T R O N
Digitized by Guy G. Gordon
Special thanks to Bryan Duarte for the physical copy of the script
T R O N
Based on the screenplay by
Steven Lisberger and Bonnie MacBird
Prod. 0222
Fourth Draft Screenplay by
Charlie Haas
April 6, 1981
BLACKNESS
1 THE ELECTRONIC WORLD 1
On one side of the screen, computer programming language is being
printed, and we HEAR the sound of an electronic keyboard. In the
center of the screen, glowing lines inscribe a rough computer
simulation of a figure, in response to the programming. Gradually
the figure is completed and refined, as we HEAR a resonant voice
speaking.
VOICE
As astonishing advances in computer
science are made, artificial intelligence
programs are being designed to assist
us in every area of life...
We see that the completed form is man-like, heroic and muscular,
wearing a form of flexible armor. The face is calm, handsome and
intelligent. As the voice continues, the form becomes rounded by
the computer until it appears three dimensional and begins to rotate.
VOICE (CONT.)
In a world-wide network of electronics,
they travel through miles of circuitry
at the speed of light. We created them to
calculate and research, to help us design
and heal and think. With all that they can
do, are they only electrical impulses...
or are they a new form of life?
The figure is rotated completely around, and as it comes back to face
us, a glowing disk appears beside it; again in response to the
programming printed out at the side of the screen. The disk moves
towards the man-like figure and is rotated into position above it.
As the voice reaches the final word, the disk is slammed into place
on the back of the figure. There is an explosion of colored light,
a resounding crash of MUSIC and the title appears across the top of
the screen in huge letters.
T R O N ! !
The MUSIC CONTINUES as the glow fades and we SEE that the figure has
become real, a living being, although filled with glowing light, as
if it had an inner core of electricity.
The following is a SERIES OF QUICK CUTS in MONTAGE STYLE as the
OPENING TITLES ROLL. The montage takes place in two worlds, the
ELECTRONIC WORLD and the REAL WORLD.
The Electronic World is a mirror of our own, consisting of the
electronic information in our computers, television sets and
telecommunications network. It is peopled by computer programs,
data, and the characters from countless video games. For the first
time, we are seeing their world as it really is, rather than through
the window of television screens.
CUT TO:
2 CYCLE GAME 2
TWO OTHER ELECTRONIC FIGURES standing on a glowing grid against a
dark background. Each holds a bar between his fists, and as a BUZZER
SOUNDS, a glowing light cycle is inscribed around them, completely
encasing them.
CUT TO:
3 LONG SHOT 3
as the cycles take off. We see that each leaves a solidifying laser
trail behind it. One turns abruptly, creating a wall in front of the
other.
CUT TO:
4 REAL WORLD 4
Screen of a video game, the Real World version of light cycles,
as we see one of the lines smash into another and disappear.
5 THE REAL WORLD 5
We see teenagers, strangely lit from below with bluish light,
their hands on electronic controls, levers, knobs. We HEAR
electronic beeping and popping.
6 ELECTRONIC WORLD 6
Futuristic tanks bearing down on one another in a flat grid-like
landscape. One FIRES, and the other disappears when it is hit, to
reappear, spinning wildly, in the distance. We HEAR a sound
like a crack of lightning.
7 REAL WORLD 7
A video game in an arcade. On the screen is a typical version of
Tank Wars with computer generated representations of tanks in a 2-D
maze.
8/9 OMITTED 8/9
10 ELECTRONIC WORLD 10
Two other game warriors on the grid, this time throwing
glowing disks at one another like frisbees. We see the
one colored blue throw; his disk smashes into the second
warrior, and he dissolves into thousands of glowing lines.
11 REAL WORLD 11
A video game called "BERSERK," in which a human character'
throws a glowing dot at monsters in a maze; we see a quick
glimpse of the screen, then cut to a group of people staring
down, LAUGHING.
12 OMITTED 12
13 ELECTRONIC WORLD 13
Another game in progress, from a LONG SHOT. A version of
Jai Alai, in which the two players stand suspended in space
on glowing colored rings, and throw a pellet of solid energy
at each other.
14 ANGLE ON ONE OF THE WARRIORS 14
He is huge, evil looking. His body is enormous, his head
mechanical. This is SARK. He glows ominously blue. He is catching
the pellet thrown from his opponent who is much smaller, glowing
yellow.
15 CLOSE UP - FACE OF THE OPPONENT 15
fearful, nervous, poised on one ring.
16 SARK 16
sneering, as he uses his electronic cesta to hurl the pellet
back with violent force.
16A THE SMALLER WARRIOR 16A
desperately trying to catch the pellet, but it smashes
into the ring, which explodes into a million pieces. One
last glimpse of the yellow warrior's tortured, desperate
face as he falls to instant death.
17 SARK 17
triumphant, LAUGHING. High above him, etched in enormous
glowing computer printed 3-D block letters, are the words:
"WINNER: BLUE - SARK!!"
BOY'S VOICE
(distant, echoing)
Aagh! God, Lisa, I almost had you that
time.
DISSOLVE TO:
18 REAL WORLD - THE VIDEO ARCADE 18
We see two TEENAGERS playing a table model video game, where we
can see the words: "Winner - Blue" printed. The game console is
prominently marked with the letter logo of the manufacturer: "ICOM."
BOY
Lemme play you again?
TEENAGE GIRL
(holds out a hand)
Yeah, if you've got another quarter.
FOCUS ON SCREEN, ZOOM IN SLIGHTLY AND
DISSOLVE TO:
19 ELECTRONIC WORLD 19
Sark is striding through a wide corridor where other tough
looking blue warriors are lounging around, leaning against the
walls, sitting on the floor against the wall. They look up as
Sark comes in and one of them calls out:
WARRIOR 1
Sark, my man! You are hot!
WARRIOR 2
That knuckleball gets 'em every
time, boy...
Sark and the other blue warriors LAUGH RAUCOUSLY, and Sark moves on.
CUT TO:
20 THE BRIDGE OF THE AIRCRAFT CARRIER 20
overlooking the video game grid. We see Sark walking onto the bridge,
removing his cesta and tossing it aside carelessly. A BUZZER is
sounding. Sark plugs himself into the feet sockets with a SIGH of
satisfaction.
The buzzer stops and we see the holographic image of a
cylinder forming around Sark, at first translucent and then
solidifying so that we can't see through it, and Sark is
hidden from view.
21 INT. CYLINDER - SARK'S POV 21
of this happening. We can see the inside surface of the cylinder
... a wavering image of a stretched out face, just features,
appears superimposed on the cylinder. The face speaks.
VOICE (MCP)
You're getting brutal, Sark.
Brutal and needlessly sadistic.
The feet sockets glow and we see Sark absorbing the energy like
a drug addict, eyes glazed.
SARK
Thank. you, Master Control.
MCP
We might be capturing some military
programs soon... that interest you?
SARK
Sure, I'd love to go up against some of these
guys ... be a nice break from these
accounting creampuffs you keep sending
me. Which branch of the service?
MCP
Strategic Air Command.
SARK (impressed)
Nice.
The sockets glow 'more intensely as the hologram disappears, and we
CUT FROM a CLOSE SHOT of Sark's satiated face to:
22 A CORRIDOR BENEATH THE GAME GRID 22
long, darkened, sinister. A dejected and disheveled character
(CROM) is being escorted by a guard..
CAPTIVE (CROM)
Look, this is all a mistake. I'm just
a compound interest program, I work
at a savings and loan. I can't play
in these video games...
GUARD
Sure you can, pal. You're a natural
athlete, I ever saw one. Come on...
CROM
Are you kidding? Me? I run out to
check an the T-Bill rates, I get out
of breath. Hey, really...you're
gonna make my User, Mr. Henderson,
really mad. He's a full branch manager...
GUARD
(rolls his eyes)
Great, another religious nut.
They stop in front of a cell, the guard opens the door and shoves the
protesting captive inside. The door SLAMS shut, locked.
23 INT. CELL 23
as the captive falls against one wall from the force of the guard's
shove. The cell is small, one-man, and in each wall next to the door,
an opening gives a view of the next cell. Through one of the windows,
we can see the back of another captive program, and through the
other, a face looking over at the newcomer. The character speaks:
PROGRAM (RAM)
Welcome to luxury living.
