It is finally time to kick ass. All of Neo's training, all of the wisdom he's gained, all of the resolve he has is put to the test in this act. If he can achieve what he's set out to do, then yay, the good guys win. If not, well, there goes the human race.
Act Three
28. Virus to be cured - Smith shares a revelation with Morpheus
The previous chapter discussed belief and this one continues the discussion but in a slightly different way. Smith's monologue(s) toward Morpheus points to a lot of new ideas: the most important one being that perhaps the humans are wrong. The comparison to viruses is frighteningly apt, especially at the turn of the millennium, when the film premiered. Why should such a species, one that ravages every natural resource, be worth saving?
Such questions bring balance to the themes in the work. In the context of The Matrix, they work incredibly well because they present a choice to the audience: with whom will you side in this war? There are several factions playing this game: the rebels; the machines; Cypher; Smith. All of these groups help make a compelling movie.
The subject matter also makes the monologue work. If it weren't compelling, then it would just be four boring minutes of someone talking ad nauseam, blah, blah, blah. Good writing forms the core of any speech - from Abraham Lincoln to Martin Luther King, Jr., to David Foster Wallace. If the words used to craft these pieces were not carefully chosen, they would falter. But notice that I linked to audio of the speech and not just the text (save for Lincoln, alas, born too early). Like a screenplay, a speech is ultimately nothing if it isn't used as the basis for the final performance. There are many factors at work that can make a movie succeed or fail, but the screenplay forms the core of that success or failure.
Besides the content of Smith's talking points, though, one must note the moment where he takes off his sunglasses and earpiece. We see his eyes and are told he himself wants out of the cage that is the Matrix. It's just one more element to chew over.
Besides the content of Smith's talking points, though, one must note the moment where he takes off his sunglasses and earpiece. We see his eyes and are told he himself wants out of the cage that is the Matrix. It's just one more element to chew over.
Meanwhile, the cuts to Neo and Trinity serve two purposes: they move that part of the plot along and pause Smith's speech. Little tricks like this flesh out a screenplay.
"Human beings are a disease, a cancer of this planet, you are a plague. And we are the cure."
29. Lobby shooting spree - Neo and Trinity destroy a lobby
Bullets. Bullets everywhere.
For all the philosophical discussions that form the core of The Matrix, we must not forget it's also an action movie. So every now and then we need to stop talking and destroy everything. Although that in itself is a point of discussion...
In addition to showcasing the mastery of numerous persons on the set, this scene shows that Neo wasn't lying when he said he could save Morpheus. Notice how adept Neo is with the guns he wields and with his physical skills, deftly dodging bullets and kicking armed guards into submission. There is no way he could have done this in act one or even act two, when he had Morpheus with him. When put to the test, Neo proves he has exactly what it takes to be a hero and the protagonist.
Of course, let's not forget Trinity. Without her, Neo is toast!
Of course, let's not forget Trinity. Without her, Neo is toast!
"Holy shit!"
30. Dodge this - Neo moves like an Agent
Reversals are everywhere. Having been told he is not the One, Neo now demonstrates abilities that only the One could possess. What are we supposed to believe?! This is just a quick little action scene that presents a major piece of information: namely, Neo's speed, which reflects on his entire nature.
"Dodge this."
31. Gotcha - Trinity pilots a chopper while Neo guns down agents and rescues Morpheus
Chapters 29 to 32 form a long sequence revolving around Morpheus' rescue but are each their own separate set pieces. While the benefit of this in terms of filming the actual scenes is obvious, even on the screenplay front it's helpful. All stories can be broken up into distinct sections and writing each one like that, ensuring each one works on its own, enables you to really solidify what you're trying to convey.
Here's a general breakdown of the plan to rescue Morpheus:
Don't forget that, even at this stage of the story, new obstacles must continue to present themselves. When Smith shoots the helicopter's gas tank, it's a minor detail but in the long run provides some form of conflict: the rescue wasn't completely smooth and Neo gets another chance to show his abilities, as we're about to see.
"You moved like they do."
Chapters 29 to 32 form a long sequence revolving around Morpheus' rescue but are each their own separate set pieces. While the benefit of this in terms of filming the actual scenes is obvious, even on the screenplay front it's helpful. All stories can be broken up into distinct sections and writing each one like that, ensuring each one works on its own, enables you to really solidify what you're trying to convey.
