THE MATRIX SCREENPLAY PDF

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by. Larry and Andy Wachowski. NUMBERED SHOOTING SCRIPT. March 29, THE MATRIX - Rev. 3/9/ 3. 1. CONTINUED: (2). 1. THE MATRIX by. Larry & Andy Wachowski. This screenplay has been converted to a PDF file by ScreenTalk™ bestthing.info (Cellular) Cypher: Yeah. Trinity: Is everything in place? Cypher: You weren't supposed to relieve me. Trinity: I know, but I want to take your shift. Cypher: You like.


The Matrix Screenplay Pdf

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Today is Day 9 and the featured screenplay is for the movie The Matrix (). You may PDF version of the script here. Background: The. The Matrix () Movie Script - Download as PDF File .pdf), Text File .txt) or read online. The Matrix movie Script. The Matrix Reloaded shooting script: bestthing.info bestthing.info The Matrix, its sequels, and all related characters, plots.

It was a school where producers, professional production managers, cameramen, film editors, writers, directors, and script supervisors all came to teach their craft.

It was the most unique film school in the country. I had never taught a screenwriting class before, so I had to delve into my own writing and reading experience to evolve my basic material. I kept asking myself. And pretty soon I started getting some answers. When you read a good screenplay, you know it—it's evident from page one, word one.

The style, the way the words are laid out on the page, the way the story is set up, the grasp of dramatic situation, the introduction of the main character, the basic premise or problem of the screenplay—it's all set up in the first few pages of the script: Chinatown, Five Easy Pieces, The Godfather, The French Connection, Shampoo, and All the President's Men are all perfect examples.

A screenplay, I soon realized, is a story told with pictures. It's like a noun; it has a subject, and is usually about a person, or persons, in a place, or places, doing his, or her, or their "thing. Out of that understanding, I saw that any good screenplay has certain conceptual components common to the screenplay form.

These elements are expressed dramatically within a structure that has a definite beginning, middle, and end, though not necessarily in that order.

When I reexamined the forty screenplays submitted to our financial partners—including The Godfather, American Graffiti, The Wind and the Lion, Alice Doesn't Live Here Anymore, and others—I realized they all contained these basic concepts, regardless of how they were cinematically executed. I began teaching this conceptual approach to writing the screenplay. If the aspiring writer knows what a screenplay is, what it looks like, I reasoned, it can be used as a guide or blueprint to point out the path through the forest.

I've now been teaching this approach to screenwriting for over twenty-five years. It's an effective and comprehensive approach to the writing of a screenplay and the art of visual storytelling. My material has evolved and been applied by thousands and thousands of students all over the world. The principles in this book have been totally embraced by the film industry. It's not uncommon for major film studios and production companies to contractually stipulate that a delivered screenplay must have a definite three-act structure and be no longer than 2 hours and 8 minutes, or pages, in length.

There are always exceptions, of course. At this writing, Screenplay has been reprinted nearly 40 times, gone through several editions, and been translated into some 22 languages, along with several black market editions: first in Iran, then in China, then Russia.

When I began thinking about revising this book, I quickly realized that most of the films I had written about were from the '70s and that I wanted to use more contemporary examples, movies people might be more familiar with. But as I went back into the book and saw the film examples I had originally used, I realized that most of them are now considered classics of the American cinema—films like Chinatown, Harold and Maude, Network, Three Days of the Condor, and others.

These films still hold up, on both an entertainment and a teaching level. In most cases, the films are as valid today as they were when they were made. Despite having some dated attitudes, they continue to capture a particular moment in time, a time of unrest, social revolution, and violence that mirrors some of the antiwar sentiments prevalent today.

The nightmare in Iraq is very similar to the nightmare in Vietnam. What I see and understand now, in hindsight, is that the principles of screenwriting that I delineated at the dawn of the '80s are just as relevant now as they were then. Only the expression has changed. This material is designed for everyone. Novelists, playwrights, magazine editors, housewives, businessmen, doctors, actors, film editors, commercial directors, secretaries, advertising executives, and university professors—all have benefited from it.