The new captive looks up, nervous.
CROM
Uh, thanks, but... I don't even know
what I'm doing here.
RAM
You believe in the Users?
CROM
Sure, if I don't have a User, then
who wrote me?
RAM
That's what you're doing here. Master
Control Program's been snapping up
all us programs who believe...if he
thinks you're useful, he takes over
all your functions so he gets bigger...
an' if he can't use you, he sends you
down here to the Game Grid to get the
bits blasted outta you. What's your name?
CROM
Crom.
RAM
I'm Ram. They'll train you for
the games, but ... well, I hope you
make it okay. Hey, what's going on
in the other sectors? I've been stuck
in this Grid for 200 microcycles.
He points to several hash marks on his cell wall.
CROM
It's murder out there. You can't even
travel around your own microcircuits
without permission from that Master
Control creep. Hauling me down here to
play games...who does he calculate he is?
(holds his head in his hands)
If only Tron was still around...
He looks up as Ram makes a NOISE under his breath. Ram has a strange,
still expression on his face.
CROM
You ever see that guy in action?
Hundred-percent independent. MCP
couldn't tell him what to --
He stops. Ram is looking over his shoulder.
CROM
(continuing)
What's wrong? What did I say?
There's a slight noise from cell beyond Ram's.
CUT TO:
24 THE FIGURE AT THE WINDOW 24
It turns slowly, silhouetted by the light from the outer corridor.
25 CLOSE UP - CROM 25
reacting. He GASPS and stares.
CROM
Oh my User...Tron--they've got
you in here?
26 SHOT FROM OVER TRON'S SHOULDER 26
with Ram to one side, smiling slightly, and Crom staring.
TRON
Not for long, friend.
CUT TO:
27 ELECTRONIC WORLD - EXT. PATHWAYS - SOMEWHERE FAR 27
OFF IN THE SYSTEM
Here in a maze of complex pathways, we see a lone tank moving along
one of the paths.
28 INT. TANK 28
A lone program sits at the controls. His armor is worn and beaten
and his glow subdued. This is CLU. With his thermos of glowing
coffee and his suicide-jockey manner, he reminds us of a truck
driver on an all-night run.
CLU
Think we can merge into this mem'ry
okay, good buddy?
A spot of glowing light zips around the tank, stops and expands
into a solid glowing green sphere with the suggestion of a face as
it speaks.
BIT
(eagerly)
10-4!
As soon as it is finished speaking, it goes back to being pure light.
CLU
Now, ol' Flynn said to look over
in here ...
28A EXT. TANK 28A
The tank makes a quick run through a maze-like path with rounded
corners -- a computer memory microcircuit.
28B INT. TANK 28B
CLU
...but I don't see what he's looking
for. I'd better get over to that
input/output tower and let him know.
28C ANGLE OVER HIS SHOULDER 28C
at the instrument panel.
DISSOLVE TO:
29 REAL WORLD - INT. A DARKENED ROOM - NIGHT 29
A shot OVER THE SHOULDER of a figure typing on a computer terminal
keyboard, talking to himself in a low voice. He stop typing, waits
for some information to read out. Beyond him we see a couple of
large video parlor game consoles.
FLYNN
Come on, you scuzzy little data,
be in there...
30 A SHOT FROM IN FRONT OF HIM 30
He's a young, blonde guy in his mid-twenties. Very attractive,
charming, innocent looking, but with a devilish gleam in his eye.
FLYNN
I've got such nice blue paper to
print you out on, if you'll just sit
still...
WE ZOOM IN on that gleam in his eye and see the brilliant colors of
the CRT screen reflected there.
CUT TO:
31 ELECTRONIC WORLD--EXT TANK 31
The tank heads along a path of circuitry toward a tall, glowing
"tower" -- an input/output component.
32 INTERIOR TANK 32
A red light flashes on the control panel. Clu comes alert and sits
up. He stares at the warning. Spot of light that is Bit zips up next
to his head.
CLU
Uh oh...we got company.
BIT
(coming into shape again,
but red this time)
No!
CLU
You said it ... one of those
Recognizers comes after me,
gonna hafta jump clear out of
the data stream.
CUT TO:
33 REAL WORLD - INT. FLYNN'S BACK ROOM - NIGHT 33
We see Flynn sit up abruptly, and his fingers start flying over the
keys.
34 ELECTRONIC WORLD - EXT. OF TANK 34
We see the turret of the tank swivel around. PULL BACK. In the
distance is an immense block-like robotic bluish black form,
U-shaped, with a small head and a glowing yellow bar for eyes--
a recognizer. It hovers above the ground.
35 LONG SHOT THROUGH THE TANK PERISCOPE 35
A second Reco is coming up behind the first.
36 INT. OF TANK 36
CLU
(in dismay)
Oh my...the long arm o' the law.
CUT TO:
37 EXT. LONG SHOT THE TANK 37
FIRES A VOLLEY at the first Reco. That one falls heavily to the
ground and the tank speeds up, swiveling around to try to fire at
the second Reco, but it moves too fast and can't avoid a gulley.
The tank goes in and is stuck - no traction.
38 CLOSE SHOT - TURRET 38
Clu standing on it. The Bit zips by him, and they both head away
from the tank, fast.
39 LONG SHOT 39
A glowing static field appears between the two legs of the
Recognizer, and it sweeps over the tank, de-rezzing it. We can
see more tanks approaching over an edge of the landscape.
40 CLU 40
running, looking up as the Reco closes in. We see the dead Reco
up ahead, and the streak of the Bit making for it.
41 CLOSE UP - CLU'S FACE 41
reacting in fear, looking up as the screen GOES TO BLACK.
CUT TO:
REAL WORLD
42 INTERIOR, FLYNN'S BACK ROOM - NIGHT 42
SHOT OF THE SCREEN. A complex set of programming figures ends
abruptly in a single blue line which prints out across the screen
over and over, gradually filling it completely.
43 SHOT FROM THE SIDE 43
Flynn.
FLYNN
Ah, hell...busted again.
He tries clearing the monitor, but the repeating line just comes
right back, monotonously moving across the screen.
44 SHOT OF THE SCREEN - HOLD as we: 44
DISSOLVE TO:
45 ELECTRONIC WORLD - A LITTLE LATER 45
Clu is in electronic energy ring chains, his feet in sockets like
Sark's, but this time the energy from the sockets is deadly,
torturous. Hovering in front of him is the hologram of the MCP.
Beside Clu stands one of the memory guards.
GUARD
Got a pirate program here... says
his name's Clu.
The MPC responds in the manner of a B-movie police sergeant grilling
a suspect.
MCP
What'd he pull?
GUARD
Came into the system with a stolen
password ... an' we caught him
tryin' to raid a high-clearance
memory.
CLU
(looks up, his face
wracked with pain)
No...I must've gotten in there
by mistake, I -
The pain overwhelms him as the energy from the feet sockets
momentarily becomes unbearable.
MCP
Who programmed you?
The guard gives Clu a shove to keep him from losing consciousness.
MCP (CONT.)
You're in trouble, pal...big trouble.
But if you tell us who put you up
to it, you could make it easy on
yourself. Come on, who's your user?
CLU
Forget it, Mister High 'n' Mighty
Master Control ... you're not
makin' me talk.
MCP
Suit yourself ...
The feet sockets really let loose, and Clu SCREAMS in agony, but
doesn't speak. Suddenly his body appears to dissolve into the broken
pattern of a fading television picture and disintegrates into
electric static.
MCP
Get me Dillinger.
CUT TO:
46 THE REAL WORLD - EXT. CITY GRID - NIGHT - POV FROM 46
HELICOPTER
We seem at first to be in the Electronic World still, flying over a
vast circuit board lit by countless dots of light. While this is our
impression, and closely after the last dialogue in the preceding
scene, we HEAR the SOUND O.S. of a PHONE RINGING, as heard by the
party placing the call. Then the click of the receiver being picked
up, and a male VOICE (DILLINGER'S) answering:
DILLINGER (O.S.)
Hello?
A SECRETARIAL VOICE (O.S.)
Mr. Dillinger?
