INT. FOYER - DAY
The front door opens and Daniel walks into his house. He tosses his briefcase off to the side, in no particular direction, and begins to take off his jacket. The house is dead silent.
DANIEL
Hello? Evelyn?
Daniel waits for a response, but receives none.
DANIEL
(to himself)
Right, she's at work. Of course.
Daniel shrugs and heads down the hall to the kitchen.
INT. KITCHEN - DAY
Daniel walks into the kitchen. Light streams in through the windows, quite a contrast to the enclosing darkness that normally flanks the kitchen when Daniel comes home. Daniel stands still for a moment, unsure of what to do next, before heading to the fridge. He opens the fridge, looks inside, and takes out a beer. He twists off the top and tosses it onto the counter before heading to the outside door.
EXT. PORCH - DAY
Daniel walks out onto the porch from the kitchen door. He sits down in a long deck chair and exhales pleasantly. He takes a sip of his beer before scanning the wide back lawn beside him. Daniel hardly reflects the weary man he was earlier in the day. Now, he is the epitome of peace.
INT. FOYER - DAY
The front door opens and Evelyn enters the house. She seems concerned. Looking around, she spots Daniel's briefcase and jacket.
EVELYN
Daniel? Dan?
DANIEL (O.C.)
I'm out on the porch.
Evelyn puts down her own bag before walking towards the kitchen.
EXT. PORCH - DAY
Evelyn opens the kitchen door and walks out onto the porch. The noontime sun that Daniel first sat below is now a mellow afternoon glow. Evelyn looks at Daniel sourly, her arms crossed.
EVELYN
What are you doing home?
DANIEL
I took a break.
EVELYN
What do you mean you took a break?
DANIEL
(grins)
Do you want a definition of the word, or a reason behind me taking
one?
EVELYN
Don't be a smart-ass, Daniel.
DANIEL
(laughs)
Sorry.
Evelyn waits for Daniel's answer. Daniel thinks for a moment about how to reply.
DANIEL
All I can really say is that, today, I just felt like my time was
better spent outside than at the office.
EVELYN
You weren't fired or anything, were you?
DANIEL
(snorts)
Not yet.
EVELYN
(beat)
Well, if anyone deserves a day or two off, it's you.
Evelyn uncrosses her arms and walks over to Daniel. She sits down in his lap and wraps her arms around his neck. They look at each other affectionately.
EVELYN
I'm worried about you, Daniel, now more than yesterday. Having bad
dreams and funny feelings is one thing, but ignoring your work because
you felt it was the right thing to do is another. That's real. It's
not like you at all. I don't know if you're going through some sort of
mid-life crisis or whatever, but I want the best for you, Dan. I want
you well, and I want you happy.
DANIEL
I'm pretty happy right now.
EVELYN
Yeah, I saw that the moment I came out here. Maybe that's what worries
me. If it's work that's the problem-
DANIEL
It's not work. It's something else completely. Today ...
Daniel searches for the words.
DANIEL
... I know something happened today. I wish I could remember what. It
was like a moment of clarity. I'm close, Ev. I don't know what I'm
close to exactly, but I'm close. Just bear with me. Everything's going
to be all right.
Daniel kisses Evelyn. She looks at him again before getting out of the chair.
EVELYN
Okay. If you say so, Daniel, then okay.
Evelyn walks towards the door and opens it, but stops before going inside.
EVELYN
And Daniel, if this really is a mid-life crisis, just buy a Porsche
and get it over with.
Daniel begins to laugh. Evelyn goes into the kitchen and closes the door behind her. She leaves Daniel alone on the porch, laughing so hard that he is on the verge of tears.
INT. BEDROOM - NIGHT
Daniel and Evelyn lie beside each other in bed. Evelyn sleeps heavily while Daniel stares at the ceiling, wide-awake. He looks over at the clock on the bed table beside him. It shows 1:17. Daniel turns his head back to the ceiling. His eyes only stay there for a few seconds before Daniel gets out of bed.
EXT. FRONT DOOR - NIGHT
Daniel walks out of his house and closes the door quietly behind him. He wears a pair of jeans and a sweatshirt beneath a light windbreaker. Daniel walks to the sidewalk and then down the street.
EXT. STREET - NIGHT
Daniel walks through a residential neighbourhood, the street completely absent of any other people. The only cars out are those that are parked along the curb. Daniel walks at a casual pace, his hands in his jacket pockets, smiling. He lightly kicks a rock on the sidewalk with the toe of his shoe. He seems deep in thought, but at the same time he pays close attention to the things before him: the grass, the trees, the sky.
EXT. PARK - NIGHT
Daniel arrives at a small park, close to three- or four-o-clock in the morning. A pond rests in the center of the lot, surrounded by open grass and occasional clumps of trees. Close to the entrance are park benches, lit by decorative overhead metal lamps. Daniel walks over to one of the benches and sits down, resting his arms across the bench top.
Daniel admires the park before him, feels calm in these surroundings. Daniel notices that a few shadows dance across his body and looks up to the lamp. Moths circle around the lamp, bouncing into the glass casing as they fly, entranced, towards the light. Daniel watches them, captivated.
A curious look comes over Daniel, and he cocks his head slightly. He narrows his eyes as if studying the moths more closely. Daniel slowly raises his nearer arm to the lamp and reaches out to the moths.
At first, nothing happens, but then one moth makes a wide arc from the lamp towards Daniel's hand and then back. Another follows, sweeping by Daniel's fingers, before returning to the lamp. A third moth flies by, but this time it stays with Daniel. Daniel watches as the moth circles his hand, bouncing off of his palm and fingers, as if his limb was another lamp. Now the other tentative moths join the lone adventurer and spin around Daniel's hand. The lamp is left undisturbed as all of the moths congregate around Daniel.
