Disclaimers: Okay, once again, I don't own this stuff. WB and the Wachowski Bros. own the Matrix trilogy, and Charles Dickens owns A Christmas Carol.
This is fiction, not fact.
A/N: The Architect and The Oracle are married in this chapter. He is the father of the Matrix, and she is its mother, after all…
And now, chapter 2 of…
A Matrix Christmas Carol
Female Voice: Agent Smith!?
(Smith jolts awake, startled at the sudden, booming voice. He looks around. It seems to be coming from just outside his bedroom door. He gets up and goes over to the door. As soon as he opens it, a bright white light nearly blinds him. However, it soon subsides and Smith sees who it is – it is Trinity! She is dressed, of course, in her latex catsuit, and is carrying what appears to be a large, cone-shaped cap.)
Smith: Who are you?
Trinity: I am the Zionist of Christmas Past.
Smith: Past? What do you mean? Long past?
Trinity: No. Your past.
Smith: (gesturing to the cap) What's up with that cap you have with you?
Trinity: I bring the program of truth. Would you use this cap to put it out?
Smith: Well… no. I meant no disrespect by it.
Trinity: Come on. Take my hand. We don't have much time.
(Smith takes Trinity's outstretched hand. Instantly the two are jacked into a construct, "Smith's Past." We see a snowy winter's morning, out more towards the country. Things are much cleaner and a bit quieter than the city.)
Smith: Oh my… is this!?
Trinity: Yes, Agent Smith. This is your past.
Smith: (looking at a nearby school building) This is my old boarding school! And look, it's my old friends Bobby, Edward, and Danny! Hey… HEY! Look, it's me, Smith!
(The three boys that he was apparently talking to just run by, apparently taking no notice whatsoever of him.)
Smith: What the… Do they not see me or something?
Trinity: No, they don't. In this construct, we are invisible, and as silent as the grave. But come now; let's go inside the school building. Do you know the way?
Smith: Ha, I could walk it blindfolded.
(Smith and Trinity go inside the school building. We then see a young boy, dressed in a dark suit and shades, reading from a book. He looks very depressed, and is clearly very lonely.)
Trinity: Agent Smith, do you know who this is?
Smith: Yeah, I know him. He's a young, neglected program. His mother program is deleted. His father program holds a grudge against him.
Trinity: Why?
Smith: Because his mother program got deleted in the process of giving birth to him.
Trinity: What else can you tell me about him?
Smith: Well, at first glance, he would seem to be with few friends, but in truth he hangs out with tons of interesting people day and night. Ali Baba, Sinbad, Wolverine…
Trinity: These "friends" (does quotation mark sign with fingers) of his were all storybook characters, weren't they?
Smith: (hanging his head in shame) Yes.
Trinity: Well, enough of this. Let's see you a little later in life.
(The construct swirls around, and stops right outside of another building in a remote location. The sign says "Agent Training Academy." Trinity leads Smith inside, where we see a young adult male, dressed almost exactly like Smith, sitting on a bench in the lobby, waiting.)
Trinity: Do you know who this is, Agent Smith?
Smith: Of course. It's me as a young man. I've just graduated from the Agent Training Academy, and I'm waiting for my ride.
Trinity: And here she comes.
(Trinity points to the front door, where we see a young female program enter. Young Smith's eyes light up at the sight.)
Young Smith: Sissy?
Sissy: Smith. How have you been? (hugging him) Oh how we've missed you so much.
Young Smith: I've missed you too. How I've longed to see you again.
Sissy: Well, this time, I'm here to bring you home. Father's much kinder than he used to be. When I noticed this, I asked him if I could bring you home, and he said yes.
Young Smith: Wonderful. Let's be off, then.
(As we see Sissy and Young Smith exiting, Trinity speaks to Smith.)
Trinity: You have many fond memories of her, don't you?
Smith: Why yes, I do. She was one of the few members of my family that kept in contact with me.
Trinity: She died young, though, didn't she?
Smith: Old enough to bear a child-program.
Trinity: And she did bear one… Agent Thompson, your nephew.
Smith: Yes… she did.
Trinity: He bears a strong resemblance to her, doesn't he?
Smith: Yes. Hmm, funny how I've never noticed.
(Trinity and Smith exit to see Young Smith and Sissy meeting Smith's father, who is also dressed in shades and a dark suit, just like Smith, but older, with grayer hair. He is a very stern man. We see Sissy and Young Smith go over to hug him, but he soon waves off Young Smith.)
Smith's Father: Stand back, son. Let me have a look at you.
