turns and he watches her m elt into the shifting wall of bodies.

A SOUND RISES steadily, growing out of the m usic, pressing in on Neo until it is all he can hear as we -- CUT TO:

INT. NEO'S APARTMENT

The sound is an ALARM CLOCK, slowly dragging Neo to consciousness. He strains to read the clock face:

9:15 A.M.

NEO

Shit shit shit.

V

EXT. SK YSCRAPER

The downtown office of CorTechs, a software developm ent com pany.

INT. CORTECHS OFFICE

The m ain offices are along each wall, the windows overlooking downtown Chicago.

RHINEHEART, the ultimate com pany 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 across the surface of the glass.

RHINEHEART

You have a problem, Mr. Anderson.

You think that you're special.

You believe that som ehow the rules do not apply to you.

He stops, glancing over his glasses at Neo, who turns in time.

RHINEHEART

Obviously, you are m istaken.

His long, bony fingers resum e clicking the keyboard. RHINEHEART

This com pany is one of the top software companies in the world because every single em ployee understands that they are a part of a whole. Thus, if an em ployee has a problem, the com pany has a problem.

He turns again.

RHINEHEART

The tim e has com e to m ake a choice, Mr. Anderson. Either you choose to be at your desk on tim e from this day forth, or you choose to find yourself another job. Do I m ake m yself clear?

NEO

Yes, Mr. Rhine heart. Perfectly clear.

INT. NEO'S CUBICLE

The entire floor looks like a hum an honeycom b, with a labyrinth of cubicles structured around a core of elevators.

Neo slum ps down into his chair. A TALL EMPLOYEE stands up in the adjacent cubicle, leaning over the

partition.

TALL EMPLOYEE

What did he say?

NEO

If I was late again, I'm going to be fired.

He smirks.

TALL EMPLOYEE

Well, it was nice working with you.

Neo glares at him, as he sinks down.

VOICE (O.S.)

Thom as Anderson?

Neo turns and finds a FEDERAL EXPRESS MAN at his cubicle door.

NEO

Yeah. That's m e.

Neo signs the electronic pad and the FedEx guy hands him the Softbank.

FEDEX

Have a nice day.

He opens the bag. Inside is a CELLULAR PH ONE. It seem s the instant it is in his hand, it RINGS. Unnerved, he flips it open.

NEO

Hello?

MORPHEUS (V.O.)

Hello, Neo. This is Morpheus.

Neo's knees give and he falls into his chair. MORPHEUS (V.O.)

I had hoped for this conversation to take place under less adverse conditions, but you can never count on hope, can you, Neo?

NEO

... no.

MORPHEUS (V.O.)

I've been watching you, Neo, and I want to m eet you.

I don't know if you're ready to see what I want to show you, but unfortunately, we have run out of tim e. They're com ing for you, Neo. And I'm not sure what they're going to do.

NEO

Who's com ing for m e?

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. Slowly. The elevator.

His head slowly peeks up over the partition.

At the elevator, he sees Agent Brown and Agent Jones leading a group of cops. A female employee turns and points out Neo's cubicle.

Neo ducks.

NEO

Holy fuckin' shit!

MORPHEUS (V.O.)

Yes.

One cop stays at the elevator, the others follow the agents.

NEO

What the fuck do they want with m e?!

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 m oving quickly towards the cubicle. MORPHEUS (V.O.)

The cubicle across from you is em pty.

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 m om ent.

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 the tall em ployee.

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.

Neo rolls out of the cubicle, his eyes popping as he freezes right behind a cop who has just turned

around.

Staying crouched, he sneaks away, down the row, SHOOTING

across the opening to the first office on the left. The room is empty.

MORPHEUS (V.O.)

Good. Now there is a window. Open it.

NEO

How do you know all this?

Morpheus laughs quietly.

MORPHEUS (V.O.)

The answer is com ing, Neo.

He opens the window. The window howls into the room.

MORPHEUS (V.O.)

Outside, there's a scaffold. You can use it to get to the roof.

Leaning out the window, he sees that the scaffold is several offices away.

NEO

No! It's too far away.

MORPHEUS (V.O.)

There's a sm all ledge. It's a short clim b. 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.)

Don't be controlled by your fear, Neo. 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.

NEO

This is insane! Why is this happening to m e? What did I do?

I'm nobody. I didn't do anything. Fuck! Fuck! Fuck! He climbs up onto the window ledge. Hanging onto the frame, he steps onto the sm all 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 fram e, 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

I didn't do anything!

VI

EXT. SK YSCRAPER

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 rear view m irror of her m otorcycle.

TRINITY

Shit.

INT. INTERROGATION ROOM - CLOSE ON CAMERA MONITOR

A wide angle view of a white room, where Neo is sitting at a table alone.

We MOVE INTO the m onitor, ENTERING the room as if the m onitor were a window.

At the sam e m om ent, the door opens and the agents enter.

Sm ith sits down across from Neo. A thick manila envelope slaps down on the table between them. Neo glances at the nam e on the file: "Anderson, Thom as A."

AGENT SMITH

As you can see, we've had our eye on you for som e tim e 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 seem s that you have been living two lives. In one life, you are Thom as A. Anderson, program writer for a respectable software company. You have a social security num ber, you pay your taxes and you help your land lady carry out her garbage.

The pages continue to turn.

AGENT SMITH

The other life is lived in com puters where you go by the hacker alias Neo, and are guilty of virtually every com puter crime we have a law for, including the unauthorized use of the D.M.V. system for the

rem oval of autom obile boots.

Neo feels him self 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 forthcom ing as I can be, Mr. Anderson. You are here because we need your help. He rem oves 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 him self Morpheus. Whatever you think you know about this m an is irrelevant to the fact that he is wanted for acts of terrorism in more countries than any other m an in the world. He is considered by m any authorities to be the m ost dangerous m an alive.

He leans closer.

AGENT SMITH

My colleagues believe that I am wasting m y time with you, but I believe you want to do the right thing. It is obvious that you are an intelligent m an, 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 m atch 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 him self.