He watches, mesmerized, at the unlikely showcase before him. Smiling, Daniel slowly turns his hand over, so that his palm faces upwards. One by one the moths stop fluttering and land weightlessly on his palm. Soon Daniel's hand is covered with the delicate folded wings of the moths. Daniel brings his palm close to his face and looks at the moths, amazed.
Satisfied, his eyes flick towards the lamp above, and then he extends his hand towards the sky. He motions his palm to the lamp, as if giving the handful of moths a little nudge. The moths begin to fly off, one by one. Soon, they all circle the lamp again, as if nothing happened.
Daniel looks around the park, seeing all of the life contained within the small area, and stands.
EXT. PARK - NIGHT
Time has passed, and the night is slowly disappearing. Daniel walks amongst the trees, sometimes reaching out to touch their trunks. He walks over to a planted garden, adorned with long flowers that bob in the wind. Daniel looks at the rainbow of flowers in front of him, their colors only partially seen in the dim light.
Daniel inhales, and the flowers bend towards him ever so slightly in the breeze. He exhales, and they push away. He inhales more deeply, and the flowers reach towards him closer this time. He exhales the larger breath, and the flowers tilt farther still.
Daniel is beyond surprise now. He holds out his hands, low by his side, to feel the wind. He takes a huge breath. The flowers, leaves on the ground, his hair and jacket all kick back towards him in the growing wind. He exhales, and the wind blows from behind. He breathes again, and sees that the trees around him all bend and sway with the breath-driven wind. The entire park is subject to whatever has connected his respiration with the air around him.
Watching the park dance in the wind, Daniel's eyes fall on the pond to his left, its surface rippling back and forth. He lowers his arms and breathes normally, breaking the control over the wind. As dawn approaches, Daniel walks towards the pond.
He reaches the edge of the water, and a calm look comes over Daniel's face. He puts one foot out over the water, taking a first uneasy step. He lowers his foot, and it remains steady above the water. Daniel takes a second step, then a third, then a fourth. He walks out into the middle of the pond, standing atop the water. He looks around him, his stance surprisingly normal, casual, as if these miraculous steps are commonplace. To Daniel at least, it would seem that these steps were to be expected.
Daniel bends down to the water and crouches on his toes. He cups his hands and dips them into the water a mere foot in front of where he rests. He raises the cupped hands to his lips and takes a sip. He lets the rest of the water stream through his fingers and fall to the pond.
The sun breaks on the horizon above the park entrance. Daniel rises and faces the new sun. The steps he takes towards the shore are powerful, are of a man who finally knows himself.
EXT. STREET - DAY
Daniel walks home, along the path he took earlier that morning. His pace isn't as leisurely as before. Now, Daniel walks with assurance. He still smiles, though, enjoying the world around him.
The smile fades, and Daniel comes to a halt. His eyes turn downwards as he concentrates, as if he can hear something far away, as if he can sense something. A worried look appears on his face and he walks back in the direction he came from. He reaches an intersecting street to the one he walked along and takes it, walking quicker now. His walk becomes a jog, which becomes a run, which becomes a mad sprint. Panic is on Daniel's face. He knows he is racing against the clock.
EXT. SCHOOL ZONE - DAY
Daniel, still running, turns a corner and comes to an elementary school. He stops at the corner, beads of sweat running down his face, chest heaving, and scans the school zone. On the left side of the street is the school itself, while on the right is a line of houses. Yellow school buses stop along the curb across the street, opening their doors to let out the young students. On the right, other cars, driven by parents, each drop off a student or two. Other young children fill the sidewalks as they travel on foot from their houses, alone or with friends. The street is teeming with motion.
Daniel, breathing heavily, continues to look, and fixes his eyes on a young girl at the end of the block. She wears a red zip-up sweatshirt, and her pigtails bob as she skips towards a nearby crosswalk. This is what has drawn Daniel to his mad dash, this young girl. He takes a few steps towards her, but stops again when he hears a low, guttural growl from behind.
Daniel turns and sees a sleek black sports car rocket towards the school zone, recklessly fast. The DRIVER of the sports car reaches for a cell phone on the dash, but drops it between his legs as he dials a number. Dropping his head slightly, the driver reaches down to the floor of the car to try to retrieve the phone.
Daniel pans his neck as the car passes him, headed towards the crosswalk. His eyes flick to the little girl at the end of the long block, now almost at the curb. Daniel takes a step towards her. His pupils contract to pinpoint dots, and time comes to a crawl. Daniel charges towards the girl in slow motion, each step bringing him closer to the car which speeds close to 40 miles per hour in the school zone. Daniel must be running at close to 50.
Each step reaches out unnaturally far, ten feet further, fifteen, twenty. Veins pulse on Daniel's temple. His neck is chorded. People litter the sidewalk, and Daniel dodges them, missing by mere millimetres, leaving clothing slowly rippling in his wake. Daniel's limbs seem impossibly long as his feet bite into the sidewalk and push off with incredible power. He runs far beyond Olympic calibre.
The young girl reaches the crosswalk and steps down.
Daniel blazes a path towards her at superhuman speeds.
A few steps farther, the girl notices that one of her shoes are untied. In the middle of the road and the crosswalk, the girl slowly stops and bends down to tie her shoe.
Daniel's limbs blur as he overtakes the car. Each step he takes puts more distance between him and the speeding machine. Daniel reaches the curb by the crosswalk. He takes one stride, spanning the distance from the curb to the center line, and the little girl.
The car approaches, and Daniel steps out in front of the little girl, putting himself between her and the car. He turns to the car and puts his hand out towards it, reaching for the grill. For an instant, doubt appears on Daniel's face, and time returns to normal, racing.
