The Matrix

FADE IN:

1 ON COMPUTER SCREEN 1

so close it has no boundaries.

A blinding cursor pulses in the electric darkness like aheart coursing with phosphorous light, burning beneaththe derma of black-neon glass.

A PHONE begins to RING, we hear it as though we weremaking the call. The cursor continues to throb,

relentlessly patient, until -

MAN (V.O.)

Yeah?

Data now slashes across the screen, information flashingfaster 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 ona 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 a10-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 eachdigit is matched, one by one, snapping into place likethe 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: #312-5550690.

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 greenNUMBERS 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 thenether world of the computer screen. Suddenly, a flashlight

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 wayacross the polyester carpeting, destroying several roomsas it spooled soot up the walls and ceiling, leavingpatterns of permanent shadow.

We FOLLOW four armed POLICE OFFICERS using flashlights asthey creep down the blackened hall and ready themselveson 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, isTRINITY; a woman in black leather.

BIG COP:

Hands behind your head! Now! Do

it!

She slowly puts her hands behind her head.

3 EXT. HEART O' THE CITY HOTEL - NIGHT 3

A black sedan with tinted windows glides in through thepolice cruisers. AGENT SMITH, AGENT BROWN, and AGENT

JONES get out of the car.

They wear dark suits and sunglasses even at night. Theyare also always hardwired; small Secret Service earphonesin one ear, the cord coiling back into their shirtcollars.

AGENT SMITH:

Lieutenant?

LIEUTENANT:

Oh sh*t.

(CONTINUED)

THE MATRIX - Rev. 3/9/98 4.

3 CONTINUED:
3

AGENT SMITH:

Lieutenant, you were givenspecific orders -LIEUTENANT

I'm just doing my job. You gimmethat Juris-my dick-tion and youcan cram it up your ass.

AGENT SMITH:

The orders were for yourprotection.

The Lieutenant laughs.

LIEUTENANT:

I think we can handle one little

girl.

Agent Smith nods to Agent Brown as they start toward thehotel.

LIEUTENANT:

I sent two units. They'rebringing her down now.

AGENT SMITH:

No, Lieutenant, your men arealready dead.

4 INT. HEART O' THE CITY HOTEL 4

The Big Cop flicks out his cuffs, the other cops holdinga bead. They've done this a hundred times, they knowthey've got her, until the Big Cop reaches with the cuffsand Trinity moves -It

almost doesn't register, so smooth and fast, inhumanlyfast.

The eye blinks and Trinity's palm snaps up and the noseexplodes, blood erupting. Her leg kicks with the forceof a wrecking ball and he flies back, a two-hundred-fiftypound sack of limp meat and bone that slams into the copfarthest from her.

Trinity moves again, BULLETS RAKING the walls,

flashlights sweeping with panic as the remaining cops tryto stop a leather-clad ghost.

A GUN still in the cop's hand is snatched, twisted, andFIRED. There is a final violent exchange of GUNFIRE andwhen it's over, Trinity is the only one standing.

(CONTINUED)

4

THE MATRIX - Rev. 3/9/98

CONTINUED:

5.

4

A flashlight rocks slowly to a stop.

TRINITY:

Sh*t.

5 EXT. HEART O' THE CITY HOTEL 5

Agent Brown enters the hotel while Agent Smith heads forthe alley.

6 INT. HEART O' THE CITY HOTEL 6

Trinity is on the phone, pacing.

answered.

The other end is

MAN (V.O.)

Operator.

TRINITY:

Morpheus! The line was traced!

don't know how.

I:

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.

Goddamnit!

TRINITY:

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 thehall, leading another unit of police. Trinity races tothe opposite end, exiting through a broken window ontothe fire escape.

8 EXT. FIRE ESCAPE 8

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

9 EXT. ROOF 9

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

Trinity begins to jump from one roof to the next, hermovements 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 isperfectly 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 somethingugly as Trinity drives at the edge, launching herselfinto the air.

From above, the ground seems to flow beneath her as shehangs in flight, then hits, somersaulting up, stillrunning hard.

COP:

Jesus Christ -- that's impossible!

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