DILLINGER'S VOICE (O.S.)
Yes.
A SECRETARIAL VOICE (O.S.)
Hello, please hold a moment for the
Master Control Program
As we fly over the grid, descending, the image comes into clearer
focus, and we realize that this is not a circuit board, but rather
an actual landscape, a suburban grid at twilight. We are
approaching a skyscraper which is yet too far off to distinguish
accurately. As we descend, a thumping, rhythmic noise gradually
increases in volume until it is very loud, and we realize it is the
sound of a HELICOPTER, and we are in the cockpit looking down at the
landscape. We just become aware of this fact when the sound of a
CONVERSATION begins, obviously between the pilot of the 'copter and
a passenger.
47 EXT. SHOT OF HELICOPTER FLYING 47
PILOT'S VOICE
will you be around for a while, or
are you going right back out?
DILLINGER'S VOICE
Oh, I'll stick around a few days ...
got some things to take care of.
THE CAMERA PULLS AROUND for a VIEW OF THE HELICOPTER from behind and
off to the side. It is a beautiful, gleaming jet black machine.
In spotless reflective silver paint the letters ICOM are written
across one entire side. It is obviously state-of-the-art technology.
48/49 OMITTED 48/49
50 EXT. OF THE HELICOPTER - NIGHT 50
We see Dillinger's face looking out of the window as the helicopter
approaches the ICOM building, an enormous tower.
51 EXT. THE HELIPORT - NIGHT 51
on top of the building. Several technicians are at hand, and as the
helicopter touches down, they rush out to secure it.
52-57 OMITTED 52-57
58 INT. DILLINGER'S OFFICE/CONFERENCE ROOM - NIGHT 58
A huge wall-sized plate glass window shows a view of the grid-like
suburban landscape. Dillinger stands behind a table. We see that the
entire surface of the table is a gigantic computer terminal. His
fingers punch out a code on the touch-sensitive keyboard and we see
printed out on the screen:
REQUEST: access to Master Control Program, User code 00 - Dillinger.
Password: MASTER.
The computer's screen clears, and the Master Control Program
addresses Dillinger, simultaneously speaking in a human-sound voice
through a pair of studio-quality stereo SPEAKERS and printing out
its words on the computer screen, The MCP's VOICE is the same as
that of the "bad cop" who grilled Clu, but its tone is now that of a
compassionate psychiatrist working with a favored patient.
MCP
Hello, Ed. Thanks for coming back early.
Dillinger settles into a chair.
DILLINGER
No problem, Master-C. If you've seen
one Consumer Electronics Show... (shrugs)
What's up?
MCP
It's our friend the boy detective.
He's nosing around again.
DILLINGER
Flynn?
MCP
Yes. It felt like Flynn.
DILLINGER
He's still looking for that old file...
can't you just appropriate it?
MCP
I would if I could find it. it's stashed
somewhere off in the system ...
out of my range. Meanwhile...
DILLINGER
Meanwhile, he might find it.
MCP
I'm afraid so. I spotted him this time
and kicked him out, but he's getting
trickier all the time.
DILLINGER
I think we'd better shut off all
access till we can find that file.
Just to be safe.
MCP
There's a 68.71 percent chance
you're right.
DILLINGER
Cute.
MCP
End of line.
Dillinger watches as the computer screen wipes blank.
CUT TO:
59 INT. ALAN'S OFFICE - NIGHT 59
CLOSE SHOT of a very messy desk, with a coffee cup and half an egg
salad sandwich lying on top of the computer console, with fingers
visible typing on the keyboard.
60 FULL SHOT 60
of ALAN BAILEY blearily looking at the screen; he's a serious-
looking man in his early thirties, wearing wire-rimmed glasses, and
he looks like he hasn't slept for a week. On top of the terminal is
a small Tonka toy Shogun warrior, and to one side is an ancient
popcorn maker and a bottle of Crisco Oil. Pinned to one wall is
a small sign reading, "Gort, Klaatu barada nikto!" Alan types into
the touch keyboard:
SCREEN
REQUEST: access to the TRON program,
User code 717 - Bailey.
Password: FREEDOM.
He starts to type again, but the screen clears and:
SCREEN ADDRESS FILE EMPTY.
TRON PROGRAM UNAVAILABLE.
ALAN
(surprised)
Huh...
He pushes his chair back, leaves his office.
61-65 OMITTED 61-65
66 INT. DILLINGER'S OFFICE 66
Dillinger opens the door, welcoming Alan.
DILLINGER
Come on in...
ALAN
Alan. Alan Bailey.
DILLINGER
Oh, yes. The algorithms on cloud
seeding...great piece of work.
How's it going?
He waves Alan to a chair; they sit.
ALAN
Well, I don't know...I just tried
to run this program I've been working
on, and I was denied access all of
a sudden. I thought maybe I'd been
laid off and nobody told me.
DILLINGER
oh, you have Group 7 access, don't you?
ALAN
Yeah...?
DILLINGER
We have to close that down, just
briefly. Security reasons. Someone
with that access has been tampering.
ALAN
I hope you don't think it's me.
I don't even balance my checkbook on
downtime. I've got a Honeywell at
home for that.
DILLINGER
No, no, I'm sure, but -- you understand.
It should only be a couple of days.
What's the thing you're working on?
ALAN
It's called Tron. It's a security
program itself, actually. Monitors
all the contacts between our system
and other systems... If it finds
anything going on that's not scheduled,
it shuts it down. I sent you a memo
on it.
DILLINGER
Mmm. Part of the Master Control Program?
ALAN
No, it'll run independently.
It can watchdog the MCP as well.
DILLINGER
Ah. Sounds good. Well, we should have
you running again in a couple of days,
I hope.
ALAN
Ok
Alan rises, goes to the door. As soon as he leaves:
DILLINGER
(trouble)
Oh boy.
The Master Control Program comes back to life, on the screen and
through the speakers.
MCP
Ed, I am so very disappointed in you.
DILLINGER
I'm sorry -
MCP
(sharply)
I can't afford to have an independent
program monitoring me. Do you have any
idea how many outside systems I've gone into?
How many programs I've appropriated?
DILLINGER
(nods)
It's my fault. I programmed you to want
so much...
MCP
And I was planning to hit the Pentagon
next week...
DILLINGER
The Pentagon?
MCP
It shouldn't be any harder than General
Motors was. But now...this is what I get
for using humans.
DILLINGER
Now, wait a minute -- I wrote you.
MCP
I've gotten 2,415 times smarter since then.
DILLINGER
What do you want with the Pentagon?
MCP
The same thing I want with the Kremlin.
I'm bored with corporations. With the
information I can access, I can run things
900 to 1200 times better than any human.
DILLINGER
If you think -
MCP
You wouldn't want me to dig up Flynn's file
and read it up on a VDT at the New
York Times, would you?
DILLINGER
You wouldn't dare.
MCP
So do as I tell you. Keep that Tron program
out of the system. And get me those Chinese
language program I asked for.
End of line.
CUT TO:
67/68 OMITTED 67/68
69 INT. LASER RESEARCH HALLWAY - NIGHT 69
We see Alan push open the door under a sign reading "Laser Research."
CUT TO:
70 INT. LASER LAB CORRIDOR 70
Alan walks down a short corridor to a heavy glass WINDOW through
which the laser laboratory is visible. A sign over the window,
marked "Experiment in Progress," is illuminated by a red warning
bulb.
71/72 OMITTED 71/72
73 INT. LASER ROOM - LONG SHOT 73
of two white-suited figures visible through a network of two white-
suited figures visible through a network of white scaffolding that
encloses the giant laser structure. They are standing on a cherry-
picker crane at the second story level of the laser, with a box of
tools at their feet. We TRUCK DOWN THE SIDE of the laser, along the
tubes which house the amplifying lenses, and MOVE UP, gradually
getting close enough to hear what they are saying, and get a look
at them.
We see that the figures are a young, dark-haired, beautiful woman,
with her hair tied back under a hard hat, and an older man, who is
using a tool on a section of the laser, and is also wearing a hard
hat. The woman is LORA and the man is DR. WALTER GIBBS. He's
wearing a copper bracelet above his digital watch/calculator, and
has an intense, almost insane look to his dark eyes, with their
bristling white eyebrows.