As I said earlier, the hardest thing about writing is knowing what to write. When you complete this book, you will know exactly what to do to write a professional screenplay. Whether you do it or not is up to you. Talent is God's gift; either you've got it or you don't. But writing is a personal responsibility; either you do it or you don't. A pretty stenographer you've seen before comes into the room and you watch her.

She takes off her gloves, opens her purse and dumps it out on the table She has two dimes and a nickel—and a cardboard match box. She leaves the nickel on the desk, puts the two dimes back into her purse and takes her black gloves to the stove.

Just then your telephone rings. The girl picks it up, says hello—listens—and says deliberately into the phone, "I've never owned a pair of black gloves in my life. Scott Fitzgerald In the summer of , F.

Scott Fitzgerald, drinking far too much, deeply in debt, and drowning in the suffocating well of despair, moved to Hollywood seeking new beginnings, hoping to nin reinvent himself by writing for the movies.

The Matrix (1999)

Despite all the preparation he put into each assignment, he was obsessed with finding the answer to a question that haunted him continuously: What makes a good screenplay?

Billy Wilder once compared Fitzgerald to "a great sculptor who is hired to do a plumbing job. He did not know how to connect the pipes so the water could flow. Mankiewicz eventually rewrote his script.

He worked on rewrites for several other movies, including a disastrous week on Gone With the Wind he was forbidden to use any words that did not appear in Margaret Mitchell's novel , but after Three Comrades, all of his projects ended in failure. One, a script for Joan Crawford called Infidelity, was left uncompleted, canceled because it dealt with the theme of adultery.

Fitzgerald died in , working on his last, unfinished novel, The Last Tycoon. He died believing himself to be a failure. I've always been intrigued by the journey of F. Scott Fitzgerald. What resonates with me the most is that he was constantly searching for the answer to what made a good screenplay. His overwhelming external circumstances—his wife Zelda's institutionalization, his unmanageable debts and lifestyle, his excessive drinking—all fed into his insecurities about the craft of screenwriting.

And make no mistake: Screenwriting is a craft, a craft that can be learned. Even though he worked excessively hard, and was disciplined and responsible, he failed to achieve the results he was so desperately striving for. But reading his books and writings and letters from this period, it seems clear that he was never exactly sure what a screenplay was; he always wondered whether he was "doing it right," whether there were certain rules he had to follow in order to write a successful screenplay.

When I was studying at the University of California, Berkeley, as an English lit major, I read the first and second editions of Tender Is the Night for one of my classes. It is the story of a psychiatrist who marries one of his patients, who, as she slowly recovers, exhausts his vitality until he is "a man used up. In the first edition of the novel, Book I is written from the point of view of Rosemary Hoyt, a young actress who shares her observations about meeting the circle that surrounds Dick and Nicole Diver.

Rosemary is on the beach at Cap d'Antibes on the French Riviera, watching the Divers enjoying an outing on the sand. As she watches, she sees them as a beautiful couple who appear, at least from her point of view, to have everything going for them.

They are, she thinks, the ideal couple. Rich, beautiful, intelligent, they look to be the embodiment of what everyone wants for himself or herself. But the second book of the novel focuses on the life of Dick and Nicole, and we learn that what we saw through Rosemary's eyes was only the relationship they showed to the world; it was not really true.

The Divers have major problems, which drain them emotionally and spiritually, and ultimately destroy them. When the first edition of Tender Is the Night was published, sales were poor, and Fitzgerald thought he had probably been drinking too much and might have compromised his vision. But from his Hollywood experience, he came to believe he did not introduce his main characters early enough.

So he opened the book focusing on the main character, Dick Diver. But that didn't work either, and Fitzgerald was crushed. The book was financially unsuccessful until many years later, when Fitzgerald's genius was finally acknowledged. What strikes me so vividly is what Fitzgerald didn't see; his opening section focusing on how Rosemary saw the Divers was more cinematic than novelistic.

It's a great cinematic opening, setting up the characters as others see them, like an establishing shot; in this first edition, Fitzgerald was showing us how this model couple looked to the world, beautiful and rich, seeming to have everything. How we look to the outside world, of course, is a lot different from who we really are behind closed doors.

My personal feeling is that it was Fitzgerald's insecurity about the craft of screenwriting that drove him to change that great opening. Scott Fitzgerald was an artist literally caught between two worlds, caught between his genius as a writer and his self-doubt and inability to express that genius in screenplay form.