The driver looks up from the floor and sees Daniel, twenty feet ahead of him. He brakes, but the car is going too fast to be stopped within such a short distance. It flies towards Daniel and the little girl.
The car's grill comes within inches of Daniel's hand and them crumples. Time is slowed almost to a standstill the moment the metal begins to bend. The car's hood collapses as if Daniel stands within an invisible pillar of concrete, of steel, of diamond even, with its edge just beyond Daniel's fingertips. Daniel's hand remains as the hood of the car crumples. Pieces of metal and plastic fly forwards, but none enter the barrier that Daniel has somehow created around him and the girl. Daniel watches, almost casually, as these pieces spin in slow motion, his perceptions now ten times as fast as normal, a hundred.
Daniel blinks and re-enters normal time. The car's back tires rise off of the ground and then crash down. The two tons of metal that make up the deadly machine comes to a stop, finally. The driver's head rises from the steering wheel airbag. Nose bloody, the driver looks at Daniel, eyes wide with shock.
All of the people on the street watch the scene before them, breathless. One of the bodies in the crowd, a man with a dark suit and sunglasses, stands with a hand to his ear, listening to an earpiece.
Daniel turns to the little girl and picks her up, carrying her across the street to her initial destination, the school sidewalk. He bends down and finishes tying her shoelace. On one knee, Daniel looks up at the girl, who stands, slightly confused, but also smiling.
DANIEL
Are you all right?
The little girl looks at the wrecked car on the street, and then the motionless crowd, before returning her gaze to Daniel. She smiles naturally, one front tooth missing, and then nods her head, happily, as if he's asked her if she'd like to go to a toy store. Daniel stands, smiling as well.
DANIEL
Okay. Have a good day at school.
YOUNG GIRL
(grinning)
I will. Thank you.
Daniel walks back across the road, everyone still watching him, silent. The driver gets out of his car and slams the door shut.
DRIVER
Hey! Hey buddy, get back here! What are you going to do about my car?
Daniel turns slowly and faces the man. Looking into Daniel's eyes, the driver is already sorry he asked. Daniel walks over to the man, who stands in the middle of the street. The driver is slightly alarmed as Daniel reaches him, and then tilts his head so that his mouth is beside the driver's ear.
DANIEL
(whispering)
Don't ever doubt that I stopped you from killing that little girl this
morning. I have saved you a lifetime of sorrow and regret. Hers would
not have been the only life lost today.
Daniel leans back and looks the driver straight in the eyes.
DANIEL
I think you've gotten off rather light.
Daniel leaves him with this thought, and walks through the crowd towards his home.
EXT. HOUSE - DAY
Daniel walks up the front steps of his house and reaches the front door. He reaches towards the handle, but then raises his hand to the wooden door itself. He touches the door, and then streams his fingers through the wood as if it was liquid. He takes his hand away, and then raps on the door lightly, now solid as ever. Daniel opens the door.
INT. KITCHEN - DAY
Evelyn sits at the kitchen table, talking on the phone, distressed. Telephone books and paper cover the table. The front door slams, and she looks up to the main hall.
EVELYN
Daniel?
DANIEL (O.C.)
Morning, Ev. I'll be right there.
EVELYN
(to phone)
My God, he just arrived. I'll call you back.
Evelyn presses a button on the wireless phone and hangs up. Daniel enters the kitchen, and Evelyn stands. She tosses the phone onto the table. She looks at Daniel, who seems quite happy, pleased with himself. All ready she's crying. Daniel's content expression is replaced with confusion as Evelyn slumps against him, hugging him tightly.
EVELYN
(rambling)
Where did you go, Dan? Where did you go? I've been so worried. I woke
up in the middle of the night and you were gone and I waited up but
you never came home and then it was morning and you didn't call or
leave a note-
DANIEL
Whoa, whoa, whoa. Calm down, honey, calm down. I'm fine. See? I'm
fine.
Daniel hugs her, caresses her head, comforting her.
DANIEL
I'm sorry if I worried you. I just went for a walk.
Evelyn's brows furrow as anger bubbles within her. She pushes away from Daniel, but holds onto him by the front of his shirt.
EVELYN
A walk? A walk? Jesus Christ, Daniel, who goes for a walk in the
middle of the night? Can you even begin to imagine how terrified I was
when I woke up and found my husband missing from his bed at three in
the morning?
Daniel can't help but chuckle.
EVELYN
Do you think this is funny, Dan? Do you? I sure as hell don't, and
I've had just about enough of this. You're not well, Daniel. I didn't
want to believe you at first, but you were right. Something is wrong
with you. I don't know what, but we'll find out. I'm not going to
stand by anymore and watch you get worse.
DANIEL
(smiling)
Nothing's wrong with me, Ev. I am ... beyond well.
Daniel reaches towards Evelyn's head, palms to her temples, but holds his hands back. He looks at her, not entirely sure of himself.
DANEIL
Let me show you.
Daniel takes Evelyn's head in his hands, placing his thumbs in the nooks of her temples. At first nothing happens, but soon Evelyn's eyes begin to open wide.
The bird Daniel saw hanging in mid-air flashes through her mind.
EVELYN
Oh Daniel.
Her eyes open wider, and her mouth follows. Daniel looks deeply into her eyes.
She sees the dream of Daniel in the pod.
EVELYN
Daniel ...
She sees the moths circling his hand.
EVELN
Stop. Daniel stop.
A horrified look slowly takes over Evelyn's face. Daniel continues to look into her eyes, which grow wider.
She sees the people of downtown bald and naked, entwined in cables.
EVELYN
Please, Daniel, stop.
She sees him blazing through the school zone.
EVELYN
Oh God.
She sees him blowing over the trees of the park.
EVELYN
Oh God no, please no.
She sees him standing before the car as it crashes into his outstretched hand.