NEO

Yeah. Wow. That sounds like a real good deal. But I think I have a better one. How about I give you the finger --

He does.

NEO

And you can cram that file up your Secret Service sphincter.

Agent Smith puts his glasses back on.

AGENT SMITH

You disappoint m e, Mr. Anderson.

NEO

You ain't seen nothing yet.

AGENT SMITH

The irony of your situation is that you have no choice. NEO

You can't scare m e with this Gestapo crap. I know m y rights.

I want m y phone call.

Agent Smith smiles.

AGENT SMITH

And tell m e, Mr. Anderson, what good is a phone call iy you are unable to speak?

The question unnerves Neo and strangely, he begins to feel the m uscles 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, m elding into each other until all trace of his m outh is 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.

Sm ith nods and the other two rip open his shirt. From a case taken out of his suit coat, Sm ith rem oves a long, fiber-optic wire tap.

Neo struggles helplessly as Sm ith dangles the wire over his exposed abdom en. Horrified, he watches as the electronic device anim ates, becom e 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 Sm ith drops the creature which looks for a m om ent like an uncut um bilical cord --

Before it begins to burrow its, tail thrashing as it worm s its way inside.

INT. NEO'S APARTMENT - NIGHT

Scream ing, Neo bolts upright in bed.

He realizes that he is hom e. Was it a dream? His m outh is norm al. His stomach looks fine. He starts to take a deep, everything-is-okay breath, when -- The PH ONE RINGS.

It alm ost stops his heart. It CONTINUES RINGING, building pressure in the room, forcing him up out of bed, sucking him in with an alm ost gravitational force.

He answers it, saying nothing.

MORPHEUS (V.O.).

This line is tapped, so I m ust be brief.

NEO

The agents --

MORPHEUS (V.O.)

They got to you first, but they've underestim ated how im portant you are. If they knew what I know, you would probably be dead.

Neo feels sick.

MORPHEUS (V.O.)

I don't know what you are thinking right now but I want you to understand that I will not give up on you until you give up on m e.

Neo's throat cracks, dry as the Sahara. MORPHEUS (V.O.)

Do you still want to m eet?

NEO

... Yes.

MORPHEUS (V.O.)

Take the Howard line south.

CLICK. He closes his eyes, unsure of what he has done.

VII

EXT. EL TRAIN

An EL TRAIN RAGES against its m etal rails.

INT. TRAIN

It is three a.m., and the train carries the usual urban night crawlers. Neo sits alone, eyes shifting, watching everything nervously.

There is a METAL BANG and TRAIN CLATTER fills the car as the door is opened.

Neo turns and sees a large man enter. He is wearing sunglasses and a black leather jacket. His nam e is APOC and he walks straight at Neo.

APOC

Com e with m e.

Neo stands just as the door at the opposite end opens and two police officers rush in, drawing their guns.

Apoc grabs Neo, m uscling him to the nearest exit. There

is no upcom ing station.

Apoc yanks the em ergency brake and the train buckles against its own speed. The cops are thrown back. NEO slam s against the m etal rail.

The doors open onto nothing and just when Neo regains his balance, Apoc shoves him backwards -- He flies out from the train, arms win drilling as he falls from, the raised tracks --

Hurtling towards a busy city street when, out of nowhere, a truck races under him and --

He crashes into a large dumpster-bed filled with em pty boxes.

INT. TRUCK BED

Still shaking his head, Neo realizes he is not alone. A man named Cabie is aiming a big gun at him. Trinity is next to him, talking into a cellular phone. TRINITY

We got him. Call the chop-shop.

She hangs up.

TRINITY

Listen to m e, Neo. You have to, trust us.

She tears off a long strip of black duct-tape and reaches for his face.

NEO

What are you doing?

TRINITY

This has to be done for your protection and ours. She seals his eyes shut with the tape.

TRINITY

You can't understand right now, but if you're not one of us, you're one of them.

EXT. LOWER WACKER

A featureless black van glides up to a staircase that curls down from the city's surface. trinity guides the blind Neo down the steps. The back of the van slaps open, revealing a young, skinny m an who looks to be still in his teens, wearing an outfit that is a cross between a surgeon and a telephone repair m an.

His nam e is GIZMO and he smiles lewdly at Trinity, exposing his teeth that are wired with weird-looking braces.

GIZMO

Va va va voom. Still the hottest software around. TRINITY

Hello, Gizm o.

Neo hears the voices around him.

GIZMO

This is really the guy? The guy that Morpheus thinks --

TRINITY

Yeah.

GIZMO

But he's so old.

TRINITY

Are you going to help us or aren't you?

GIZMO

Hacksaw. Load up the copper-top and let's get the hell outta here.

Hacksaw is a huge m an in a leather welder's apron. He shoulders Neo and hauls him into the van.

A m oment later the green lights of Lower Wackier curve over the tinted windshield as the van rushes through the underworld.

INT. VAN

The chop-shop is filled with electronic gadgets, wired to m eters and m onitors. There are shelves lined with m edical supplies and rows of hanging tools, knives, cleavers, and stainless steel clamps. Neo is strapped down to an ambulance cart, listening nervously as Gizm o gets to work.

GIZMO

Okay, first we take a little look under the hood.

He pulls up the goggles hanging at his neck and they blink to life with tiny halogen lights and lenses irising to varying levels of m agnification.

GIZMO

You're going to feel a little prick.

He inserts acupuncture-like needles into Neo's lower abdom en. The needles are wired to video m onitors. Hacksaw pilots the fiber-optic lens.

NEO

What are you doing?

TRINITY

We think you're bugged. We can't take you to Morpheus until you're clean.

GIZMO

There it is.

On a m onitor, we see the bug nestled in am ong Neo’s large intestines.

GIZMO

Hit him with 10 ccs of local.

Hacksaw loads a hypoderm ic needle and pumps an anesthetic around Neo’s navel.

Using a device that looks like a m iniature speculum, Gizm o inserts a knuckled dental pick. Typing into a calculator keypad wired to the pick, he autom ates the tip.