Here's a general breakdown of the plan to rescue Morpheus:
- Infiltration
- Reach the roof
- Extraction
- Hijack helicopter
- Free Morpheus
- Exit
- Leave the Matrix through a landline
Don't forget that, even at this stage of the story, new obstacles must continue to present themselves. When Smith shoots the helicopter's gas tank, it's a minor detail but in the long run provides some form of conflict: the rescue wasn't completely smooth and Neo gets another chance to show his abilities, as we're about to see.
"You moved like they do."
32. Rooftop rescue - the helicopter crashes into a building but Neo pulls Trinity out
If Neo's previous actions weren't enough to convince you he is the One, then let there be no more doubt as we see him pull Trinity from an exploding helicopter. The man is fearless, and that is part of what makes him the messiah. Instead of dropping the harness tying him to the falling helicopter, he grips it with all his might to save his partner. Neo does not think twice about doing this.
We end the sequence with more of Smith's humanization. His fellow agents order a sentinel strike on the Nebuchadnezzar but Smith wants a personal showdown with the rebels. He wants to take Neo down one-on-one and prove who the bettermachine man is.
"He's the one."
The climax of this entire sequence ends with a giant explosion behind a woman as she dangles from a long harness held by a man. I'd wager Freud is happy about that.
If Neo's previous actions weren't enough to convince you he is the One, then let there be no more doubt as we see him pull Trinity from an exploding helicopter. The man is fearless, and that is part of what makes him the messiah. Instead of dropping the harness tying him to the falling helicopter, he grips it with all his might to save his partner. Neo does not think twice about doing this.
We end the sequence with more of Smith's humanization. His fellow agents order a sentinel strike on the Nebuchadnezzar but Smith wants a personal showdown with the rebels. He wants to take Neo down one-on-one and prove who the better
"He's the one."
33. Subway showdown - Morpheus and Trinity exit the Matrix but Neo is left with Smith
Now this is a fight. Before I gush over the blows these two super-men deal to one another, let's discuss the setup. Right before Trinity leaves, she tells Neo "everything the Oracle has told [her] has come true." Every little thing except for one important piece she thinks about as she stares into Neo's big, brown eyes. To us, it's obvious what she's referring to (so I hope). She's in love with the guy! It's been a subtle subplot snaking its way throughout the past two hours and it works. The obligatory love story doesn't take the helm of the plot - like in the sequels - and it's refreshing, although it sucks that even when we have such a strong female lead her ultimate role is diminished to the love object. The Matrix does it in a compelling way, though, so it's not too problematic.
On to the fight. As with the previous sequence, this fight is broken up into two sections. They literally are so on the DVD, but that's beside the point. You can see where one part ends and the other begins. The first part has Neo standing his ground, unafraid of the menacing villain before him. The moment when the two have their guns at each other's heads and Neo reminds Smith that they're both empty is great - "So are you." That single line puts them on equal playing fields and it makes the notion of Neo defeating Smith suddenly very possible.
Of course, even though Neo is "beginning to believe," he's not quite reached the level he needs to. Thus, he gets his ass thoroughly kicked by Smith. That blood from Neo's mouth is a reminder that he is flesh and blood.
All of this is a reflection of the script and, as a result, shows the strength of the screenplay. Neo's journey has led him to this point and every action he takes is a result of his growth. When he turns and faces Smith, instead of fleeing, it's a huge character moment. It's the point the Wachowski's have been writing toward. And, most importantly, it's completely organic! You believe Neo would face Smith against all odds.
Finally, does anyone else love the cheesy yet awesome newspaper-as-tumbleweed?
"He's beginning to believe."
Now this is a fight. Before I gush over the blows these two super-men deal to one another, let's discuss the setup. Right before Trinity leaves, she tells Neo "everything the Oracle has told [her] has come true." Every little thing except for one important piece she thinks about as she stares into Neo's big, brown eyes. To us, it's obvious what she's referring to (so I hope). She's in love with the guy! It's been a subtle subplot snaking its way throughout the past two hours and it works. The obligatory love story doesn't take the helm of the plot - like in the sequels - and it's refreshing, although it sucks that even when we have such a strong female lead her ultimate role is diminished to the love object. The Matrix does it in a compelling way, though, so it's not too problematic.