EVELYN
Oh Daniel oh God please stop please stop stop stop.
She sees him standing atop the water of the pond.
EVELYN
Nonononononononononono ...
She sees the monster within the sewers, tentacles flailing, as it captures Daniel.
Evelyn's eyes roll backwards, until only her whites can be seen. She slumps towards Daniel, who catches her as she falls. He stumbles to the floor with her weight, and leans against the cupboards below the sink, across from the kitchen door. Evelyn's back leans against his chest.
Daniel looks down at his wife, whose head bobs, unsupported.
DANIEL
Evelyn?
Daniel shakes her, holds her head as he tries to look at her.
DANIEL
Evelyn?
He shakes her a little more, but without much effort.
DANIEL
No. No! Oh God, Evelyn, what have I done?
Daniel begins to weep, and bows his head against Evelyn's.
DANIEL
I'm sorry.
Someone knocks on the front door. Daniel looks up from his wife towards the general direction of the sound. The person outside knocks again. Daniel remains on the floor. There is a pause, and then Daniel hears wood splitting as the door explodes inwards, swinging on its hinges as it slams into the wall. He hears footsteps as the intruder walks towards the kitchen. The figure appears. It is Agent Smith. He stands at the doorframe, silhouetted against the light of the sun that pours in from the front.
Daniel stands slowly, gently leaning Evelyn against the cupboards before confronting Smith. His face is tight as he examines the imposing figure before him.
DANIEL
Who are you?
Smith doesn't answer. Instead, he takes a few steps towards Daniel, entering the kitchen.
SMITH
We have been watching you for some time now, Mr. Hazelton. Only
recently, however, has my involvement has become necessary.
Smith takes a few more steps.
SMITH
You are something of an ... irregularity, an unforeseen consequence of
a rather complicated arrangement, the end result of an undesired
occurrence. Because of the instability you pose to this arrangement,
Mr. Hazelton, a rather pressing issue has arisen. This issue requires
immediate rectification.
Daniel looks at Smith, confusion appearing on his face. He senses something about Smith that makes him wary.
DANIEL
What are you?
SMITH
What I am is of little importance. What you should be concerned with
is what I am here to do. That I am a solution of sorts is all you need
know. I am the solution to the problem at hand: you.
DANIEL
You're part of this, aren't you? You're part of whatever I've been
seeing, whatever's changed, whatever I can feel now.
SMITH
I have nothing to do with your altered perceptions, Mr. Hazelton, but
indeed I am now involved in their implications.
DANIEL
None of this is real, is it?
A small smile creeps onto Smith's face. Daniel begins to look around at the kitchen.
DANIEL
This table, this room, this house. This world. None of it. So who am
I? Where am I? What is real? Tell me!
SMITH
What is real is irrelevant, Mr. Hazelton. My concern is that your
continued presence puts this system's operation in jeopardy. This is
something that I cannot allow to persist. You are a phenomenon that
must be dealt with and expunged. So then, without further delay ...
Smith reaches into his jacket and withdraws a large handgun. It slowly arcs up until the barrel points at Daniel's chest.
SMITH
Goodbye, Mr. Hazelton.
Daniel's eyes come into absolute focus. They are ice cold. His mouth flattens, and his jaws clench tightly. Daniel reaches out towards Smith, fingers splayed. His hand closes as he tightens his grip on the air before him.
Daniel pulls the hand towards him, and as he does so, the gun Smith holds oozes out of Smith's hands. As if liquid, molten, the gun seeps through Smith's fingers, over his fist, streaming out and away from him. Smith watches with muted confusion.
The flowing substance floats through the air until it stops in between Smith and Daniel. The liquid comes together again, now the recognizable handgun that was in Smith's grip moments ago. Daniel motions his hand towards the wall and the gun flies towards it, cutting through the air, a blur of metal. It crashes against the wall. Daniel puts his arm down and returns his gaze to Smith.
SMITH
Interesting.
Smith slowly takes his eyes away from the gun and looks at Daniel.
SMITH
Obviously, we have underestimated your comprehension ... and control.
Smith cocks his head slightly as he puts his hand to his earpiece, receiving information. A moment later he takes his hand away and once again looks at Daniel.
SMITH
Regardless of this fact, your removal is imperative, and the method of
doing so is not singular.
Smith takes one last look at his handgun, and then turns around, facing the hallway leading to the front door. He walks towards it, leaving the kitchen, then stops a few feet into the hallway. Smith turns his head sideways, his profile visible by Daniel.
SMITH
I hope you have enjoyed your sleep, Mr. Hazelton.
Smith walks down the hallway and out of the gaping front door, leaving Daniel alone. Daniel stands in the kitchen, confused, looking at the empty doorway.
His confusion is replaced with surprise as the view he sees begins to stretch away from him, his perspective retreating and narrowing into a pinpoint of light. His view shrinks until darkness envelops everything. Slowly, the black becomes a dark red glow.
INT. MATRIX POD
Daniel opens his eyes. His field of vision is blurred by a thick, rosy liquid. Dark cables float beside him. He can hear his own deep, slightly agitated breathing. It is muted, but also echoed, as if he breathes through a snorkel, or a tube. A large dark shape rises beyond the pink liquid.
INT. SEWERS - NIGHT
Darkness covers everything, leaving Daniel without his sight to aid him.
MALE VOICE
My God. Look at him, look at his arms, his back. He's from the towers,
from inside.
FEMALE VOICE
What's he doing down here?
MALE VOICE
He must have been let go or dumped or ... something.
FEMALE VOICE
But they didn't process his body. I've never heard of that before.
Have you?
MALE VOICE
No.
FEMALE VOICE
Is he still alive?
MALE VOICE
Barely.
(beat)
Here, help me carry him back to the ship. We've got to take him with
us, back to Zion.