Screenwriting is a definite craft, a definite art. Over the years, I've read thousands upon thousands of screenplays, and I always look for certain things. First, how does it look on the page? Is there plenty of white space, or are the paragraphs dense, too thick, the dialogue too long? Or is the reverse true: Is the scene description too thin, the dialogue too sparse? And this is before I read one word; this is just what it "looks" like on the page.

You'd be surprised how many decisions are made in Hollywood by the way a screenplay looks—you can tell whether it's been written by a professional or by someone who's still aspiring to be a professional.

Everybody is writing screenplays, from the waiter at your favorite bar or restaurant to the limo driver, the doctor, the lawyer, or the barista serving up the White Chocolate Dream Latte at the local Coffee Bean. Last year, more than seventy-five thousand screenplays were registered at the Writers Guild of America, West and East, and out of that number maybe four or five hundred scripts were actually produced.

What makes one screenplay better than another? There are many answers, of course, because each screenplay is unique. What is a screenplay? Is it a guide, or an outline, for a movie? A blueprint, or a diagram? Or maybe it's a series of images, scenes, and sequences strung together with dialogue and description, like pearls on a strand? Perhaps it's simply the landscape of a dream? Well, for one thing, a screenplay is not a novel, and it's most certainly not a play.

If you look at a novel and try to define its fundamental nature, you'll see that the dramatic action, the story line, usually takes place inside the head of the main character. We are privy to the character's thoughts, feelings, emotions, words, actions, memories, dreams, hopes, ambitions, opinions, and more.

The character and reader go through the action together, sharing in the drama and emotion of the story. We know how they act, feel, react, and figure things out. If other characters appear and are brought into the narrative line of action, then the story embraces their point of view, but the main thrust of the story line always returns to the main character.

The main character is who the story is about. In a novel the action takes place inside the character's head, within the mindscape of dramatic action. A play is different.

The action, or story line, occurs onstage, under the proscenium arch, and the audience becomes the fourth wall, eavesdropping on the lives of the characters, what they think and feel and say. They talk about their hopes and dreams, past and future plans, discuss their needs and desires, fears and conflicts. In this case, the action of the play occurs within the language of dramatic action; it is spoken in words that describe feelings, actions, and emotions.

A screenplay is different. Movies are different. Film is a visual medium that dramatizes a basic story line; it deals in pictures, images, bits and pieces of film: We see a clock ticking, a window opening, a person in the distance leaning over a balcony, smoking; in the background we hear a phone ringing, a baby crying, a dog barking as we see two people laughing as their car pulls away from the curb. That is its essential nature, just like a rock is hard and water's wet.

Because a screenplay is a story told with pictures, we can ask ourselves, what do all stories have in common? They have a beginning, middle, and an end, not necessarily in that order, as Jean-Luc Godard says.

Screenplays have a basic linear structure that creates the form of the screenplay because it holds all the individual elements, or pieces, of the story line in place. About Links. Screenplays, movie scripts and transcripts organized alphabetically: Cellular Cypher: Is everything in place? You weren't supposed to relieve me. I know, but I want to take your shift. You like watching him, don't you? You like watching him. Don't be ridiculous.

We're going to kill him, do you understand that? Morpheus believes he is the one. Do you? It doesn't matter what I believe.

You don't, do you? Did you hear that? Hear what? Are you sure this line is clean? Yeah, of course I'm sure. I better go. Hotel room Cop: Freeze, Police. Hands on your head. Do it. Do it now. Street Agent Smith: Oh shit. Agent Smith: Lieutenant, you were given specific orders.

Hey, I'm just doing my job. You give me juris- my diction crap, you can cram it up your ass. Your orders were for your protection. I think we can handle one little girl I sent two units. They're bringing her down now.

Screenplay: The Foundations of Screenwriting

No Lieutenant, your men are already dead. Hotel room Trinity: Morpheus, the line was traced, I don't know how. I know, they cut the hard line. There's no time, you're going to have to get to another exit. Are there any agents? You have to focus, Trinity. There's a phone at Wells and Lake. You can make it.