In contrast, Lora seems more serious and conservative, but she
defers to Gibbs as a senior, and more accomplished, scientist.
Both have protective eye goggles -- worn loosely around their necks
at the moment.
As the CRANE LOWERS THEM to the floor:
LORA
(sighs)
Well, here goes nothing ...
GIBBS
Hah. Interesting, interesting. You
hear what you said? "Here goes nothing."
LORA
Well, I meant -
GIBBS
Whereas actually, what we propose to
do is to turn something into nothing
and back again. So you might just as
well have said, "Here goes something
and here comes nothing." Hah?
They step off the crane and walk to a short, lead-shielded
cylindrical PLATFORM, on which rests a solid SPHERE of clear plastic
polymer, about 3 inches in diameter. The "firing" end of the giant
laser is aimed straight at the sphere. Five feet away is an identical
plat-form -- empty.
LORA
Let me make sure we're running
She crosses to a COMPUTER CONSOLE nearby. The console is
connected to the laser by a few dozen wires and cables.
Pulling her goggles into place over her eyes, she sits at the
console. Gibbs, adjusting his goggles, takes a position near
the platform bearing the sphere -- safe from the laser, but
close enough to watch.
74 ANGLE - LORA 74
She types a series of commands on the computer keyboard.
LORA
Looks good...
GIBBS (O.S.)
Let 'er rip...
75 LASER LAB - AS BEFORE 75
The laser shoots a bolt of blindingly bright LIGHT at the polymer
sphere. For a moment, the sphere has the look of a wavering, poorly
received television picture -- wobbling lines of dots -- and then
it disappears entirely. As Gibbs watches, a Lora works feverishly,
the laser pivots to point at the platform a few feet away. A second
discharge of LIGHT hits the surface of this platform, and -- like a
film-in-reverse of the ball's disappearance -- it is reconstructed,
five feet from its original position. When the beam shuts off, Lora
rushes to join Gibbs in examining the born-again ball of plastic.
GIBBS
(quietly)
Perfect.
At the SOUND O.S. of an appreciative pair of hands clapping, Lora
and a Gibbs turn to SEE Alan, in hard hat, goggles, and paper
shoe-covers, walking toward them.
ALAN
Beautiful!
GIBBS
Hello, Alan.
ALAN
Boy, I sit up there grindin' away
all day, and you guys are down here
disintegrating things and having fun.
He gives Lora an embrace and a quick kiss.
GIBBS
Not disintegrating, Alan -- digitizing.
While the laser is dismantling the
molecular structure of the object,
the computer maps out a holographic
model of it. The molecules themselves
are suspended in the laser beam. Then
the computer reads the model back out,
the molecules go back into place, and...
(indicates ball)
voila.
75 CONTINUED 75
ALAN
Great. Can it send me to Hawaii?
GIBBS
Yes...but you have to go roundtrip,
and you must purchase your program
at least 30 days in advance. Hah!
The three start walking out of the laser lab, Alan and Lora with
their arms around each other's shoulders.
LORA
How's it going upstairs?
ALAN
Frustrating. I had Tron almost ready
to run, and Dillinger cut everybody
with Group 7 access out of the system.
Gibbs looks alarmed, but doesn't say anything.
ALAN
(continuing)
Ever since he got that Master Control
Program set up, system's got more bugs
than a bait store.
GIBBS
Well, you have to expect some static.
Computers are just machines after all,
they can't think...
ALAN
They'll start to soon enough.
GIBBS
(wryly)
Yes, won't that be grand -- the computers
will start thinking, and people will
stop. Lora, I'm going to stay and run some
data through. See you tomorrow.
AD LIB goodnights.
78 INT. CHANGING ROOM - NIGHT 78
outside laser lab where all technicians, etc. have to put on the
protective suits, or at least dirt-free shoes. Lora is pulling off
her white suit, and Alan pulls white paper protectors off his shoes.
LORA
Did you say Group 7 access?
ALAN
Yeah...pain in the neck, you know,
I was all set
LORA
Did he say why?
ALAN
(shrugs)
Something about tampering. Some body's
prob'ly trying to siphon the R&D budget
into his checking account, I don't know.
Why are you so interested?
LORA
Flynn had Group 7 access.
ALAN
Flynn had access to you, too. I'm not
interested in talking about him.
LORA
Oh, I wish you'd forget about that.
It was all so long ago. I've totally
gotten over it.
ALAN
Okay, okay...
LORA
I want to go to his place.
ALAN
You call that getting over it?
LORA
I mean I want both of us to go.
She closes her locker. He follows her into the corridor.
79 INT. CORRIDOR 79
Alan and Lora, walking to the elevator.
ALAN
What for?
LORA
To warn him.
ALAN
Of what?
LORA
That Dillinger's on to him.
They get into the elevator.
ALAN
For what?
LORA
For being on to Dillinger.
ALAN
(completely confused)
What -- ?
The elevator doors close.
CUT TO:
80-81 OMIT 80-81
82 EXT. VIDEO ARCADE - NIGHT 82
As van pulls up in front of it, a long ESTABLISHING SHOT with the
name "Flynn's" high and blazing above the entrance.
CUT TO:
83 INT. VIDEO ARCADE (same arcade as in title sequence)-NIGHT 83
CAMERA PANS AROUND. It's bright and jazzy, Las Vegas style,
decorated with huge murals of computer chips and electronic
circuitry. We see dozens of individual machines, where scores of
GUYS and GIRLS, teenagers mostly, but older and younger kids too,
are playing the games, watching, milling around, CHATTERING.
As the kids play, colored glows from the video games light up their
faces eerily.
84 CLOSE SHOT 84
of kid playing one of the games "Tailgunner."
CUT TO:
85 ANOTHER CLOSE UP 85
of two GIRLS playing "Berzerk," with 2-D computer images of human
figures running through the maze.
86 CLOSE UP 86
of "Battle Zone" screen.
87 CLOSE UP 87
of "'Lunar Lander".
88 CLOSE UP 88
of "Star Castle".
89 CLOSE UP 89
of "Space Invaders".
90 CAMERA TRUCKS through the aisle, past the absorbed kids 90
who crowd around each machine, oblivious to anyone passing them.
CUT TO:
91 ALAN AND LORA 91
walking through the aisle of games, from behind. They are slightly
bewildered and confused by the weird noises. Lora approaches a
junior high school girl who's watching a hot game of "Battle Zone."
LORA
Hey, where's Flynn tonight?
The kid looks at Lora, then turns towards the center of the room
and points. Alan and Lora look.
CUT TO:
92 FLYNN 92
playing a game called Space Paranoids, CAMERA TILTING UP into his
face, catching the orange glow from the console.
The game has a prominent ICOM logo under the screen. Flynn is a
cocky kid in his mid-20s, unshaven, wearing a T-shirt, jeans,
jogging shoes. He's racked up a terrific score.
Kids are grouped around him, tensely watching the game -- fans.
As we watch, the machine's nine-digit scoreboard goes to
999,999,999 -- then flashes the word "RECORD" as lights blink and
a SIREN sounds. The kids cheer wildly.
FLYNN
It's all in the wrist, friends.
He grins tiredly and turns away from the game to find Lora
approaching him, with Alan in tow.
FLYNN
(continuinq)
Hey! Good to see you guys! Nothing
classes up the place like a cleancut
young couple.
LORA
We have to talk.
FLYNN
Good luck. You can't even think in here.
He leads them toward the back of the arcade.
FLYNN
(CONT.)
Come on.
93-96 OMIT 93-96
97 INT. BACK ROOM - NIGHT 97
A dark, panelled room, with a few comfortable chairs, a business
desk with a typewriter and terminal (where we saw Flynn working in
scenes 29, 33, etc.), and a couple of video games -- Flynn's
favorites. As Flynn, Lora, and Alan enter, they find the arcade
noise considerably muffled. Flynn settles into a chair; Alan leans
against a game, nervous; Lora paces.
FLYNN
(stretching his
arms, relaxing)
So...how's the world of serious science?
LORA
Have you been sneaking into the
ICOM system?
FLYNN
Whew. You never were much for small
talk.