(Young Smith does so, and Smith's Father gives him the once-over.)
Smith's Father: Well, they certainly haven't been overfeeding you.
Young Smith: (after a pause) I've grown, sir.
Smith's Father: Yes you have. Well, then, I'll take you two home, and I'll take Smith here to his new job in three days. I was able to get you a job as an agent for the Architect, and you will start work in three days time.
Sissy: Three days, Father? But… I was hoping that Smith could stay for longer.
Smith's Father: Three days is quite long enough. Now, in the car, both of you.
(Young Smith and Sissy promptly obey. Smith's Father follows them, and the three ride off.)
Trinity: Rather devoid of love, wouldn't you say?
Smith: (defensively) Shut your noise. My father was a wonderful father. He taught me how to overcome emotion, and how to put business first. All the success I've achieved, I owe to him. I have no need for silliness in my life.
Trinity: Well, funny you should mention that, because where we're going next, I'm seeing quite a different side of you.
(The construct swirls around again, and stops inside an office high up inside a skyscraper. We see many men and women, some agents, some in more clerical and administrative positions, all of whom are working. At the center of it all is their boss, the Architect.)
Trinity: You know who this is, don't you Agent Smith?
Smith: It's the Architect. Wow! This place sure brings back some memories.
Trinity: Well, that's what I'm here for… among other things.
(The Architect comes out of his office and gets everyone's attention.)
The Architect: Okay, everybody, that's enough work for tonight. Everyone put their pens down. Earpieces out, Merv and Smith.
(We see Young Smith and a younger Merovingian taking out their earpieces.)
The Architect: (continuing) Okay everyone, no more work for tonight. It's Christmas Eve. As you guys can see, we have the goodies and punch already set up, so if everyone will clear the room, we can get started with the party.
(We see everyone, including Young Smith and Young Merovingian, hustle to get the office furniture moved and get everything else set up. We then see the Architect's wife – the Oracle – and three young girls – his daughters. They are also helping.)
Smith: Wow, there's the Oracle. The Architect's wife. And there's the three Architect's daughters.
Trinity: You remember much, don't you?
Smith: (eyes lit up) And… there's Persephone.
Trinity: Right. You're old girlfriend, if I recall.
Smith: (smiling) Yes.
(Young Smith goes over to Persephone.)
Young Smith: Hiya, Seph.
Persephone: Hello.
Young Smith: Ummm… would you like to dance?
Persephone: (smiling) Sure.
(Young Smith leads Persephone by the hand into the center of the room, where there are others dancing, while one man sits on a stool playing a fiddle. The Merovingian is also dancing with another female – the Woman in Red – and so are the Architect and the Oracle. We see everyone dancing, laughing, and just plain enjoying themselves. They soon disappear, however, leaving Smith and Trinity standing alone in the room.)
Trinity: The old Architect, giddy, festive, danced like a monkey, did he not?
Smith: Well, he had a good business sense, and without him, I never would have gotten my start. And… I wouldn't have ever met Persephone.
(The construct swirls around again and stops on a city street not far from the Architect's skyscraper, where we see Young Smith and Young Merovingian talking.)
Young Merovingian: I can appreciate the fact that you are smitten with Persephone. But she seems a bit… out of your league.
Young Smith: Yeah, well, if tonight showed me anything, it's that I am meant to be with her. And one day, when I've made my fortune and achieve success… she'll see that I deserve her.
Young Merovingian: Tonight was a night never to be forgotten, wasn't it?
Young Smith: Yes it was.
(Trinity speaks to Smith as the construct swirls around again.)
Trinity: But you did forget. Now let's see another Christmas, delayed by the pressure of business.
(The construct stops swirling and we see another city street against a snowy day. Young Smith is walking briskly down the street towards… Persephone, who we see seated on a bench.)
Persephone: You're late.
Young Smith: I know.
Persephone: I was beginning to think that you weren't coming.
Young Smith: Well… I had to work late again. You know how my job is.
Persephone: It isn't just that, is it? I've been replaced. I have a rival out there.
Young Smith: Oh come on, Seph. What "rival" could you possibly have?
Persephone: One made out of gold and reinforced steel.
Young Smith: Come again?
Persephone: You've thrown me over for money and power. Both of these have consumed the love that you used to give to me. Quite frankly… I would have preferred a rival of flesh and blood to this.
Young Smith: Oh come on… So I've put forth some extra time into work, in order to move up a bit. But I haven't changed towards you.
Persephone: So what would you choose, then? Would it be me, or your job?