On to the fight. As with the previous sequence, this fight is broken up into two sections. They literally are so on the DVD, but that's beside the point. You can see where one part ends and the other begins. The first part has Neo standing his ground, unafraid of the menacing villain before him. The moment when the two have their guns at each other's heads and Neo reminds Smith that they're both empty is great - "So are you." That single line puts them on equal playing fields and it makes the notion of Neo defeating Smith suddenly very possible.
Of course, even though Neo is "beginning to believe," he's not quite reached the level he needs to. Thus, he gets his ass thoroughly kicked by Smith. That blood from Neo's mouth is a reminder that he is flesh and blood.
All of this is a reflection of the script and, as a result, shows the strength of the screenplay. Neo's journey has led him to this point and every action he takes is a result of his growth. When he turns and faces Smith, instead of fleeing, it's a huge character moment. It's the point the Wachowski's have been writing toward. And, most importantly, it's completely organic! You believe Neo would face Smith against all odds.
Finally, does anyone else love the cheesy yet awesome newspaper-as-tumbleweed?
"He's beginning to believe."
34. "My name is Neo." - Neo fully believes in himself and overpowers Smith
Neo does not give up. He can't, not because it would mean the death of mankind, but because it's not in his nature. The fear that washes over Smith's face as Neo stands up, blood in his mouth, and beckons the Agent over, is a completely genuine emotion - one that a computer program is having.
That's why this part of the fight is distinct enough from the previous one. Of course, it's a classic evolution: the hero is always bested by the villain at the start of the match, only for the hero to realize what he or she is missing, gain it, and then turn the tables.
That moment is fully realized when Smith pins Neo down on the subway tracks, a train hurtling toward them. Smith always refers to Neo as Mr. Anderson, the identity that identifies the rebel as slave of the Matrix and the machines. When Neo corrects Smith and declares his name to be Neo, he finally gets the strength to best Smith. Which he does, half-a-second later.
But of course, Smith is a demon who will not be beaten so easily. Run, Neo!
"That is the sound of inevitability."
Neo does not give up. He can't, not because it would mean the death of mankind, but because it's not in his nature. The fear that washes over Smith's face as Neo stands up, blood in his mouth, and beckons the Agent over, is a completely genuine emotion - one that a computer program is having.
That's why this part of the fight is distinct enough from the previous one. Of course, it's a classic evolution: the hero is always bested by the villain at the start of the match, only for the hero to realize what he or she is missing, gain it, and then turn the tables.
That moment is fully realized when Smith pins Neo down on the subway tracks, a train hurtling toward them. Smith always refers to Neo as Mr. Anderson, the identity that identifies the rebel as slave of the Matrix and the machines. When Neo corrects Smith and declares his name to be Neo, he finally gets the strength to best Smith. Which he does, half-a-second later.
But of course, Smith is a demon who will not be beaten so easily. Run, Neo!
"That is the sound of inevitability."
35. Sentinels attack." - Agents pursue Neo while sentinels pursue the Nebuchadnezzar
Unlike Shinji Ikari, Neo knows that running away isn't always cowardly - particularly if it's running away from a sentient gun-wielding program hellbent on killing you. Neo proved to the audience he has what it takes to be a hero but now survival is imperative. The trick to making this part work is to throw obstacles in his way, quite literally.
Unlike Shinji Ikari, Neo knows that running away isn't always cowardly - particularly if it's running away from a sentient gun-wielding program hellbent on killing you. Neo proved to the audience he has what it takes to be a hero but now survival is imperative. The trick to making this part work is to throw obstacles in his way, quite literally.
To exit the Matrix, Neo must reach a phone that's a bit of a jog from his current location. Agents chase him through the streets, alleys, and apartments. Meanwhile, in the real world, a host of sentinels has locked in on the Nebuchadnezzar and are keen on prying the ship open and killing everyone they find. Morpheus has a simple solution: unleash an EMP that will fry the squiddies but also Neo, unless he can get out first.
It's all really simple once you think about it but it all fits in such a way that it leaves the audience on the edge of their seats. Will Neo get there in time? It doesn't help that the sentinels breach the ship's hull at the end of this chapter.
"Mr. Wizard, get me the hell out of here!"
36. "He is the one." - Neo dies, but is reborn as the One
Well, shit.