All right. Rooftop Cop: That's impossible. Building Trinity: Get up Trinity.

Just get up. Get up. Street Agent Brown: She got out. It doesn't matter. Agent Jones: The informant is real. We have the name of their next target. Agent Brown: The name is Neo. We'll need a search running.

It has already begun. Neo's apartment Neo: What the hell? Follow the white rabbit? Who is it? It's Choi. You're two hours late. I know, it's her fault. Got the money? Two grand. Hold on. You're my savior, man. My own personal Jesus Christ. You get caught using that Yeah, I know. This never happened. You don't exist. Something wrong, man? You look a little whiter than usual. My computer, it You ever have that feeling where you're not sure if you're awake or still dreaming?

Mm, all the time. It's called Mescaline. It's the only way to fly. Hey, it just sounds to me like you need to unplug, man. You know, get some R and R. What do you think, DuJour?

Shall we take him with us? I can't, I have work tomorrow. Come on, It'll be fun.

I promise. Yeah, sure, I'll go. Club Trinity: Hello Neo. How do you know that name? I know a lot about you. Who are you? My name is Trinity. The Trinity? That cracked the IRS d-base? That was a long time ago. I just thought, um Most guys do. It you on my computer. How did you do that? Right now all I can tell you is that you're in danger. I brought you here to warn you. Of what? They're watching you, Neo. Who is? 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. I know, because I was once looking for the same thing.

And when he found me, he told me I wasn't really looking for him. I was looking for an answer. It's the question that drives us mad. It's the question that brought you here.

You know the question just as I did. What is the Matrix. The answer is out there, Neo. It's looking for you. And it will find you, if you want it to. Oh shit shit. Office Mr. You have a problem with authority, Mr. You believe that you are special, that somehow the rules do not apply to you. Obviously you are mistaken.

This company is one of the top software companies in the world because every single employee understands that they are part of a whole. Thus if an employee has a problem, the company has a problem. The time has come to make a choice, Mr. Either you choose to be at your desk on time from this day forward or you choose to find yourself another job.

Do I make myself clear? Yes, Mr. Rhineheart, perfectly clear. FedEx man: Thomas Anderson? Yeah, that's me. Ok, great. Have a nice day. Do you know who this is? 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 you and I have run out of time. They're coming for you, Neo, and I don't know what they're going to do. Who's coming for me?

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Stand up and see for yourself. What, right now. Yes, now. Do it slowly. The elevator. What the hell do they want from me? I don't know, but if you don't want to find out I suggest you get out of there. I can guide you but you must do exactly as I say. The cubicle across from you is empty. What if they Go, now Stay here for just a moment. When I tell you, go to the end of the row, to the office at the end of the hall. Stay as low as you can Now, outside there is a scaffold. How do you know all this?

We don't have time, Neo. To your left there's a window. Go to it Open it. You can use the scaffold to get to the roof. No way. This is crazy. There are 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. This is insane. Why is this happening to me?

What did I do?

I'm nobody I can't do this. Street Trinity: Interrogation Agent Smith: As you can see, we've had our eye on you for some time now, Mr. It seems that you've been living two lives. In one life, you're 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 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.

One of these lives has a future, and one of them does not. I'm going to be as forthcoming as I can be, Mr. You're here because we need your help. We know that you've been contacted by a certain individual, a man who calls himself Morpheus. Now whatever you think you know about this man is irrelevant. He is considered by many authorities to be the most dangerous man alive.

My colleagues believe that I am wasting my time with you but I believe that you wish to do the right thing.

We're willing to wipe the slate clean, give you a fresh start and all that we're asking in return is your cooperation in bringing a known terrorist to justice. Wow, that sound like a really good deal. But I think I got a better one. How about I give you the finger Um, Mr. You disappoint me. You can't scare me with this Gestapo crap.

I know my rights. I want my phone call. Tell me, Mr. Anderson, what good is a phone call if you're unable to speak You're going to help us, Mr. Anderson whether you want to or not. Neo's apartment Morpheus: This line is tapped, so I must be brief. They got to you first, but they've underestimated how important you are. If they knew what I know, you'd probably be dead. What are you talking about.