On the m onitor, we watch it telescope out and the en separate into a tiny hooked, m etal claw.

GIZMO

Here, kitty, kitty, kitty.

The claw snags hold of the bug.

GIZMO

Gotcha! But the bug reacts violently. Neo screams as it wraps itself around the soft tissue web of intestine. GIZMO

Shit.

TRINITY

What's happening?

GIZMO

I don't know. They've never done that before.

Neo writhes in pain.

GIZMO

Hold him down.

NEO

Jesus! God!

TRINITY

Do som ething!

GIZMO

I got it! Maybe we can stun it.

TRINITY

Are you crazy? That will kill him.

We watch Neo, who can't see what they are talking about.

GIZMO

It'll work. Com e on, do it or Hacksaw will.

NEO

Do what?

The instant he hears the word, he knows.

TRINITY

Clear.

NEO

Oh, shit --

The cry is frozen in his m outh as the paddles hit his chest. Gizm o wrestles with the bug.

GIZMO

Hit him again!

Again, the electricity convulses through him as GIZMO

yanks the speculum out.

GIZMO

Got it!

Trinity touches Neo, who is just beginning to breathe. She eases the tape off his eyes.

TRINITY

Neo, are you okay?

He nods.

TRINITY

It's over. We got it.

Hanging from the claw pick is the inanimate m etal wire-tap.

GIZMO

Nasty little bugger, ain't it?

INT. H OTEL LAFA YETTE

The van stops in a deserted alley behind a forgotten hotel. The doors open and Trinity helps Neo get out. TRINITY

Thanks for your help, Gizm o.

GIZMO

I just hope the m an knows what he's doing.

She nods then climbs out of the van. Gizm o ogles the tight leather pants.

GIZMO

Goddam n, what I wouldn't give for

a copy of that software.

Trinity turns around.

TRINITY

Gizm o, you don't have the hardware to handle this software.

He howls with adolescent laughter as the van pulls away.

Trinity turns to Neo.

TRINITY

Let's go. He's waiting.

INT. H OTEL LAFA YETTE

It is a place of putrefying elegance, a rotting host of urban m aggoty.

Trinity leads Neo from the stairwell down the hall of the thirteenth floor. They stop outside room 1313. TRINITY

This is it.

Neo can hear his own heart pounding.

TRINITY

Let m e give one piece of advice. Be honest. He knows m ore than you can possibly im agine.

VIII

INT. ROOM 1313

Across the room, a dark figure stares out the tall windows veiled with decaying lace. He turns and his sm ile lights up the room.

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

Welcom e, Neo. As you no doubt have guessed, I am Morpheus. NEO

It's an honor.

MORPHEUS

Please. Com e. Sit.

He nods to Trinity.

MORPHEUS

Thank you, Trinity.

She bows her head sharply and 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 m ust 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 m an who accepts what he sees because he is expecting to wake up.

A smile, razor-thin, curls the corner of his lips. MORPHEUS

Ironically, this is not far from the truth. But I'm getting ahead of m yself. Can you tell m e, Neo, why are you here?

NEO

You're Morpheus, you're a legend. Most hackers would die to m eet you.

MORPHEUS

Yes. Thank you. But I think we both know there's m ore 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 m y life.

MORPHEUS

I know exactly what you m ean.

Again, that smile that could cut glass. MORPHEUS

Let m e tell you why you are here. You are here because you have the gift.

NEO

What gift?

MORPHEUS

I've watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. What

you can do inside

a com puter is not normal. I know. I've seen it. What you do is m agic.

Neo shrugs.

NEO

It's not m agic.

MORPHEUS

But it is, Neo. It is. How else would you describe what has been happening to you?

He leans forward.

MORPHEUS

We are trained in this world to accept only what is rational and logical. Have you ever wondered why? Neo shakes his head.

MORPHEUS

As children, we do not separate the possible from the impossible which is why the younger a m ind is the easier it is to free while a m ind like yours can be very difficult.

NEO

Free from what?

MORPHEUS

From the Matrix.

Neo locks at his eyes but only sees a reflection of him self.

MORPHEUS

Do you want to know what it is, Neo?

Neo swallows and nods his head.

MORPHEUS

It's that feeling you have had all your life. That feeling that som ething was wrong with the world. You don't know what it is but it's there, like a splinter in your mind, driving you m ad, driving you to m e. But what is it?

The LEATHER CREAKS as he leans back. 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. That you, like everyone else, was born into bondage...

... kept inside a prison that you cannot sm ell, taste, or touch. A prison for your mind. Outside, the WIND BATTERS a loose PANE of glass. MORPHEUS

Unfortunately, no one can be told what the Matrix is. You have to see it for yourself.

NEO

How?

MORPHEUS

Hold out your hands.

In Neo's right hand, Morpheus drops a red pill. MORPHEUS

This is your last chance. After this, there is no going back. In his left, a blue pill.

MORPHEUS

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 sm ooth skin of the capsules, with the m oisture growing in his palms.

MORPHEUS

Rem ember that all I am offering is the truth. Nothing m ore.

Neo opens his m outh and swallows the red pill. The Cheshire sm ile returns.

MORPHEUS

Follow m e.

He leads Neo into the other room, which is cramped with high-tech equipment, glowing ash-bliie and electric green from the racks of m onitors.

Trinity, Apoc and Cypher look up as they enter. CYPHER

Shit.

TRINITY

I knew he would.

Cypher saddles up to Morpheus, talking in a hushed tone away from, Neo.

CYPHER

Morpheus, I know what you believe but I think this is a mistake.

We're rushing him. He's old. I'm afraid he m ight pop.

MORPHEUS

Haven't I always told you, Cypher, not to let fear control your life.

Apoc, are we on-line?

Neo recognizes the large m an from the El train. APOC

Alm ost.

He and Trinity are working quickly, hardwiring a com plex system of m onitors, m odules and drives. NEO

Apoc? You wrote the Four Horsem en Virus.

APOC

That's right.