The truth is, this entire chapter should not be surprising. Remember Neo's conversation with the Oracle?
Oracle: But you already know what I'm going to tell you.
Neo: I'm not the one.
Oracle: Sorry, kid. You got the gift but it looks like you're waiting for something.
Neo: What?
Oracle: Your next life, maybe. Who knows?
Looks like she wasn't kidding. And don't forget the parallels between Neo and Jesus; it was only after the latter died and came back was his true nature fully revealed.
What all this means on a scripted level is that the Wachowski's didn't throw the audience a curve ball. Like good writers, they planted the seed for this revelation earlier in the film. Hell, they even planted the bullet-stopping when Morpheus told Neo that instead of dodging bullets, he simply wouldn't have to. What's the first "miracle" Neo demonstrates? Stopping a barrage of bullets midair.
The script was carefully written; it wasn't a series of random ideas thrown into a pot and mixed together in the hopes of a decent movie coming out. The Wachowski's knew that the story ends with Neo becoming the One and so they wrote toward that end. Always keep a goal in mind. If you know where you're starting and where you want to end up, you can figure out how to fill in the journey. It's difficult but doable.
Well, shit.
The truth is, this entire chapter should not be surprising. Remember Neo's conversation with the Oracle?
Oracle: But you already know what I'm going to tell you.
Neo: I'm not the one.
Oracle: Sorry, kid. You got the gift but it looks like you're waiting for something.
Neo: What?
Oracle: Your next life, maybe. Who knows?
Looks like she wasn't kidding. And don't forget the parallels between Neo and Jesus; it was only after the latter died and came back was his true nature fully revealed.
What all this means on a scripted level is that the Wachowski's didn't throw the audience a curve ball. Like good writers, they planted the seed for this revelation earlier in the film. Hell, they even planted the bullet-stopping when Morpheus told Neo that instead of dodging bullets, he simply wouldn't have to. What's the first "miracle" Neo demonstrates? Stopping a barrage of bullets midair.
The script was carefully written; it wasn't a series of random ideas thrown into a pot and mixed together in the hopes of a decent movie coming out. The Wachowski's knew that the story ends with Neo becoming the One and so they wrote toward that end. Always keep a goal in mind. If you know where you're starting and where you want to end up, you can figure out how to fill in the journey. It's difficult but doable.
"You hear me? I love you."
37. Final connections - Neo defeats Smith and joins Trinity
That short fight between Neo and Morpheus is a "Hell yeah!" moment. It sates many of the audience's desires: to see Smith's defeat, to see Neo in his full glory, to see a kick-ass fight. It visually represents who Neo has become. Well, this, his ability to see the Matrix's source code, and his ability to...jump inside Smith and blow him apart. Crazy.
That short fight between Neo and Morpheus is a "Hell yeah!" moment. It sates many of the audience's desires: to see Smith's defeat, to see Neo in his full glory, to see a kick-ass fight. It visually represents who Neo has become. Well, this, his ability to see the Matrix's source code, and his ability to...jump inside Smith and blow him apart. Crazy.
With the movie's Big Bad having been defeated, it's time to tidy up and finish the movie. Neo reaches the phone, the EMP goes off, the sentinels fry. Then Neo kisses Trinity. It's short, sweet and the culmination of two hours worth of screen time. Don't wander aimlessly in the last few minutes: the movie is over and it's time to get out. Notice that this is the actual end of the story, however...
...there's still one more scene to go: the epilogue. Neo's call to what I always assumed to be the Matrix HQ is a threat to the dominion controlling humanity's future. He's setting up the next step in the rebellion, now that the One has come forth. Despite the movie being over, the actual fight has not been won: at the end of the Matrix, the only person freed is Neo. It's a good setup for a sequel but it's necessary to include this scene in this one because it tidies up a major plot line; though it does so by not actually concluding it. That's a good ending: you want to show a glimpse of where the future lies for the protagonist but no more.
The sequence also begins as a callback to the opening of the movie, which opened with similar green text and a person speaking on the phone. And, of course, in keeping in line with the entire notion of breaking rules, it ends with Neo flying.
Basically, screw rules.
"I'm going to show them a world without you."