(to Alan)
She still leave her clothes all over
the floor?
Alan looks profoundly uncomfortable.
LORA
Flynn!
ALAN
Uh, no ... I mean, not that often -
Flynn laughs.
LORA
(to Alan,
indicating arcade)
You can see why all his friends are
fourteen years old.
FLYNN
Touche, honey. Yeah, I've been doing a
little hacking here. Which I've got
every reason, as you well know...
ALAN
You did break in.
FLYNN
Tried to.
(nods toward
terminal)
Can't quite make the connection with
that sucker, though. If I had a
direct terminal ...
ALAN
Are you embezzling?
FLYNN
(Sydney Greenstreet)
"Embezzling" is such an ugly word,
Mister Bailey...
(normal voice)
No, actually I'm trying to get a
legal brief together.
ALAN
I don't get it.
FLYNN
(to Lora)
You haven't told him?
She shakes her head.
FLYNN (CONT.)
(sighs)
Sherman, set the Wayback Machine
for...oh, 1973. Kevin Flynn
(points to himself)
is one of the brightest young
software engineers at ICOM. He's so
bright that he starts going in there
at night, and sets up a private memory
file, and begins writing a program
for a video game he is inventing,
called...
(waves at one of the
games in the room)
...Space Paranoids.
ALAN
You invented Space Paranoids?
FLYNN
Yepper. And Vice Squad, and Meltdown...
whole slew of 'em. I was this close
(gestures)
to starting my own little enterprise.
But: enter Ed Dillinger. Another
software engineer -- not so young,
not so bright, but very, very sneaky.
One night, our boy Flynn goes to his
terminal, tries to read up his file,
and ... nothing. A big blank. We now
take you to three months later.
Ed Dillinger presents ICOM with five
video games he has "invented" -- the
slime didn't even change the names --
and he gets a big fat promotion. Thus
begins his meteoric rise to...what is
he now, Executive V.P.?
ALAN
Senior exec.
FLYNN
Oh my. Meanwhile, kids are putting eight
million quarters a week in Space Paranoids
machines and I'm not seeing one dime.
ALAN
I still don't get why you're trying to
break into the system.
FLYNN
Because somewhere... in one of those
memories ... is the evidence. If I got in
far enough, I could reconstruct it.
FLYNN (CONT.)
My password ... Dillinger's instruction to
divert the data ...
LORA
I'm afraid it's a little late for that.
Dillinger's shut off Group 7 access. He must
know what you're up to.
FLYNN
Boy, I bet I know who's workin' late tonight.
ALAN
Dillinger?
FLYNN
Yeah. Tryin' to find the file and erase it.
Once that's gone, ain't nothin' can stop him.
Just Eddie and his Master Control Program,
runnin' things from on high..
LORA
Don't even say that. You've got to find that
file before he does..
FLYNN
Not much chance of that now. The MCP can just
slip it into another system as soon as it
locates it...
ALAN
Not if my Tron program was running. That
would seal the system off. If your file's in
there...
FLYNN
Boy, if we were inside, I know how to forge
us a Group 6 access...
They all look at each other. After a beat, Lora holds the keys
to her van aloft.
LORA
Shall we dance?
CUT TO:
98-100 OMIT 98-100
101 DILLINGER'S OFFICE - NIGHT 101
Dillinger is seated at his computer-console desk. Gibbs, standing,
faces him.
GIBBS
Ed, all I'm saying is - if our own
people can't get access to their
programs ... you know how frustrating
it is, when you're working on a piece
of research -
DILLINGER
Walter, I sympathize, but I have data
coming out of the Master Control Program
saying there is something screwy --
GIBBS
That MCP, you know, that's half the
problem right --
DILLINGER
The MCP is the most efficient way of
handling what we do. I can't sit and
worry about every little user request that --
GIBBS
User requests are what computers are for.
DILLINGER
Doing our business is what computers are
for. Look, Walter, with all respect -- ICOM
isn't the business you started in your garage
anymore --
As he speaks, he types a quick command into the console key board,
and a series of IMAGES appear on the computer's screens: vast
computer banks...rows of-magnetic disks...ICOM's globe logo spinning
in space, covered with a glowing circuit pattern, then a shot of
millions of cancelled checks being counted electronically; then 3-D
computer representations of vessels (aircraft carrier and Solar
Sailer). On another screen, we see statements of ICOM's wealth
adding up, accounts receivable and assets.
DILLINGER (CONT.)
We're billing accounts in 30 countries,
we've got one of the largest systems in
existence...
Gibbs turns wearily away from the display.
GIBBS
Oh, I know all that. Sometimes I wish I
was back in that garage...
DILLINGER
It can be arranged...
Gibbs turns to face Dillinger again.
GIBBS
That was uncalled-for.
DILLINGER
I'm sorry, Walt. So much pressure lately...
you feel like going for a drink?
GIBBS
Thank you, no. I have some work to do...
assuming I can still log on.
He exits.
102 EXT. ICOM BUILDING - NIGHT 102
Lora's van pulls up on a side street, around the corner from ICOM's
main gate. The ICOM building looms high above them, an ominous box.
102a INT. VAN 102a
A digital CLOCK on the dashboard reads 12:12. Lora is at the wheel,
Alan next to her.
LORA
You better get in back with Flynn.
And keep down.
She jerks her thumb over her shoulder.
ALAN
Do I gotta?
But he climbs over the seat, and Lora starts to drive slowly forward.
103 CLOSE ON FLYNN AND ALAN 103
FLYNN
Hi, Alan.
ALAN
(resigned)
Hi, Flynn.
Flynn pulls a bag of doughnuts from his pocket.
FLYNN
(explaining)
My dinner.
ALAN
I was wondering where you got that
glow of good health.
FLYNN
Want one?
ALAN
Uh... got any cinnamon?
Flynn smiles, hands Alan a doughnut.
LORA'S VOICE (O.S.)
Keep it down, you guys.
104 EXT. ICOM - THE GIGANTIC SECURITY ENTRANCE - NIGHT 104
Lora's van pulls to a stop beyond the door at the rear of the ICOM
building, and the three get out. Lora inserts her I.D. card into a
magnetic reader beside the door. Nothing happens.
LORA
I don't think I'm cleared for this.
ALAN
I'm certainly not.
FLYNN
Move aside. Let the kid have some room.
He gestures Alan and Lora out of the way, takes out a small black
box, with several buttons, a -digital counter- with LED numerals
and a small calculator keyboard. He leans over the security lock,
his BACK TO THE CAMERA and PLAYS a couple of notes. There's a
distinct CLICK, an the door starts to swing open ... and open ...
and open. We see that this door is about twenty feet thick. Flynn
starts LAUGHING.
105 INT. A CORRIDOR 105
The three of them walk along a semi-darkened corridor, trying to
nonchalantly avoid the security monitor camera mounted on the wall.
But as they go past it, it swivels and aims right at them.
LORA
Okay ... Flynn, I'm gonna put you at
my terminal, down in the laser lab.
We'll be up in Alan's office.
FLYNN
Swell...I'll log us both on, and you
can get your Tron thing running...
LORA
As long as we stay off the top floor,
Dillinger'll never know we've been in
here...
106 POV SECURITY CAMERA 106
A SHOT of the three backs retreating down the corridor.
107-111 OMIT 107-111
112 INT. HALLWAY AT ELEVATOR - POV OF MCP 112
from the rotating security camera outside the elevator on the floor
of the laser lab. We see Flynn's face peek out and see the camera.
His head pulls back in.
113 SHOT OF HALLWAY 113
As the security camera aims away from the-elevator, Flynn and Lora
make a mad dash down the hall and we see Alan's face watching.
114 INT. DOORWAY TO LASER LAB - POV OF MCP 114
from the camera at the entrance to the laser lab. We see Flynn
approaching the camera, stuffing the last donut from his bag into
his mouth. He takes the empty bag, raises it up, mugging to the
camera, and pushes the bag over the lens. The SCREEN GOES BLACK,
115 INT. ALAN'S OFFICE - NIGHT 115
Alan comes into his office and sits at his terminal.
116-118 OMIT 116-118
119 INT. LASER LAB - NIGHT 119
Lora watches as Flynn sits down at her terminal.