MORPHEUS

Neo, tim e is always against us. Will you take a seat there?

In the center of the room sits a chair. Near the chair is an old oval dressing m irror that is cracked. MORPHEUS

I imagine you know som ething about virtual reality. Neo sits and Trinity begins gently fixing white electrode disks to his head, arm s, and the back of his neck.

NEO

A little.

MORPHEUS

Tell m e about it.

NEO

Essentially, it's a hardware system that uses an apparatus; headgear, gloves and whatever to m ake you feel that you are in a com puter program. MORPHEUS

If the virtual reality apparatus, as you called it, was wired to all of your senses and controlled them com pletely, would you be able to tell the difference between the virtual world and the real world?

NEO

You m ight not, no.

MORPHEUS

No, you wouldn't.

Neo 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 going to m ake things feel a bit strange.

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 m irror. Wide-eyed he stares as it begins to heal itself, a webwork of cracks that slowly run together as though the m irror were becom ing liquid.

NEO

Shit...

Cypher works with Apoc checking reams of phosphorescent data. Trinity m onitors 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 m irror stretches in long rubbery strands like mirrored-taffy stuck to his fingertips.

NEO

What is this? Mescaline?

MORPHEUS

Just relax, Neo.

The strands thin like rubber cem ent as he pulls away, until the fragile wisps of mirror thread break.

With the TINKLING of GLASS, shimmering snowflakes of electric-blinking m ercury fall, hit the ground, and fade.

He looks at his hand; fingers distended into mirrored icicles that begin to m elt rapidly, drippin g, running like wax down his fingers, spreading across his palms where he sees his face reflected.

NEO

Uh-oh...

TRINITY

It's going into replication.

MORPHEUS

Apoc?

APOC

Still nothing.

Morpheus takes out a cellular phone and dials a num ber.

MORPHEUS

Tank, we're going to need the signal soon. Stay calm, Neo.

The m irror gel seem s to com e to life, racing, crawling up his arms like hundreds of insects.

NEO

It's cold.

The m irror creeps up his neck as Neo begins to panic, tipping his head as though he were sinking into the mirror, trying to keep his m outh up.

NEO

It's all over m e --

Morpheus is right next to him, with the phone.

TRINITY

I got a fibrillation!

CYPHER

I knew it, I knew it...

MORPHEUS

Shit! Apoc?

Stream s of m ercury run from Neo's nose.

APOC

Targeting... alm ost there.

An ALARM, on Trinity's m onitor ERUPTS.

TRINITY

He's going into arrest!

CYPHER

He's gonna pop!

APOC

Lock! I got him!

MORPHEUS

Now, Tank now!

His eyes tear with m irror, rolling up and closing as a high-pitched ELECTRIC SCREAM ERUPTS in the headphones --

It is a piercing SHRIEK like a com puter calling to another com puter --

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.

IX

INT. POWER PLANT - CLOSE ON MAN'S BODY Floating in a womb-red amnion. 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 lim bs 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 m outh as he sucks for air. Tearing him self free, he em erges 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 red 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 enorm ous 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 red gelatin; beneath the wax-like surface, pale and m otionless, he sees other hum an beings. Fanning out in a circle, there are m ore. All connected to a center core, each capsule like a red, dimly glowing petal attached to a black m etal stem. Above him, level after, level, the stem rises seem ingly forever. He m oves to the foot of the capsule and looks out.

The im age 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.

Below Neo, a petal detaches from the stem, bearing away the body of an old man like an autom ated barge even as a new pod rises up and plugs itself into the em pty space.

Inside the new capsule, its surface m ore translucent and pinkish in color, Neo sees a small baby.

From above, a m achine drops directly in front of Neo.

He swallows his scream as it seems to stare at him. It is alm ost insect-like in its design; beautiful housings of alloyed m etal covering organic-like system s of hard and soft polym ers.

A black particle beam washes over Neo, he reacts in pain as the scanner seems to expose the nervous system wired to the coaxial cable at his cerebral cortex.

At the back of the neck, the cable lock spins and opens, disengaging.

The cable pulls itself free, a long clear plastic needle and cerebrum-chip slides from the anterior of Neols skull with an ooze of blood and spinal fluid. The other connective hoses snap free and snake away as --

The back of the unit opens and a trem endous

vacuum, like an airplane door opening, sucks the gelatin and then NEO into a black hole.

INT. WASTE LINE

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 cily clunps of cellulite.

Neo begins to drown when he is suddenly snatched from the flow of waste.

The m etallic cable then lifts, pulling him up into the belly of the futuristic flying m achine, hovering inside the sewer m ain line.

INT. H OVERCRAFT

The m etal harness opens and drops the half-conscious NEO onto the floor.

Human hands and arm s help him up as he finds him self looking straight at Morpheus.

Trinity and Apoc. And others, dressed in bizarre, high-tech combat gear.

Morpheus sm iles.

MORPHEUS

Welcom e to the real world, Neo.

Neo passes out.

FADE TO BLACK.

We have no sense of tim e. We hear VOICES whispering.

MAN (O.S.)

Do you think Morpheus is right?

Do you think he could be the One?

WOMA N (O.S.)

It doesn't m atter now. But if he's wrong...

FADE IN:

NEO'S POV

Neo's eyes flutter open. We see Trinity's face above us, angelic in the fluorescent glow of a light stick.

ANGLE ON NEO

NEO

... am I dead?

TRINITY

Far from it.

FADE TO BLACK.

FADE IN:

ANGLE ON NEO He opens his eyes again, som ething tingling through him.

He focuses and sees his body pierced with dozens of acupuncture-like needles wired to a strange device. DOZER

He needs a lot of work.

MORPHEUS

I know.

Dozer and Morpheus are operating on Neo.

NEO

What are you doing?

MORPHEUS

Your m uscles have atrophied. We're rebuilding them. Fluorescent light sticks burn unnaturally bright.

NEO

Why do m y eyes hurt?

MORPHEUS

You've never used them before.

Morpheus takes his sunglasses off and puts them on Neo.