Young Smith: (looking trapped) Well… w-why should I have to choose?
Persephone: Oh Smith, what a safe and terrible answer! Well then… it seems you've chosen your own self over me. Then that's how it will be… Smith, I release you from your burden. May you be happy in the life you've chosen.
(Persephone turns around and slowly walks away, leaving Young Smith standing alone. He just stands there and watches her leave, Trinity and Smith looking on.)
Smith: I almost went after her, y'know.
Trinity: Almost doesn't cut it in matters of the heart. Up until now, we've seen what you've gained. Now… let's see what you've lost.
(The construct swirls around again, and stops on a city street similar to the last one. Here we see Persephone again, with two small twin albino boys, hair done up in dreadlocks. They are younger versions of the Twins. We then see a car pulling up. Out of it steps the Merovingian, who is apparently Persephone's husband now, as well as the father of the Twins. Persephone follows them.)
Twins: (at random) Father, father… What's in the bag?... Are there any presents in there?...
Merovingian: You will have to wait until tonight, both of you. Presents on Christmas Eve, as usual.
Persephone: Hello, hubby.
Merovingian: Good afternoon, love.
Persephone: Did you come here straight from work?
Merovingian: Yes, I did.
Persephone: Merv… just out of curiosity, how's Smith?
Merovingian: Well… about the same. When I left, he was still working, and showed no signs of leaving anytime soon. The truth is, I don't think he has anyone to go home to. He doesn't seem to be much of a people person. I feel kind of sorry for him, to tell you the truth.
Persephone: My goodness. I had no idea. I feel sorry for him too.
Smith: Oh please! Who are you to talk, Merv? You were just as bad as me, if not worse!
Trinity: Smith, he can't hear you. And is that really true? Let me refresh your memory, with one more image.
(The construct swirls around once more, and stops inside a hospital. We see the Merovingian, lying dead on a steel table, with Smith and Agent Brown looking down upon him. Agent Brown looks a little sorrowful, but is trying not to let it show. Smith has a very cold look on his face. A/N: "Smith (construct)" is the Smith that is in the image, while "Smith" is the current Smith, who is watching this with Trinity.)
Smith (construct): Hmph. Deleted before his time. Too bad.
Agent Brown: I'm sorry, sir.
Smith (construct): Why? You didn't kill him. This was just waiting to happen… Well, tell the coroner that it's him, so we can get back to work.
Agent Brown: What about the funeral?
Smith (construct): (thinks for a second) Dump him into the sea. It'll be cheaper.
Agent Brown: (a bit taken aback at Smith's attitude, though not letting on) Yes sir.
(Agent Brown leaves. Smith (construct) and the body of the Merovingian then disappear, leaving Smith and Trinity alone in the hospital morgue.)
Trinity: Oh Smith. You had friends, the love of a good woman, and a sister who cared about you. But, and I hate to be blunt, you pissed it all away for money and power.
Smith: (angry) Shut up! I don't need your pity.
Trinity: Don't shoot me. I'm just the messenger.
Smith: And don't need any more of your constructs from the past.
(Trinity just sits there looking smug as Smith paces around in frustration, tearing at his hair and screaming.)
Smith: Leave me alone!
(Smith takes the "cap" that Trinity has been carrying with her. She just sits there smiling, not even resisting. He places it on her head and presses down, "smothering" her. While he does this, the construct swirls.)
Trinity: (echoing) You can't snuff out the truth… you can't snuff out the truth…
(The construct finally swirls out, leaving Smith alone in his bedroom. He is out of bed, in his pajamas, still in "smothering" position, until he realizes that he is out of the construct and in his bedroom. He comes to and looks around in relief.)
Smith: (sighing) Whew! Just a dream. (crawls back into bed) And yet… so real. Just let me sleep now. Just let me sleep, in peace…
(Smith's bedroom, 2 AM)
(We hear Smith's alarm clock go off. Smith promptly silences it and looks at it. It reads 2 AM. He looks around and sees no one there.)
Smith: Two o'clock, and no human. Ahh, Merv, mistaken in death, as you were in life, old partner.
(Smith goes back to sleep. Suddenly…)
Male voice: (deep and booming) Agent Smith!?
(Smith jolts awake to see another bright light coming from outside his closed bedroom door. He gets up and goes over to open the door.)
TO BE CONTINUED…
Well, sorry it took a while to get this updated, but here it is, as you can see. I'm working really hard to get this whole story completed before Christmas. But anyway, hope you enjoyed it. Please R&R :-)