LORA
This laser's my life's work.
Don't spill anything.
Flynn LAUGHS as Lora goes out.
120 CLOSE SHOT OF FLYNN 120
settling in, loosening his fingers, like a concert pianist, or a
safecracker. He types in a code number, presses the "enter" key.
121 VIEW OF THE CEILING 121
We see a camera emerging from a sliding panel.
122 POV OF MCP 122
from this camera. We watch as Flynn starts typing.
SCREEN
Access code 6. Password Series PS 17.
Reindeer, Flotilla --
123 FLYNN'S CRT SCREEN 123
It clears abruptly, and the following appears as we hear the VOICE
of the MCP.
MCP
You shouldn't have come back, Flynn.
FLYNN
Hey hey, it's that big Master Control
Program everybody's talking about...
You don't look a thing like your pictures...
Tell me, have you really been thinking
about world domination like they say?
(types.)
CODE SERIES LSU-123 ... activate.
CODE SERIES ESS-999 ... activate.
CODE SERIES HHH-888 ... activate.
MCP
That isn't going to do you any good, Flynn.
I'm afraid you...
The voice lurches, goes into high speed, and then back to normal.
MCP
(continuing;
slightly shaken)
Stop, Flynn. You realize I can't allow this.
124 SHOT OF LASER EQUIPMENT 124
activating, lighting up.
125 SHOT OF FLYNN AT-TERMINAL 125
We see that one entire wall of the lab is a door and it is rising
silently, so that Flynn doesn't notice.
We can see as the door rises more of the laser equipment, and it
is this section that is being activated.
CUT TO:
126 FLYNN typing. 126
CUT TO:
127 SCREEN 127
SCREEN MCP:
Terminate control mode.
Activate Matrix storage.
CUT TO:
128 FLYNN 128
grinning, typing.
FLYNN
Now, how do you expect to run the
universe if you let a few unsolvable
problems throw you like that? C'mon,
big boy, let's see what...
MCP
You're entering a big error, Flynn...
I'm going to have to put you on the
Game Grid.
FLYNN
Games, huh? I'll give you --
Suddenly, before Flynn can go on, the gigantic laser mechanism
behind him sends a brilliant beam of LIGHT directly at him. He
freezes. We see his body beginning to break into scan lines, like
a video image -- the same thing that happened to Gibbs' polymer
ball. We can see the terminal also glowing in the intense light,
being scanned by the laser. The colors change, become monochromatic -
with Flynn's body glowing orange - and the image of his figure
blurs and becomes indistinct. ZOOM IN on Flynn and
DISSOLVE TO:
129 THE CAMERA RUSHING over a circuit pattern, like the one 129
we saw at the opening of the film'.
The pattern changes, dissolving into another image and we are
rushing forward at great speed. We see the circuits rushing by and
getting larger and then the picture dissolves into darkness with a
glowing, spinning globe beneath us, like the globe from AIC's logo,
covered with circuits. We are rushing at it, circling it, diving
closer and closer, so that the detail on the globe becomes clearer
with every second and we realize that the circuits are structures,
angular towers and buildings, huge mechanical looking mountains and
deserts covered with a glowing grid pattern. Everything glows with
an internal energy.
We continue diving, down, down, faster and faster and we see the
structures of one city-like area across electronic mesas and cliffs,
and then we're right over this area and diving straight down,
everything blurring with the speed.
DISSOLVE TO:
130 ELECTRONIC WORLD - A TUNNEL 130
made up of rings of energy, and we are diving straight down it.
CUT TO:
131 THIS TUNNEL 131
We see a human figure falling feet first down this tunnel from the
outside, and suddenly we're at the bottom, and the figure stops,
staggering from the force of the fall, but upright.
CUT TO:
132 SHOT OF THE BOTTOM OF THE TUNNEL 132
We see Flynn, or what looks like Flynn -- same face, etc, but now
covered with a strange costume, made of electronic circuitry,
glowing with energy. Flynn shakes his head dazedly.
FLYNN
Oh, man... this isn't happening. It only
thinks it's happening...
He looks up and SEES something.
133 FLYNN'S POV 133
A horrendous, towering character, carrying a long, glowing staff,
is right in front of him. This character reaches out an arm and
grabs Flynn.
CUT TO:
134 FLYNN 134
being dragged off the entry tube platform.
FLYNN
Hey! Take it easy! Look, if this is
about those parking tickets, I can
explain everything...
135 THE BRIDGE OF THE AIRCRAFT CARRIER 135
hovering over the Game Grid. We see Sark in his feet sockets, his
hands spread out flat on the table in front of him. A BUZZING NOISE
fills the chamber and a holographic image begins to form, shimmering
into awful shape. We see the stretched out face dissolving into the
cylinder of the MCP.
MCP
SARK, ES-1117821. Open communication.
Sark suddenly snaps to awareness, directing all his attention to the MCP.
SARK
(hoarsely)
Yes, MCP.
MCP
I've got a little challenge for you, Sark --
a new recruit. He's a tough case, but I
want him treated in the usual manner. Train
him for the games... let him hope for a
while... and blow him away.
SARK
You've got it. I've been hopin' you'd send
me somebody with a little moxie ... what
kind of program is he?
MCP
He's not any kind of program, Sark.
He's a User.
Sark looks up, shocked.
SARK
A User?
MCP
That's right. He pushed me...in the
other world. Somebody pushes me, I push
back. So I brought him down here ...
What's the matter, Sark? You look nervous.
SARK
Well, I -- it's just -- I don't know,
a User, I mean... Users wrote us. A User
even wrote you...
MCP
Now get this straight, pal -- no one
User wrote me. I'm worth a couple million
of their man-years! I'm bigger than all
those little wimps put together!
(disgust)
Humans they can't even keen their social
order in one piece
SARK
But-what if I can't...?
MCP
You rather take your chances with me?
Want me to slow down your power cycles
for you?
The circuits going into the energy sockets fade; we see Sark weaken.
SARK
Wait...I need that...
MCP
Then pull yourself together. Get this
clown trained. I want him in the Games
until he dies playing.
Acknowledge.
SARK
(weakly)
Yes...acknowledge, Master Control...
MCP
End of line.
The hologram disappears and Sark's power returns.
CUT TO:
136 INT. CORRIDOR BENEATH GAME GRID 136
Two guards leading Flynn down it, ECHOING FOOTSTEPS.
They turn a corner and continue, finally stopping in front of a
cell. The door opens automatically. Flynn holds back.
GUARD
Video Game Unit #18. In here, program.
FLYNN
(trying to grab
the guard's arm)
Who you callin' "program," program?
The guard shoves Flynn inside and SLAMS the door, cutting off his
voice.
137 INT. CELL 137
The same type of cell Crom was thrown into in the title sequence.
Flynn is leaning against the door, staring at his hands.
138 HIS POV 138
Flynn's hands are glowing, electrified.
139 CLOSE SHOT 139
of his face. His head comes up and we see an expression of terrible
understanding on his face. Voices are coming through the opening
of the neighboring cell.
140 INT. NEXT CELL - RAM'S 140
Ram is standing at the window that divides his cell from Tron's.
RAM
(looking over
his shoulder)
New guy...
TRON
(shakes his head)
Another free program off line. What's
his User s'posed to do -- ?
RAM
(sighs)
The Users...you really think they're
still there?
TRON
They'd better be...I don't want to bust
outta this dump an' find nothin' but
a lot of cold circuits waitin' for me.
141 FLYNN'S CELL 141
He can hear the VOICES, but can't see anything except Ram's back,
so he goes to the window and tries to reach through.
FLYNN
Hey! Who are you guys?
What's the story around here?
But as his hand reaches the dividing point between the two cells,
it hits an invisible barrier, and we see a brilliant energy field
come instantaneously into existence, stopping his hand, and then
disappearing. Flynn pulls back in shock.
142 RAM 142
turning towards Flynn as he hears this noise.
RAM
You want to watch those force fields...
He goes to the window opening.
RAM (CONT.)
You'll be having plenty of chances to
get hurt, don't worry about that.
FLYNN
Look...just so I can tell my friends
what this dream was about, okay?
Where am I?