Neo lays back.

MORPHEUS

Rest, Neo. The answers are com ing.

X

INT. NEO'S ROOM

Neo wakes up from a deep sleep, feeling better. He is wearing a black tank top and shorts.

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 feels his bald head. His fingers find and explore the large outlet in the base of his skull.

Just as he starts to com e unglued, Morpheus opens the door.

NEO

Morpheus, what's happened to m e?

What is this place?

MORPHEUS

More im portant than what is when?

NEO

When?

MORPHEUS

You believe the year is 1997 when in fact it is m uch 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.

NEO

That's not possible.

MORPHEUS

I promised you the truth, Neo, and the truth is that the world you were living in was a lie.

NEO

How?

MORPHEUS

I'll show you.

INT. H OVERCRAFT

Like a sleepwalker, Neo follows Morpheus through the ship.

MORPHEUS

This is m y ship, the Nebuchadnezzar. It's a hovercraft. Sm all like a subm arine. It's dark. It's cramped and cold. But it's hom e.

They climb a ladder up to the main deck.

I NT. MAIN DECK

Everyone is there.

MORPHEUS

This is the m ain deck. You know m ost of m y crew. Trinity sm iles and nods.

MORPHEUS

The ones you don't know. That's Mouse and Switch. The two big guys are Tank and Dozer.

The nam es 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 equipm ent. Vines of coaxial hang and snake to and from huge m onolithic battery slabs, a black portable satellite dish and banks of little systems and computer m onitors.

At the center of the web, there are six exoskeleton 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 m onitored. MORPHEUS

Help him, Trinity.

Neo allows him self to be helped into one of the chairs.

MORPHEUS

Do you rem ember when I asked you about an apparatus that could turn a virtual reality into reality? Neo nods.

MORPHEUS It's right here.

He touches Neo's head.

MORPHEUS

And it's accessed here.

Neo feels Morpheus guiding a coaxial line into the jack at the back of his neck. The cable has the same kind of cerebellum chip we saw inside the plant. 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 grim ace 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 --

INT. CONSTRUCT

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 sim ulations. Anything we need.

Morpheus walks past Neo and when Neo turns he sees the two leather chairs from the hotel 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 com puter program? MORPHEUS

Wild, isn't it?

Neo's hands run over the cracked leather.

NEO

This isn't real?

MORPHEUS

What is real? How do you define real? If you're talking about your senses, what you feel, taste, sm ell, or see, then all you're talking about are electrical signals interpreted by your brain.

He picks up a rem ote control and clicks ON the TELEVISION. We drift through the Windy City circa

1996.

MORPHEUS

This is the Chicago you know. Chicago as it was at the end of the twentieth century. This Chicago exists only as part of a neural-interactive sim ulation that we call the Matrix.

We GLIDE AT the television as he changes the channel.

MORPHEUS

You have been living inside Bullard’s vision, inside the m ap, not the territory. This is Chicago as it exists today.

The sky is an endless sea of black and green bile. The earth, scorched and split like burnt flesh, spreads out beneath us as we ENTER the television. MORPHEUS

'The desert of the real.'

In the distance, we see the ruins of a future Chicago protruding from the wasteland like the blackened ribs of a long-dead corpse.

MORPHEUS

We are, right now, m iles below the earth's surface. The only place hum ans can survive outside the Matrix is underground.

Still MOVING, we TURN and find Neo and Morpheus; the chairs now sitting in the middle of the black desert.

Dizzy, Neo holds onto the chair.

NEO

What happened?

MORPHEUS

It started early in the twenty- first century, with the birth of artificial intelligence, a singular consciousness that spawned an entire race of machines.

In his sunglasses, we see storm clouds gather. MORPHEUS

At first all they wanted was to be treated as equals, entitled to the sam e hum an inalienable rights. Whatever they were given, it was not enough.

In the circular window of the glasses, EXPLOSIONS light up a bloody battle field.

MORPHEUS

We don't know who struck first. Us or them. But som etime at the end of the twenty-first century the battle was joined.

We MOVE INTO his glasses and the war surrounds us.

MORPHEUS The war raged for generations and turned the face of our planet from green and blue to black and red.

At last we see the Sentinels; killing m achines that are at once terrifying and beautiful. They have an organic architecture like a m icro biotic organism, that is perpetually in motion.

The Sentinel cracks the body arm or of a soldier, splitting open the soft, searing m eat inside. MORPHEUS

It scorched and burned the sky. Without the sun, the machines sought out a new energy source to survive. The Sentinel locks up, as heat lightning of black ink bursts against the sky, spreading into a permanent cloud of stain.

MORPHEUS

They discovered a new form of fusion. All that was required to initiate the reaction was a sm all electric charge. Throughout hum an history we have been dependent on machines to survive. Fate, it seems, is not without a sense of irony.

We return to the power plant that Neo escaped from where we see hum an beings looking alm ost blissful in their gelatin cocoons.

MORPHEUS

The hum an body generates m ore bio- electricity than a 120-volt battery and over 25,000 B.T.U.'s of body heat.

Outside, spreading all around the power plant, beneath a breathing greenhouse, are the growing fields.

MORPHEUS

We are, as an energy source, easily renewable and com pletely recyclable, the dead liquefied and fed intravenously to the living.

Huge farm-like reapers are harvesting the crop. MORPHEUS

All they needed to control this new battery was som ething to occupy our m ind.

We see inside a clear tubular husk. Floating in viscous fluid, there is a human fetus; its soft skull already growing around the brain-jack. MORPHEUS

And so they built a prison out of our past, wired it to our brains and turned us into slaves.

We PULL BACK to find the im age is now on the television and we are again inside the white space of the Construct.

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.

The room without walls begins to spin.

NEO

Stop! Let m e out! I want out!

X I

I NT. MAIN DECK

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 m e!

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 m e! 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. CYPHER

He's going to pop!

Vom iting violently, Neo pitches forward and blacks out.

INT. NEO'S ROOM

He blinks, regaining consciousness. The room is dark.