The front door opens and Daniel walks into his house. He tosses his briefcase off to the side, in no particular direction, and begins to take off his jacket. The house is dead silent.
DANIEL
Hello? Evelyn?
Daniel waits for a response, but receives none.
DANIEL
(to himself)
Right, she's at work. Of course.
Daniel shrugs and heads down the hall to the kitchen.
INT. KITCHEN - DAY
Daniel walks into the kitchen. Light streams in through the windows, quite a contrast to the enclosing darkness that normally flanks the kitchen when Daniel comes home. Daniel stands still for a moment, unsure of what to do next, before heading to the fridge. He opens the fridge, looks inside, and takes out a beer. He twists off the top and tosses it onto the counter before heading to the outside door.
EXT. PORCH - DAY
Daniel walks out onto the porch from the kitchen door. He sits down in a long deck chair and exhales pleasantly. He takes a sip of his beer before scanning the wide back lawn beside him. Daniel hardly reflects the weary man he was earlier in the day. Now, he is the epitome of peace.
INT. FOYER - DAY
The front door opens and Evelyn enters the house. She seems concerned. Looking around, she spots Daniel's briefcase and jacket.
EVELYN
Daniel? Dan?
DANIEL (O.C.)
I'm out on the porch.
Evelyn puts down her own bag before walking towards the kitchen.
EXT. PORCH - DAY
Evelyn opens the kitchen door and walks out onto the porch. The noontime sun that Daniel first sat below is now a mellow afternoon glow. Evelyn looks at Daniel sourly, her arms crossed.
EVELYN
What are you doing home?
DANIEL
I took a break.
EVELYN
What do you mean you took a break?
DANIEL
(grins)
Do you want a definition of the word, or a reason behind me taking
one?
EVELYN
Don't be a smart-ass, Daniel.
DANIEL
(laughs)
Sorry.
Evelyn waits for Daniel's answer. Daniel thinks for a moment about how to reply.
DANIEL
All I can really say is that, today, I just felt like my time was
better spent outside than at the office.
EVELYN
You weren't fired or anything, were you?
DANIEL
(snorts)
Not yet.
EVELYN
(beat)
Well, if anyone deserves a day or two off, it's you.
Evelyn uncrosses her arms and walks over to Daniel. She sits down in his lap and wraps her arms around his neck. They look at each other affectionately.
EVELYN
I'm worried about you, Daniel, now more than yesterday. Having bad
dreams and funny feelings is one thing, but ignoring your work because
you felt it was the right thing to do is another. That's real. It's
not like you at all. I don't know if you're going through some sort of
mid-life crisis or whatever, but I want the best for you, Dan. I want
you well, and I want you happy.
DANIEL
I'm pretty happy right now.
EVELYN
Yeah, I saw that the moment I came out here. Maybe that's what worries
me. If it's work that's the problem-
DANIEL
It's not work. It's something else completely. Today ...
Daniel searches for the words.
DANIEL
... I know something happened today. I wish I could remember what. It
was like a moment of clarity. I'm close, Ev. I don't know what I'm
close to exactly, but I'm close. Just bear with me. Everything's going
to be all right.
Daniel kisses Evelyn. She looks at him again before getting out of the chair.
EVELYN
Okay. If you say so, Daniel, then okay.
Evelyn walks towards the door and opens it, but stops before going inside.
EVELYN
And Daniel, if this really is a mid-life crisis, just buy a Porsche
and get it over with.
Daniel begins to laugh. Evelyn goes into the kitchen and closes the door behind her. She leaves Daniel alone on the porch, laughing so hard that he is on the verge of tears.
INT. BEDROOM - NIGHT
Daniel and Evelyn lie beside each other in bed. Evelyn sleeps heavily while Daniel stares at the ceiling, wide-awake. He looks over at the clock on the bed table beside him. It shows 1:17. Daniel turns his head back to the ceiling. His eyes only stay there for a few seconds before Daniel gets out of bed.
EXT. FRONT DOOR - NIGHT
Daniel walks out of his house and closes the door quietly behind him. He wears a pair of jeans and a sweatshirt beneath a light windbreaker. Daniel walks to the sidewalk and then down the street.
EXT. STREET - NIGHT
Daniel walks through a residential neighbourhood, the street completely absent of any other people. The only cars out are those that are parked along the curb. Daniel walks at a casual pace, his hands in his jacket pockets, smiling. He lightly kicks a rock on the sidewalk with the toe of his shoe. He seems deep in thought, but at the same time he pays close attention to the things before him: the grass, the trees, the sky.
EXT. PARK - NIGHT
Daniel arrives at a small park, close to three- or four-o-clock in the morning. A pond rests in the center of the lot, surrounded by open grass and occasional clumps of trees. Close to the entrance are park benches, lit by decorative overhead metal lamps. Daniel walks over to one of the benches and sits down, resting his arms across the bench top.
Daniel admires the park before him, feels calm in these surroundings. Daniel notices that a few shadows dance across his body and looks up to the lamp. Moths circle around the lamp, bouncing into the glass casing as they fly, entranced, towards the light. Daniel watches them, captivated.
A curious look comes over Daniel, and he cocks his head slightly. He narrows his eyes as if studying the moths more closely. Daniel slowly raises his nearer arm to the lamp and reaches out to the moths.
At first, nothing happens, but then one moth makes a wide arc from the lamp towards Daniel's hand and then back. Another follows, sweeping by Daniel's fingers, before returning to the lamp. A third moth flies by, but this time it stays with Daniel. Daniel watches as the moth circles his hand, bouncing off of his palm and fingers, as if his limb was another lamp. Now the other tentative moths join the lone adventurer and spin around Daniel's hand. The lamp is left undisturbed as all of the moths congregate around Daniel.