End of Act Three
Actually, please do screw rules. These three posts have examined the structure of The Matrix, coming in from the final piece itself and not the screenplay. There are issues with this method and there are issues with what I have said. None of the advice is meant to be a rule, they are only guidelines. That's the wonderful and daunting part of writing: you can do whatever you want because there are no set rules, but you have to make sure what you end up doing works.
The Matrix is a movie that follows a majority of the guidelines for screenwriting. It even follows the ones set forth by Campbell with his monomyth, though not to the extent of Star Wars. This is not a critique on either movie. They are, instead, exemplary examples of adhering to a tried and true structure. My personal theory is one should learn how to work within these confines first because, surprise, surprise, constraints often help the mind seek out creative solutions. It's why in high school when we were given a choice on what to write an essay on, it became particularly difficult to find a topic at all: if you're given the world, it can be daunting to figure out what to do with it. It's also why deadlines are actually helpful.
Now, with all these examples of why The Matrix works so well, you can start to see why the sequels faltered. I don't believe Reloaded and Revolutions are horrible works; they do have value and they are very genuine efforts by the Wachowski's. The main problem with the sequels, though, is that by exploring the mythology of the world in such depth, the Wachowski's made it more complicated. Remember: simplicity breeds complexity. You don't want complications.
As an example, notice that there aren't many characters in The Matrix. The supporting cast is small and the majority of players are killed halfway through. The sequels, on the other hand, have an entire city to populate and it's difficult to create complex characters and believable situations in a two-hour time frame. In addition, notice the differences between the fights in this film and the sequels: in part one, the fights are short and are driven by the plot and the characters; in parts two and three, the fights are longer, flashier, and lose much of the organic drive.
While I won't spend any more time critiquing the sequels, I do want to briefly note one of the reasons they do add to the entire story the Wachowski's wanted to tell. For a tale about free will and choice, The Matrix is really the complete antithesis of that: when examined really closely, Neo does not make a single choice of his own. Neither does Trinity or Morpheus. They all follow the path set forth by the Oracle and play their roles exceptionally well. It's in Reloaded and Revolutions when free will actually comes to exist and Neo truly makes a choice. And that might have been the whole point.
Now go forth and make rules - then break them.
Actually, please do screw rules. These three posts have examined the structure of The Matrix, coming in from the final piece itself and not the screenplay. There are issues with this method and there are issues with what I have said. None of the advice is meant to be a rule, they are only guidelines. That's the wonderful and daunting part of writing: you can do whatever you want because there are no set rules, but you have to make sure what you end up doing works.
The Matrix is a movie that follows a majority of the guidelines for screenwriting. It even follows the ones set forth by Campbell with his monomyth, though not to the extent of Star Wars. This is not a critique on either movie. They are, instead, exemplary examples of adhering to a tried and true structure. My personal theory is one should learn how to work within these confines first because, surprise, surprise, constraints often help the mind seek out creative solutions. It's why in high school when we were given a choice on what to write an essay on, it became particularly difficult to find a topic at all: if you're given the world, it can be daunting to figure out what to do with it. It's also why deadlines are actually helpful.
Now, with all these examples of why The Matrix works so well, you can start to see why the sequels faltered. I don't believe Reloaded and Revolutions are horrible works; they do have value and they are very genuine efforts by the Wachowski's. The main problem with the sequels, though, is that by exploring the mythology of the world in such depth, the Wachowski's made it more complicated. Remember: simplicity breeds complexity. You don't want complications.
As an example, notice that there aren't many characters in The Matrix. The supporting cast is small and the majority of players are killed halfway through. The sequels, on the other hand, have an entire city to populate and it's difficult to create complex characters and believable situations in a two-hour time frame. In addition, notice the differences between the fights in this film and the sequels: in part one, the fights are short and are driven by the plot and the characters; in parts two and three, the fights are longer, flashier, and lose much of the organic drive.
While I won't spend any more time critiquing the sequels, I do want to briefly note one of the reasons they do add to the entire story the Wachowski's wanted to tell. For a tale about free will and choice, The Matrix is really the complete antithesis of that: when examined really closely, Neo does not make a single choice of his own. Neither does Trinity or Morpheus. They all follow the path set forth by the Oracle and play their roles exceptionally well. It's in Reloaded and Revolutions when free will actually comes to exist and Neo truly makes a choice. And that might have been the whole point.
Now go forth and make rules - then break them.
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