Neo is stretched out on his bed.

NEO

I can't go back, can I?

Morpheus sitting like a shadow on a chair in the far corner.

MORPHEUS

No. But if you could, would you really want to?

Neo isn't sure of 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 broke the rule because I had to. He stares into the darkness, confessing as much to him self as Neo. MORPHEUS

When the Matrix was first built there was a m an born inside that had the ability to change what he wanted, to remake the Matrix as he saw fit. It was this m an that freed the first of us and taught us the secret of the war; control the Matrix and you control the future. He pauses.

MORPHEUS

When he died, the Oracle at the temple of Zion prophesied his return and envisioned 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 we have been brought here for a reason, Neo. You are here to serve a purpose, just as I am here to serve m ine.

NEO

I told you I don't believe in fate.

Morpheus sm iles, leaning towards him. MORPHEUS

But I do, Neo. I do.

He stands up.

MORPHEUS

Get som e rest. You're going to need it.

NEO

For what?

MORPHEUS

Your training.

INT. H OVERCRAFT

There is no m orning; there is only darkness and then the fluorescent light sticks flicker on.

INT. NEO'S ROOM

Neo is awake in his bed, staring up at the lights. The door opens and TA.NK 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.

NEO

You don't have...

TANK

Any holes? Nope. Me and m y brother Dozer, we are 100 percent pure, old fashioned, hom e-grown human. Born free. Right here in the real world. Genuine child of Zion.

NEO

Zion?

TANK

Zion is the place, man. You'll see it one day. Last human city.

All we got left.

Tank sm iles.

TANK

Goddam n, I got to tell you I'm fairly excited to see what you are capable of. I m ean 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 tim e. We got a lot to do so let's get to it.

I NT. MAIN DECK

Neo is plugged in, hanging in one of the suspension chairs.

TANK

We're supposed to load all these operations programs first, but this is som e m ajor boring shit. Why don't we start som ething 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 sore com bat training?

Neo reads the label on the disk.

NEO

Jujitsu? I'm going to learn jujitsu?

Tank slides the disk into Neo's supplem ent drive. NEO

No way.

Sm iling, Tank punches the "load" code.

His body jum ps against the harness as his eyes clam p shut. The m onitors 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 m ore?

NEO

Hell yes! INT. MAIN DECK - CLOSE ON COMPUTER MONITOR - LATER

as grey pixels slowly fill a sm all, half-empty box. It is a m eter displaying how m uch download tim e is left.

The title bar reads: "Com bat Series 10 of 12," file categories flashing beneath it: Savate, Jujitsu, Ken Po, Drunken Boxing...

Morpheus walks in.

MORPHEUS

How is he?

Tank looks at his watch, rubs his eyes.

TANK

Ten hours straight. He's a m achine.

Neo's body spasm s and relaxes as his eyes open, breath hissing from his lips. He looks like he just orgasm ed.

He locks at Morpheus.

NEO

This is incredible. I know Kung Fu.

Morpheus sits in the drive chair next to hin. He nods to Tank.

MORPHEUS

Show m e.

INT. DOJ O

They are standing in a very sparse Japanese-style dojo.

MORPHEUS

This is a sparring program, similar to the programmed reality of the Matrix. Consider this your first lesson.

He assumes a fighting stance.

MORPHEUS

Attack me.

Neo assum es a sim ilar stance, cautiously circling until he gives a short cry and launches a furious attack.

It is like a Jackie Chan m ovie 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.

I NT. MAIN DECK

While their m inds battle in the programmed reality, the two bodies appear quite serene, suspended in the drive chairs.

Tank m onitors their life systems noticing that Neo is

【特效片】三十部Hollywood特效片的里程碑 绝对值得收藏! 大饱眼福 留着慢慢看!

三十部Hollywood里程碑【特效片】 章节 收起 ? 1 30.《深渊》 ? 2 29.《本杰明.巴顿奇事》 ? 3 28.《全面回忆》 ? 4 27.《阿甘正传》 ? 5 26.《魔茧》 ? 6 25.《哈利.波特》系列 ?7 24.《飞越长生》 ?8 23.《加勒比海盗》系列 ?9 22.《异形》系列 ?10 21.《小猪宝贝》 ?11 20.《后天》 ?12 19.《角斗士》 ?13 18.《2001太空漫游》 ?14 17.《拯救大兵瑞恩》 ?15 16.《木乃伊》系列 ?16 15.《金刚》 ?17 14.《回到未来》系列 ?18 13.《超人》系列 ?19 12.《独立日》 ?20 11.《玩具总动员》 ?21 10.《变形金刚》系列 ?22 9.《美梦成真》 ?23 8.《星际迷航》系列 ?24 7.《侏罗纪公园》系列 ?25 6.《蜘蛛侠》系列 ?26 5.《黑客帝国》系列 ?27 4.《终结者》系列 ?28 3.《泰坦尼克号》 ?29 2.《星球大战》系列 ?30 1.《指环王》系列 30.《深渊》

1989年，卡梅隆自编自导的《深渊》问世，该片运用了大量的电脑制作合成影像，拍出深邃神秘、时而又斑斓迷人的水下世界，因而科幻影迷们醉心于该片在科学上的准确性，以及片中激动人心的特技效果，如今看来，《深渊》的整体效果也仅是套路感十足的商业制作，

甚至在叙事手法、节奏等方面还不太圆熟。《深渊》作为一部影片并没有达到预期的效果，但是海底异形这一形象却为卡梅隆带来了新的特效：T-1000。 29.《本杰明.巴顿奇事》

大卫.芬奇与布拉德.彼得携手的《本杰明.巴顿奇事》，通过男主角从老年逐渐变年轻的逆向人生，还有一串看似风马牛不相及的琐事，奇妙地串联成了魔幻诗史。不仅通过灯光的布置和摄影技术的运用，营造低沉魔幻氛围，最大亮点莫过于耄耋之年的本杰明。用电子成像捕捉布拉德.皮特的面容，然后安在其他人的身体上，以保证效果逼真，极具创新精神，影片最后追加成本达一亿六美金，并勇夺奥斯卡最佳视效奖。