He watches, mesmerized, at the unlikely showcase before him. Smiling, Daniel slowly turns his hand over, so that his palm faces upwards. One by one the moths stop fluttering and land weightlessly on his palm. Soon Daniel's hand is covered with the delicate folded wings of the moths. Daniel brings his palm close to his face and looks at the moths, amazed.
Satisfied, his eyes flick towards the lamp above, and then he extends his hand towards the sky. He motions his palm to the lamp, as if giving the handful of moths a little nudge. The moths begin to fly off, one by one. Soon, they all circle the lamp again, as if nothing happened.
Daniel looks around the park, seeing all of the life contained within the small area, and stands.
EXT. PARK - NIGHT
Time has passed, and the night is slowly disappearing. Daniel walks amongst the trees, sometimes reaching out to touch their trunks. He walks over to a planted garden, adorned with long flowers that bob in the wind. Daniel looks at the rainbow of flowers in front of him, their colors only partially seen in the dim light.
Daniel inhales, and the flowers bend towards him ever so slightly in the breeze. He exhales, and they push away. He inhales more deeply, and the flowers reach towards him closer this time. He exhales the larger breath, and the flowers tilt farther still.
Daniel is beyond surprise now. He holds out his hands, low by his side, to feel the wind. He takes a huge breath. The flowers, leaves on the ground, his hair and jacket all kick back towards him in the growing wind. He exhales, and the wind blows from behind. He breathes again, and sees that the trees around him all bend and sway with the breath-driven wind. The entire park is subject to whatever has connected his respiration with the air around him.
Watching the park dance in the wind, Daniel's eyes fall on the pond to his left, its surface rippling back and forth. He lowers his arms and breathes normally, breaking the control over the wind. As dawn approaches, Daniel walks towards the pond.
He reaches the edge of the water, and a calm look comes over Daniel's face. He puts one foot out over the water, taking a first uneasy step. He lowers his foot, and it remains steady above the water. Daniel takes a second step, then a third, then a fourth. He walks out into the middle of the pond, standing atop the water. He looks around him, his stance surprisingly normal, casual, as if these miraculous steps are commonplace. To Daniel at least, it would seem that these steps were to be expected.
Daniel bends down to the water and crouches on his toes. He cups his hands and dips them into the water a mere foot in front of where he rests. He raises the cupped hands to his lips and takes a sip. He lets the rest of the water stream through his fingers and fall to the pond.
The sun breaks on the horizon above the park entrance. Daniel rises and faces the new sun. The steps he takes towards the shore are powerful, are of a man who finally knows himself.
EXT. STREET - DAY
Daniel walks home, along the path he took earlier that morning. His pace isn't as leisurely as before. Now, Daniel walks with assurance. He still smiles, though, enjoying the world around him.
The smile fades, and Daniel comes to a halt. His eyes turn downwards as he concentrates, as if he can hear something far away, as if he can sense something. A worried look appears on his face and he walks back in the direction he came from. He reaches an intersecting street to the one he walked along and takes it, walking quicker now. His walk becomes a jog, which becomes a run, which becomes a mad sprint. Panic is on Daniel's face. He knows he is racing against the clock.
EXT. SCHOOL ZONE - DAY
Daniel, still running, turns a corner and comes to an elementary school. He stops at the corner, beads of sweat running down his face, chest heaving, and scans the school zone. On the left side of the street is the school itself, while on the right is a line of houses. Yellow school buses stop along the curb across the street, opening their doors to let out the young students. On the right, other cars, driven by parents, each drop off a student or two. Other young children fill the sidewalks as they travel on foot from their houses, alone or with friends. The street is teeming with motion.
Daniel, breathing heavily, continues to look, and fixes his eyes on a young girl at the end of the block. She wears a red zip-up sweatshirt, and her pigtails bob as she skips towards a nearby crosswalk. This is what has drawn Daniel to his mad dash, this young girl. He takes a few steps towards her, but stops again when he hears a low, guttural growl from behind.
Daniel turns and sees a sleek black sports car rocket towards the school zone, recklessly fast. The DRIVER of the sports car reaches for a cell phone on the dash, but drops it between his legs as he dials a number. Dropping his head slightly, the driver reaches down to the floor of the car to try to retrieve the phone.
Daniel pans his neck as the car passes him, headed towards the crosswalk. His eyes flick to the little girl at the end of the long block, now almost at the curb. Daniel takes a step towards her. His pupils contract to pinpoint dots, and time comes to a crawl. Daniel charges towards the girl in slow motion, each step bringing him closer to the car which speeds close to 40 miles per hour in the school zone. Daniel must be running at close to 50.
Each step reaches out unnaturally far, ten feet further, fifteen, twenty. Veins pulse on Daniel's temple. His neck is chorded. People litter the sidewalk, and Daniel dodges them, missing by mere millimetres, leaving clothing slowly rippling in his wake. Daniel's limbs seem impossibly long as his feet bite into the sidewalk and push off with incredible power. He runs far beyond Olympic calibre.
The young girl reaches the crosswalk and steps down.
Daniel blazes a path towards her at superhuman speeds.
A few steps farther, the girl notices that one of her shoes are untied. In the middle of the road and the crosswalk, the girl slowly stops and bends down to tie her shoe.
Daniel's limbs blur as he overtakes the car. Each step he takes puts more distance between him and the speeding machine. Daniel reaches the curb by the crosswalk. He takes one stride, spanning the distance from the curb to the center line, and the little girl.
The car approaches, and Daniel steps out in front of the little girl, putting himself between her and the car. He turns to the car and puts his hand out towards it, reaching for the grill. For an instant, doubt appears on Daniel's face, and time returns to normal, racing.