A Fourth Episode that Expands the Matrix Trilogy

You are the one, Neo. You see you may have spent the last few years looking for me, but I've spent my entire life looking for you. Now do you still want to meet? Then go to the Adam Street Bridge. Car Trinity: Get in. What the hell is this? It's necessary, Neo. For our protection. From what. From you. Take off your shirt. Stop the car. Listen to me, Copper-top. We don't have time for twenty questions. Right now there's only one rule, our way or the highway. Please, Neo. You have to trust me Neo: Because you have been down there, Neo.

You know that road. You know exactly where it ends. And I know that's not where you want to be Apoc, lights. Lie back, lift up your shirt. What is that thing? We think you're bugged Try and relax Come on. It's on the move. You're going to loose it.

No I'm not. Jesus Christ, that thing's real? Lafayette Hotel Trinity: This is it. Let me give you one piece of advice. Be honest.

He knows more than you can imagine. At last. Welcome, Neo. As you no doubt have guessed, I am Morpheus. It's an honor to meet you. No, the honor is mine. Please, come. Sit down. I imagine that right now you're feeling a bit like Alice, tumbling down the rabbit hole? You could say that. I can see it in your eyes. You have the look of a man who accepts what he sees because he is expecting to wake up.

Ironically, this is not far from the truth. Do you believe in fate, Neo? Why not? Because I don't like the idea that I'm not in control of my life. I know exactly what you mean. Let me tell you why you're here. You're here because you know something.

What you know you can't explain. But you feel it. You've felt it your entire life. That there's something wrong with the world. You don't know what it is but it's there, like a splinter in your mind driving you mad. It is this feeling that has brought you to me.

Do you know what I'm talking about? The Matrix? Do you want to know what IT is? The Matrix is everywhere. It is all around us, even now in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work, when you go to church, when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth. What truth? That you are a slave, Neo. Like everyone else you were born into bondage, born into a prison that you cannot smell or taste or touch.

A prison for your mind Unfortunately, no one can be told what the Matrix is. You have to see it for yourself. This is your last chance. After this there is no turning back.

30 Days of Screenplays, Day 9: “The Matrix”

You take the blue pill, the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes Remember, all I'm offering is the truth, nothing more Follow me Apoc, are we online? Time is always against us. Please, take a seat there. You did all this?

The pill you took is part of a trace program. What does that mean? It means buckle your seat belt, Dorothy, because Kansas is going bye-bye. Did you Have you ever had a dream, Neo, that you were so sure was real. What if you were unable to wake from that dream. How would you know the difference between the dream world and the real world? This can't be Be what? Be real? It's going into replication. Still nothing. It's cold. Tank, we're going to need a signal soon.

We've got fibrillation. Apoc, location. Targeting almost there. It's going into arrest. Lock, I've got him. Now, Tank. Nebuchadnezzar Morpheus: Welcome to the real world. We've done it, Trinity. We've found him. I hope you're right. I don't have to hope. I know it.

Am I dead? Far from it. He still needs a lot of work. What are you doing. Your muscles have atrophied, we're rebuilding them. Why do my eyes hurt? You've never used them before. Rest, Neo. The answers are coming. Morpheus, what's happened to me?

What is this place? Reading this script drives home how important good scene description can be, especially strong verbs and vivid descriptors, with a goal to make the read as entertaining as possible. The second thing is character archetypes as The Matrix is yet another movie which slots right into the paradigm:.

Neo Nemesis: Agent Smith, Machines Attractor: Trinity Mentor: Morpheus, Oracle Trickster: That is about as clean as it gets when it comes to the five primary character archetypes. Stop by comments and post your thoughts. To see all of the posts in the 30 Days of Screenplays series, go here. This series and use of screenplays is for educational purposes only!You take the red pill—you stay in Wonderland, and I show you how deep the rabbit hole goes.

It you on my computer. There's no time, you're going to have to get to another exit. Page …his coat whipping like a strobic Rorschach test. A genuine child of Zion. Robert Towne for an excerpt from the screenplay of Chinatown. But we know that it was us that scorched the sky. What strikes me so vividly is what Fitzgerald didn't see; his opening section focusing on how Rosemary saw the Divers was more cinematic than novelistic. Conclusion Overall this script tried to get too technical.

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