基于maya的三维动画的制作

基于maya的三维动画的制作

摘要 本设计尝试用Maya软件制作一个简短的三维动画。Maya是目前世界上最为优秀的三维动画的制作软件之一，是相当高尖而且复杂的三维电脑动画软件，它是Alias|Wavefront 公司在1998 年才推出的三维制作软件。它被广泛用于电影、电视、广告、电脑游戏和电视游戏等的数位特效创作，曾获奥斯卡科学技术贡献奖等殊荣。2005年10月4日，生产3D Studio Max的Autodesk(欧特克)软件公司宣布正式收购生产Maya 的Alias。所以Maya 现在是Autodesk 的软件产品。它的应用领域主要包括四个方面；一、平面图形可视化，它大增进平面设计产品的视觉效果，强大功能开阔平面设计师的应用视野，二、网站资源开发，三、电影特技（蜘蛛侠、黑客帝国、指环王），四、游戏设计内容：MAYA 软件在影视动画行业有广泛的运用。 【关键词】三维动画、Maya、电影特技、游戏

ABSTRACT This procedure tries to make a brief three-dimensional animation with Maya.Maya is the world's most outstanding three-dimensional animation production software is one of the very high point and complex three-dimensional computer animation software, which is the Alias | Wavefront Inc. launched in 1998, three-dimensional production software. It is widely used in film, television, advertising, computer games and television games, digital effects creation, it o nce won the Oscar award honorary titles of science and technology. October 4, 2005, the production of 3D Studio Max Autodesk (Autodesk) software company announced the formal acquisition of production Maya's Alias. So now is the Autodesk Maya software products. Its application areas include four aspects; one plane graph visualization, it is a large graphic design products to enhance the visual effect, the power of the application of open graphic designer perspective, two, website resources development, three movie stunt (Spider Man, Matrix, Lord of the Rings), 4, game design elements: MAYA animation software in the film industry have a broad application. 【Keyswords】three-dimensional animation, Maya, Film Effects,Games

《人工智能》影评

不一样的眼光看<人工智能> 初中开始就很喜欢科幻小说和电影，各种新老科幻题材作品看了不少，《星球大战》的宏大场面和亦神亦幻的原力，《黑客帝国》的炫酷动作和巧妙构思，还有《终结者》前三部对于人类未来的思考，《阿凡达》美妙的潘多拉星球...《人工智能》没有一般科幻片里火爆的打斗场面，但涵盖了大量科幻迷们一直探讨的问题，并带给我们别样的感动。 第一次看《人工智能》好像是高二的一个小假期，记得是晚上看了一遍不过瘾第二天又看了一遍。一晃几年过去，公选课上再看一遍，如今更成熟全面的眼光看这部经典，不得不说导演太给力了，电影里包含了大量科幻题材作品一直在探讨的问题，如人类的未来、永恒、人性、人类与机器人的关系等等，电影里围绕David对他妈妈执着的爱开展，网上对电影里人性的评价太多了，人性这么复杂的东西区区两千字怎么讲的清，这里我就主要站在一个工科学生的角度谈谈电影里的机器人吧。 首先，开始时一个女的机器人，为的是给一群公司内部人员展示老一代机器人所能达到的水平，并顺场带出了几个非常经典的关于人与机器人的伦理问题，这个机器人与后面大多数机器人一样，出厂就被设定了对人类惟命是从，甚至当众脱衣也是毫不犹豫，这完全是一个工具，不带有任何人类的感情与思想。但是有一个细节，就是当“她”的脸部被打开又装回去之后，导演给了一个特写，就是“她”掏出了一个小镜子在自己化妆！这是一个多么人性化的举动！但这终究还是“她”自身程序设定的一部分，不得不佩服导演，这一前一后的鲜明对比，更加突出了机器人的工具性，为后来电影的基调做了铺垫，也更突出了主角David 那种人类情感和思想产生的可贵性。 第二个出场的机器人就是我们电影里的主角David，关于David和她妈妈的感情纠结我觉得不是我这工科学生所能讲得清的（但我想我能理解），我也是上网看了些影评才知道什么俄狄浦斯情结，还有人说David对妈妈的爱，根本就不是儿子对母亲的爱，而是一种男女之间占有式的爱，我只能说“A hundred readers have a hundred Hamlet”。且抛开David 所具有的人类感情不说，单单看David 这部机器人的设计我觉得就有问题。首先是他吃东西会损坏自己，作为一个能拥有人类思想和情感的最先进机器人，居然连一个进食系统都没有，不就一根食管加一个食品收集装置嘛，我都能想出来要怎么做这么一个进食系统，那些设计师们真不知道干嘛去了。还有就是关于他睡觉的问题，作为一个以安慰人为目的而设计生产的智能机器人为什么就不能多设定一个程序让他可以“睡觉”呢，尽管机器人不用睡觉，但让一个妈妈哄她的孩子入睡绝对是一个绝好的“安慰”，看来那些设计师真不咋滴。不过我也知道这是导演的故意安排，不能吃东西是为了突出David为了争宠不惜自残，不用睡觉就能听到妈妈讲关于蓝衣仙女的故事，开始看的时候觉得合情合理，回头再看，作为一个学工科并看了那么多科幻作品里先进机器人的我，表示，无法接受。

揭秘全球顶尖特效工作室和它们背后的技术力量

下面简单的科普一下早期的特效史。 1891年，现代动画片之祖---查尔斯-埃米尔雷诺(法国人)拍摄了最早的动画片《可怜的比埃罗》(Pauvrepierrot) 1898年导演E.斯密斯拍摄了第一部定格动画《小胖蛋的马戏团》(THE HUMPT DUMPTY CIRCUS) 1902年法国人乔治.梅里爱---公认的特效之父，拍摄了科幻电影开山之作《月球之旅》(The tripof the moon)把定格拍摄发扬广大。 1927年摄影师尤金.舒夫坦利用光学技巧拍摄了《大都会》(Metropolis)，并把这种方法命名为舒夫坦处理法，这个进步非常大。 ---------------------------------------------------- 之后进入电脑时代 1、最老牌特效公司：蒂皮特工作室(Tippett Studio) Tippett Studio作为世界上历史最悠久的特效制作公司，创建与1984年，无论是早期的《侏罗纪公园》、《黑客帝国》系列，还是近期的《哈利波特》系列、《暮光之城》系列、《泰迪熊》、《忍者神龟：变种时代》等都显示出了特效技术对电影事业革命性的创造与改变。