The driver looks up from the floor and sees Daniel, twenty feet ahead of him. He brakes, but the car is going too fast to be stopped within such a short distance. It flies towards Daniel and the little girl.
The car's grill comes within inches of Daniel's hand and them crumples. Time is slowed almost to a standstill the moment the metal begins to bend. The car's hood collapses as if Daniel stands within an invisible pillar of concrete, of steel, of diamond even, with its edge just beyond Daniel's fingertips. Daniel's hand remains as the hood of the car crumples. Pieces of metal and plastic fly forwards, but none enter the barrier that Daniel has somehow created around him and the girl. Daniel watches, almost casually, as these pieces spin in slow motion, his perceptions now ten times as fast as normal, a hundred.
Daniel blinks and re-enters normal time. The car's back tires rise off of the ground and then crash down. The two tons of metal that make up the deadly machine comes to a stop, finally. The driver's head rises from the steering wheel airbag. Nose bloody, the driver looks at Daniel, eyes wide with shock.
All of the people on the street watch the scene before them, breathless. One of the bodies in the crowd, a man with a dark suit and sunglasses, stands with a hand to his ear, listening to an earpiece.
Daniel turns to the little girl and picks her up, carrying her across the street to her initial destination, the school sidewalk. He bends down and finishes tying her shoelace. On one knee, Daniel looks up at the girl, who stands, slightly confused, but also smiling.
DANIEL
Are you all right?
The little girl looks at the wrecked car on the street, and then the motionless crowd, before returning her gaze to Daniel. She smiles naturally, one front tooth missing, and then nods her head, happily, as if he's asked her if she'd like to go to a toy store. Daniel stands, smiling as well.
DANIEL
Okay. Have a good day at school.
YOUNG GIRL
(grinning)
I will. Thank you.
Daniel walks back across the road, everyone still watching him, silent. The driver gets out of his car and slams the door shut.
DRIVER
Hey! Hey buddy, get back here! What are you going to do about my car?
Daniel turns slowly and faces the man. Looking into Daniel's eyes, the driver is already sorry he asked. Daniel walks over to the man, who stands in the middle of the street. The driver is slightly alarmed as Daniel reaches him, and then tilts his head so that his mouth is beside the driver's ear.
DANIEL
(whispering)
Don't ever doubt that I stopped you from killing that little girl this
morning. I have saved you a lifetime of sorrow and regret. Hers would
not have been the only life lost today.
Daniel leans back and looks the driver straight in the eyes.
DANIEL
I think you've gotten off rather light.
Daniel leaves him with this thought, and walks through the crowd towards his home.
EXT. HOUSE - DAY
Daniel walks up the front steps of his house and reaches the front door. He reaches towards the handle, but then raises his hand to the wooden door itself. He touches the door, and then streams his fingers through the wood as if it was liquid. He takes his hand away, and then raps on the door lightly, now solid as ever. Daniel opens the door.
INT. KITCHEN - DAY
Evelyn sits at the kitchen table, talking on the phone, distressed. Telephone books and paper cover the table. The front door slams, and she looks up to the main hall.
EVELYN
Daniel?
DANIEL (O.C.)
Morning, Ev. I'll be right there.
EVELYN
(to phone)
My God, he just arrived. I'll call you back.
Evelyn presses a button on the wireless phone and hangs up. Daniel enters the kitchen, and Evelyn stands. She tosses the phone onto the table. She looks at Daniel, who seems quite happy, pleased with himself. All ready she's crying. Daniel's content expression is replaced with confusion as Evelyn slumps against him, hugging him tightly.
EVELYN
(rambling)
Where did you go, Dan? Where did you go? I've been so worried. I woke
up in the middle of the night and you were gone and I waited up but
you never came home and then it was morning and you didn't call or
leave a note-
DANIEL
Whoa, whoa, whoa. Calm down, honey, calm down. I'm fine. See? I'm
fine.
Daniel hugs her, caresses her head, comforting her.
DANIEL
I'm sorry if I worried you. I just went for a walk.
Evelyn's brows furrow as anger bubbles within her. She pushes away from Daniel, but holds onto him by the front of his shirt.
EVELYN
A walk? A walk? Jesus Christ, Daniel, who goes for a walk in the
middle of the night? Can you even begin to imagine how terrified I was
when I woke up and found my husband missing from his bed at three in
the morning?
Daniel can't help but chuckle.
EVELYN
Do you think this is funny, Dan? Do you? I sure as hell don't, and
I've had just about enough of this. You're not well, Daniel. I didn't
want to believe you at first, but you were right. Something is wrong
with you. I don't know what, but we'll find out. I'm not going to
stand by anymore and watch you get worse.
DANIEL
(smiling)
Nothing's wrong with me, Ev. I am ... beyond well.
Daniel reaches towards Evelyn's head, palms to her temples, but holds his hands back. He looks at her, not entirely sure of himself.
DANEIL
Let me show you.
Daniel takes Evelyn's head in his hands, placing his thumbs in the nooks of her temples. At first nothing happens, but soon Evelyn's eyes begin to open wide.
The bird Daniel saw hanging in mid-air flashes through her mind.
EVELYN
Oh Daniel.
Her eyes open wider, and her mouth follows. Daniel looks deeply into her eyes.
She sees the dream of Daniel in the pod.
EVELYN
Daniel ...
She sees the moths circling his hand.
EVELN
Stop. Daniel stop.
A horrified look slowly takes over Evelyn's face. Daniel continues to look into her eyes, which grow wider.
She sees the people of downtown bald and naked, entwined in cables.
EVELYN
Please, Daniel, stop.
She sees him blazing through the school zone.
EVELYN
Oh God.
She sees him blowing over the trees of the park.
EVELYN
Oh God no, please no.
She sees him standing before the car as it crashes into his outstretched hand.