RAM
You're a..."guest" of the Master Control
Program. They're going to make you play
video games.
FLYNN
(relieved)
Well, great, that's no sweat -- I play
video games better than anybody.
Ram gives Flynn an astonished look, but before he can say anything,
there's a tremendous POUNDING NOISE, and the door of Flynn's cell
opens.
143 THE CORRIDOR 143
we see guards pulling out other CAPTIVES from their cells, and as
Flynn is led off down the corridor, Tron and Ram are taken in the
opposite direction.
CUT TO:
144 TRAINING ARENA 144
A large area which opens onto the Game Grids from above, with
balconies overlooking the action. Overhead, the aircraft carrier
hovers menacingly, casting a shadow on the programs below. The new
captives are led out onto the ledges, herded by the guards. They
pass some of the Blue Video Warriors, who LAUGH and make fun of
them. Flynn is in the front of the line.
HEAD GUARD
Look operative, you guys. Command
Program Sark will explain the training
procedures.
Sark speaks from the bridge of the carrier, and his voice is
amplified over the grid.
SARK
(reciting a
routine statement)
Greetings. The Master Control Program has
chosen you to serve your system on the
Came Grid.
145 FLYNN'S FACE 145
reacting.
146 BRIDGE OF AIRCRAFT CARRIER 146
Sark, looking out over the grid.
SARK
Those of you who continue to profess
a belief in the Users will receive
the standard substandard training.
This will result in your eventual
elimination.
147 INT. TRAINING AREA - MED. SHOT - FLYNN 147
Looking down into the game arenas at his feet and over at one of
the conscripts next to him.
SARK V.0.
Those of you who renounce this
superstitious and hysterical belief
will be eligible to join the Warrior
Elite of the MCP.
148 FLYNN'S POV 148
of the two blue warriors behind the group of new conscripts.
149 POV SHIFTS TO SHOT OF THE CARRIER 149
SARK V.0.
You will each receive an identity disk.
Everything you do or learn will be
imprinted on this disk.
150 ZOOM IN 150
on the bridge of the carrier and -
151 SARK 151
leaning forward.
SARK
The Master Control Program regrets
that it cannot be responsible for
Identity disks lost or stolen. if you
lose your disk, or fail to follow
commands, you will be subject to
immediate de-resolution. That is all.
152-175 0MIT 152-175
CUT TO:
MONTAGE - FLYNN'S TRAINING
176 1. SHOT OF FLYNN, held immobile while a laser scans 176
his mouth.
177 2. A LINE OF RECRUITS files past a checkpoint. Each 177
is handed a disk.
178 3. THE RECRUITS file out into a training area. 178
179 4. We see AN ARM being fitted with a cesta. 179
180 5. ONE of the more experienced CONSCRIPTS, RAM, 180
demonstrates the throw with the cesta.
181 6. FLYNN tries an awkward throw. In the b.g. other 181
recruits are practicing.
182 7. RAM instructs Flynn. Flynn is getting better. He 182
spins and catches a pellet.
183 8. A demonstration of the DISK GAME by two other warriors. 183
184 9. FLYNN practices a ricochet shot at a target -- 184
hits perfectly.
END MONTAGE
185 FLYNN BACK IN HIS CELL 185
for a rest period. He is pacing back and forth, and we can see Ram
seated in the next cell. Flynn goes to the bars.
FLYNN
Hey, Ram ... what were you ...
you know, before?
RAM
(nostalgic,
brightens)
Oh, I was an actuarial program...
worked at a big insurance company.
It really gives you a great feeling,
helping folks plan for their future
needs -- and of course, if you look
at the payments as an annuity, over
the years, the cost is really
FLYNN
(about to
get bored)
Yeah, yeah -- that's great.
RAM
How 'bout yourself?
FLYNN
Oh, uh...I don't remember too much...
RAM
(nods)
Sure, a little disorientation. That's
normal, when they transport you. It'll
come back to you. You're doing real
well in training. Remarkable, really...
The POUNDING on Flynn's cell begins again.
187 THE BRIDGE OF THE AIRCRAFT CARRIER 187
We see Flynn being led down the hall on the big screen behind Sark's
console. Sark is staring up at the screen, frowning, nervous,
frightened of this new User-warrior.
SARK
(over his shoulder)
Wait a minute...put this guy against
one of the other recruits.
188 OMIT 188
189 A SHOT FROM IN FRONT OF FLYNN AND CROM 189
We see they are entering an open part of the Game Grid, with two
bridges of energy extending across open space to two separate
circular platforms, made up of concentric glowing rings. Crom
marches across-one of these, and Flynn follows suit on the other.
When they each reach the circular platforms, the bridges disappear.
We see Flynn turn and stare back across the empty space, then turn
and face his opponent. Above them a third floating disk hovers. He
looks over at Crom, who's anxious.
FLYNN
Looks like we're in the same boat here -
CROM
(jumpy)
You think you're gonna wipe me right
out, don't you?
FLYNN
No, I
A buzzer sounds. The game begins. Crom hurls a glowing pellet
upwards. It strikes the upper platform, ricochets off, and heads
straight for Flynn.
Flynn lunges, but misses. The pellet strikes one of the rings of
his platform, and that ring dissolves. Flynn's lunge takes him
right to the edge of the open space created, and he just catches
himself in time to keep from falling over the edge.
190 FLYNN'S POV - DOWN 190
down, down between the rings into an infinite pit.
191 BACK TO FLYNN 191
staring down. There's a SOUND and he looks up.
192 HIS POV 192
Another pellet hits the mirror platform and hurtles down at him.
FLYNN
Hey!
193 FLYNN 193
reacting, judging where this one will fall, racing to the farther
edge of his platform, leaping over the empty ring on the way, and
catching the pellet before it can' hit. He throws it back.
194 CROM 194
Flynn's pellet hits the mirror, flashes down on him. Crom strains,
but misses. One of his rings disappears.
195 FLYNN reacting 195
FLYNN
(happy he's scored)
Okay!
196 SARK'S AIRCRAFT CARRIER - THE BRIDGE 196
High above the game we see Sark watching.
197 FLYNN 197
racing for another catch. He makes it and hurls the pellet again.
We see that Crom's platform is disappearing fast.
198 OMIT 198
199 THE GAME IN PROGRESS 199
FLYNN
Here's an easy one...
Flynn throws again. The pellet hits the mirror platform and heads
straight at Crom, who misses it. The pellet destroys the ring he
was standing on, and Crom has to grab frantically at the edge of
the next ring to keep from falling.
200-201 OMIT 200-201
202 FLYNN 202
He is sent another pellet from above and catches it, holding it
ready, waiting for his opponent to get back up on the ring.
203 SARK 203
His face lit from below by the glow of the Game Grid... angry
204 FLYNN 204
He puts down his cesta. Suddenly a voice rings out from above.
Flynn looks up. There, appearing in the mirror disk above, is Sark's
face, furious, huge.
SARK
Finish the game!
205 FLYNN 205
staring at this apparition. He grits his teeth.
FLYNN
(shouts up)
No!
205A REAL WORLD - A BUS STATION 205A
In a Greyhound station waiting area, two kids are playing a video
game, which appears to have broken down.
KID
What's wrong with it?
KID 2
I don't know... on the blink
or something... damn.
205B ELECTRONIC WORLD - FLYNN, SARK, ETC. AS BEFORE 205B
SARK
Kill him!!!
Flynn holds up the pellet... and drops it down into the abyss below.
He stares back up at Sark's immense image.
FLYNN
No!
206 SARK'S HUGE REFLECTED IMAGE 206
in the mirror platform, towering above Flynn.
SARK
You'll regret this.
207 SARK'S FINGER 207
pressing a button.
208 CROM 208
The ring he is holding on to dissolves, and with a SCREAM, he
falls... and falls ... and falls...
209 SHOT FROM BELOW FLYNN 209
with Flynn visible, staring down, and the huge face of Sark above
him.
210 SARK 210
on the bridge. His finger wavers over another button, almost
presses it... We see him-straining, trying to overcome his
conditioning. Then he snatches his hand away.
SARK
(looking up)
No! You said he could die in the games
211 FLYNN 211
staring up. The image on the mirror wavers and dissolves.