《侏罗纪公园》1993年 作为影史上最著名也是最卖座的电影之一，《侏罗纪公园》不仅开创了电影特效制作的里程碑，而且还成功创造了霸王龙这个令人不寒而栗的经典银幕怪兽形象。 影片筹备期间，透过跟不同视效公司进行会议，导演斯皮尔伯格发现，原来采用最传统的胶片实景拍摄，再配以惊人的计算机绘图技术，出来的效果才最慑人。影片中的恐龙们也成为了影史上第一次出现的由数字技术创造的能呼吸的，有真实皮肤，且有肌肉和动作质感的角色。 历经二十年，Tippett Studio始终在特效制作界享誉盛名，并且持续不断创造更多经典，除了强大的团队，善用利器，也是它始终向前，永不过时的原因。

“时间冻结”视觉特效在时间美学中的诠释

“时间冻结”视觉特效在时间美学中的诠释 【摘要】时间冻结是一种应用于影视后期制作中的特殊视觉效果。本文从时间美学的理论体系角度对时间冻结技术的两个重要维度进行阐述。 【关键词】时间冻结、时间美学、视觉特效 中图分类号：J931 文献标志码：A 文章编号：1007-0125（2015）09-0124-01 一、“时间冻结”的实现机制 “时间冻结”出现于20世纪80年代，是应用于影视后期制作中的一种特殊视觉效果，但是，直到电影《黑客帝国》中的“子弹时间”人们才开始注意到这种奇异的效果。在操作中，它将高清摄像机或专业相机间隔一定距离排成圆形、直线或曲线，组成一个拍摄阵列。这个阵列以静止的被摄体为中心，在拍摄角度和光线上保持严格的相关性，各个拍摄机器通过控制线串连起来，通过软件编程控制总快门，在同一瞬间或相等时间间隔、不等时间间隔进行拍摄，然后在图像处理系统中把不同角度的系列画面集合在一起。 “时间冻结”的特质有两个：一是时间上的极端变化――运动的主体突然静止，这个特质非常适合截断日常生活中急速行进使人难以捕捉的事物，如飞溅的液体、疾驰的子弹等。

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黑客帝国剧情解析

黑客帝国剧情解析 一开始，人类和机器大战，结果人类输了。但奇怪的是人类没有灭亡，而是变成了机器的能源。机器从人类身上获取能源显然是个假象，或者说，人类的确在做机器的电池，但这显然不是机器的目的，因为它们从人身上获取能源显然不如直接获取养活人类的那种能源来的划算。机器没有灭绝人类，可能有两个原因吧，一方面，一开始机器就有怜悯之心，它们不希望人类灭绝，但又不再想受人类威胁，最好的办法就是囚禁他们的身体，然后用一个虚拟世界来控制他们的精神，把人类作为生物电池只是副产品；另一方面，可能是机器希望研究人类以改善他们自己，同样出于消除人类威胁性的考虑，必须把人类以某种方式囚禁起来。我想对于Matrix的产生两个原因都有一点。总之，Matrix就这样诞生了。不管第一个Matrix是怎样的，总之它就是个真到让绝大多数人都以为是现实的虚拟世界，所有人的身体都在当电池，而他们的精神都活在Matrix中。Matrix的设计者就是那个设计师了，我认为他和第三集里的机械大帝是同一个东西，它就是机器世界的最高管理程序，机械大帝是它的载体，设计师是它在Matrix里人型化的投影。当然，也有可能设计师只是最高管理程序的子程序罢了，因为机器们可能有很多事情要管，不是只局限于Matrix。 继续说情节——一开始，这个设计师的脑袋似乎只有一根筋，它设计的Matrix里的所有东西都是可计算的，就是在数学上是完美的，人

类也必须在这个完美的数学模型中运行，但显然人类不是这样，人类的怪点子太多了，所以第一代Matrix崩溃了。他不死心，还以为这是因为人类不适应新环境，所以又以人类历史为背景重写了Matrix，但这一代Matrix又失败了。最高管理程序（或者是设计师）于是只好又编了一个研究人类心理的超级程序—它就是先知。在她的提示下，设计师的脑筋开始有点会转弯了。他让matirx里的人类开始有选择，这样Matrix就更接近现实世界了，但是这个Matrix还是有问题，主要是两个：一是人类中总有1％的人不那么老实，他们总觉得Matrix不是真的，如果把他们闷坏了，Matrix还是会崩溃；一是由于Matrix系统的不断改进，一些旧的程序会不时被删除，但总有那么一些程序不想被删，它们就在Matrix里躲起来（那个法国人就是这类程序中的佼佼者），成为非法程序，这种程序总删不掉的话，Matrix也有崩溃的危险。为了解决这两个问题，设计师想到了一个一举两得的办法：一方面，他让那1％不太老实的人觉醒，从Matrix 中脱离，让他们在现实世界的地底造一座叫zion的城市，成为Matrix 的黑客，进行抵抗运动，实际上这是完全在设计师的控制之下的，这只是一种迂回的控制，因为如果把这些人强行压制在Matrix里反而对Matrix不利；另一方面，设计师集合他能找到的所有非法程序的原始代码（应该是原始代码，因为如果设计师直接知道非法程序的代码，那它直接删就行了）编写一个叫做“救世主”的程序（代码），这个程序显然可以发展成非法程序的最终形式，这个程序被植入Matrix的某个人类的精神中（到底怎么选中这么一个人的，电影里