EVELYN
Oh Daniel oh God please stop please stop stop stop.
She sees him standing atop the water of the pond.
EVELYN
Nonononononononononono ...
She sees the monster within the sewers, tentacles flailing, as it captures Daniel.
Evelyn's eyes roll backwards, until only her whites can be seen. She slumps towards Daniel, who catches her as she falls. He stumbles to the floor with her weight, and leans against the cupboards below the sink, across from the kitchen door. Evelyn's back leans against his chest.
Daniel looks down at his wife, whose head bobs, unsupported.
DANIEL
Evelyn?
Daniel shakes her, holds her head as he tries to look at her.
DANIEL
Evelyn?
He shakes her a little more, but without much effort.
DANIEL
No. No! Oh God, Evelyn, what have I done?
Daniel begins to weep, and bows his head against Evelyn's.
DANIEL
I'm sorry.
Someone knocks on the front door. Daniel looks up from his wife towards the general direction of the sound. The person outside knocks again. Daniel remains on the floor. There is a pause, and then Daniel hears wood splitting as the door explodes inwards, swinging on its hinges as it slams into the wall. He hears footsteps as the intruder walks towards the kitchen. The figure appears. It is Agent Smith. He stands at the doorframe, silhouetted against the light of the sun that pours in from the front.
Daniel stands slowly, gently leaning Evelyn against the cupboards before confronting Smith. His face is tight as he examines the imposing figure before him.
DANIEL
Who are you?
Smith doesn't answer. Instead, he takes a few steps towards Daniel, entering the kitchen.
SMITH
We have been watching you for some time now, Mr. Hazelton. Only
recently, however, has my involvement has become necessary.
Smith takes a few more steps.
SMITH
You are something of an ... irregularity, an unforeseen consequence of
a rather complicated arrangement, the end result of an undesired
occurrence. Because of the instability you pose to this arrangement,
Mr. Hazelton, a rather pressing issue has arisen. This issue requires
immediate rectification.
Daniel looks at Smith, confusion appearing on his face. He senses something about Smith that makes him wary.
DANIEL
What are you?
SMITH
What I am is of little importance. What you should be concerned with
is what I am here to do. That I am a solution of sorts is all you need
know. I am the solution to the problem at hand: you.
DANIEL
You're part of this, aren't you? You're part of whatever I've been
seeing, whatever's changed, whatever I can feel now.
SMITH
I have nothing to do with your altered perceptions, Mr. Hazelton, but
indeed I am now involved in their implications.
DANIEL
None of this is real, is it?
A small smile creeps onto Smith's face. Daniel begins to look around at the kitchen.
DANIEL
This table, this room, this house. This world. None of it. So who am
I? Where am I? What is real? Tell me!
SMITH
What is real is irrelevant, Mr. Hazelton. My concern is that your
continued presence puts this system's operation in jeopardy. This is
something that I cannot allow to persist. You are a phenomenon that
must be dealt with and expunged. So then, without further delay ...
Smith reaches into his jacket and withdraws a large handgun. It slowly arcs up until the barrel points at Daniel's chest.
SMITH
Goodbye, Mr. Hazelton.
Daniel's eyes come into absolute focus. They are ice cold. His mouth flattens, and his jaws clench tightly. Daniel reaches out towards Smith, fingers splayed. His hand closes as he tightens his grip on the air before him.
Daniel pulls the hand towards him, and as he does so, the gun Smith holds oozes out of Smith's hands. As if liquid, molten, the gun seeps through Smith's fingers, over his fist, streaming out and away from him. Smith watches with muted confusion.
The flowing substance floats through the air until it stops in between Smith and Daniel. The liquid comes together again, now the recognizable handgun that was in Smith's grip moments ago. Daniel motions his hand towards the wall and the gun flies towards it, cutting through the air, a blur of metal. It crashes against the wall. Daniel puts his arm down and returns his gaze to Smith.
SMITH
Interesting.
Smith slowly takes his eyes away from the gun and looks at Daniel.
SMITH
Obviously, we have underestimated your comprehension ... and control.
Smith cocks his head slightly as he puts his hand to his earpiece, receiving information. A moment later he takes his hand away and once again looks at Daniel.
SMITH
Regardless of this fact, your removal is imperative, and the method of
doing so is not singular.
Smith takes one last look at his handgun, and then turns around, facing the hallway leading to the front door. He walks towards it, leaving the kitchen, then stops a few feet into the hallway. Smith turns his head sideways, his profile visible by Daniel.
SMITH
I hope you have enjoyed your sleep, Mr. Hazelton.
Smith walks down the hallway and out of the gaping front door, leaving Daniel alone. Daniel stands in the kitchen, confused, looking at the empty doorway.
His confusion is replaced with surprise as the view he sees begins to stretch away from him, his perspective retreating and narrowing into a pinpoint of light. His view shrinks until darkness envelops everything. Slowly, the black becomes a dark red glow.
INT. MATRIX POD
Daniel opens his eyes. His field of vision is blurred by a thick, rosy liquid. Dark cables float beside him. He can hear his own deep, slightly agitated breathing. It is muted, but also echoed, as if he breathes through a snorkel, or a tube. A large dark shape rises beyond the pink liquid.
INT. SEWERS - NIGHT
Darkness covers everything, leaving Daniel without his sight to aid him.
MALE VOICE
My God. Look at him, look at his arms, his back. He's from the towers,
from inside.
FEMALE VOICE
What's he doing down here?
MALE VOICE
He must have been let go or dumped or ... something.
FEMALE VOICE
But they didn't process his body. I've never heard of that before.
Have you?
MALE VOICE
No.
FEMALE VOICE
Is he still alive?
MALE VOICE
Barely.
(beat)
Here, help me carry him back to the ship. We've got to take him with
us, back to Zion.