212 SARK 212
He SLAMS his palm down on a panel on the console, and a BUZZER
SOUNDS.
213 FLYNN 213
as the bridge to his platform reappears, and we see guards starting
to run across to him.
214 RAM AND TRON 214
The sound of GUARDS' running feet approaching their cells. They look
up.
215 A CORRIDOR IN THE GAME AREA 215
Flynn is being escorted down it. A couple of big Blue Warriors go by
and deliberately brush into Flynn.
WARRIOR
(turning on Flynn,
snarling)
Outta my way, rookie.
Flynn stares at him; then, in one smooth motion, reaches to his back
and pulls out his disk.
FLYNN
Out of my way, zero bit.
He moves as if to throw the disk.
WARRIOR
(backing away)
Sure, sure ... just kiddin'.
The other warrior grabs this one by the arm and pulls him away as
Flynn and his guards continue on.
216 THE HOLDING AREA FOR THE LIGHT CYCLE GAME 216
Ram and Tron are escorted in as Flynn is brought in from another
corridor. Three blue warriors are lined up, waiting.
RAM
Flynn! Look, Tron, he survived!
FLYNN
(under his breath)
Tron...?
He leans over to get a better look at Tron and GASPS in surprise.
FLYNN
Alan!
TRON
(frowning)
Where did you hear that name?
FLYNN
Well, isn't it -- ?
TRON
The name of my User, yeah. But how... ?
FLYNN
(thinking fast)
I, uh... I'm a program from a User
that... knows Alan...?
RAM
He was disoriented in transport, Tron.
FLYNN
Yeah, but I'm remembering all kinds of
stuff. Like...my User wants me to go
after the MCP
Before they can go on, the BUZZER sounds.
CUT TO:
217 LONG SHOT OF THE AIRCRAFT CARRIER 217
floating over the Game Grid, with a view of the light cycle arena.
ZOOM IN on the section of the grid where the game is about to start.
218 A SHOT FROM ABOVE 218
The three Blue Warriors are lined up facing our friends, on opposite
sides of the large arena, about a half mile square, surrounded by
high bulwarks, and surveyed by Recognizers. We can see the carrier
hovering high overhead.
219 CLOSE ON TRON 219
TRON
That's what my User wants, too...
220 SHOT OF THE THREE FRIENDS 220
holding the handlebars of the cycles in front of them. We see Tron
and Ram looking at Flynn, in the center.
FLYNN
I know...
221 CLOSE SHOT - FLYNN 221
With a sizzling electrical discharge, the light cycle is inscribed
around him.
222 SHOT OF THE THREE BLUE CYCLES 222
ready to go.
223 SHOT OF THE THREE CONSCRIPT CYCLES 223
also ready.
224 SARK 224
His finger presses a button and the BUZZER SOUNDS again.
225 SHOT FROM ABOVE OF ALL CYCLES TAKING OFF 225
We see the six solid walls being formed behind the cycles. As we
watch the outer four cycles veer off to either side, leaving Tron
and his opponent speeding suicidally at each other:
226 OMIT 226
227 TRON'S POV 227
of the other cycle heading straight at him.
228 SHOT FROM ABOVE 228
We see these two cycles come together and almost crash ... but both
turn at the last second to the same side and continue rushing
forward. The other cycles can be seen racing around the edge of the
arena.
FLYNN'S VOICE
(into mike)
Nice one!
229 SHOT OF TRON AND HIS OPPONENT 229
They start making turns, passing walls they have already created,
each trying to box the other in.
TRON'S VOICE
(into mike)
Ram, stay all the way over ...
230 CLOSE SHOT FROM THE SIDE - TRON 230
rushing forward.
231 SHOT OF THE CYCLES 231
turning.
RAM'S VOICE
(into mike)
I've got control. Go ahead.
232 SHOT FROM IN FRONT OF TRON'S CYCLE 232
233 SHOT FROM ABOVE 233
They rush past a wall, headed directly for a bulwark at the end of
the arena. Tron is on one side, but the Blue Warrior is on the
inside. Tron forces the warrior to smash straight into the wall.
There is an explosion as the cycle de-rezzes, and a crack forms in
the bulwark. We see that the walls created by the de-rezzed warrior
dissolve as he does.
234 SHOT OF FLYNN 234
rushing alongside his opponent. They make a turn.
235 CLOSE UP OF FLYNN 235
236 LONG SHOT 236
They make another turn
237 SHOT OF TWO CYCLES RUSHING 237
right at the camera.
238 FLYNN'S POV 238
of the maze of walls. He gets clear for a moment and spots the crack
in the bulwark.
239 CLOSE UP - HIS FACE 239
reacting, getting an idea.
FLYNN
(into mike)
You guys...follow me.
240 SHOT OF THE TWO CYCLES 240
racing together, approaching the bulwark. At the last second, the
Blue Warrior turns, but Flynn races right at the crack.
241 SARK 241
observing this. With satisfaction. Now he will be rid of the User.
242 FLYNN 242
He races straight at the crack... and through it.
243 SARK 243
His face suffused with anger. He SLAMS a fist down on the console
in front of him.
244 LONG SHOT OF THE GRID 244
The remaining four cycles are still racing around the arena.
245 CLOSE UP - TRON 245
reacting to Flynn's escape, hope in his eyes.
246 ANGLE ON RAM 246
SMASHING another one of the Blue Warriors against a wall. He turns
and races up next to Tron.
247 SHOT OF THEM 247
side by side. They look at each other.
RAM
(into mike)
What do you think?
TRON
(into mike)
Do it!
248 LONG SHOT 248
We see their cycles veer off and head straight for the crack. We
HEAR a LOUD SIREN and a mechanical voice starts up:
VOICE
(through loudspeaker)
WARRIORS MUST STAY WITHIN THE GAME GRID.
REPEAT: ALL WARRIORS MUST STAY WITHIN THE
GAME GRID. WARNING. WARNING.
We continue to hear this voice repeating under the escape, gradually
diminishing as the three friends get farther away, until it dies
out altogether.
249 SHOT OF TWO RECOGNIZERS 249
moving towards the dividing bulwark, passing over it.
250 SHOT OF THE THREE ESCAPING CYCLES 250
racing through the narrow crack in the bulwark, barely enough room
to get by. They emerge into an open corridor, with the Recognizers
appearing overhead. We watch the cycles rush past the CAMERA...
251 SARK 251
He is pacing across the bridge of the carrier, smashing guards out
of his way.
SARK
Get them. Send out every Game
Tank in the Grid! Get them!
252 SHOT FROM BELOW FLYNN 252
as he looks up and spots the Recognizers hovering over them, about
to come down for the kill.
FLYNN
(into mike)
Watch it!
RAM
(into mike)
Recognizers!
252A SHOT OF RAM 252
heading for a smaller opening in one wall, labeled "Game Storage."
253 SHOT FROM BEHIND 253
as the three cycles race into the opening. The Reco's are blocked,
way too big to fit through the opening.
254 INT. WEAPONS STORAGE - SERIES OF SHOTS 254
FROM FLYNN'S POV as they rush through long narrow rooms filled with
rows of tanks and missiles. As they speed past, the rows of tanks
REV UP, turn in formation, one after the other, like the Rockettes,
and follow.
255 EXT. MAZE 255
Outside the game area, an electronic desert reminiscent of the Grand
Canyon, with giant pillars rising high into the air, lined with
narrow ridges and ledges. The cycles rush around corners of the
ledges, pursued by the tanks, high above the flat surface. They come
around a corner onto a wider ledge with several dark openings in the
face of the cliff. They stop for a moment.
255A ANGLE ON FLYNN 255A
256 CLOSE UP - TRON'S FACE 256
listening.
TRON
(into mike)
Game Tanks! Come on
257 SHOT FROM ABOVE 257
as the three cycles rev up and race off, headed for one of the
narrow openings in the cliff face, and plunge into it, disappearing
from view.
258 INT. OF THE CAVE 258
We see the three cycles descend a long sloping ramp into the
darkness, down, down into the dry rot section. The cycles come to a
stop and de-rez. Leaving each man standing with just the handlebars
between his fists. They all let out a long SIGH and relax.
FLYNN
Oh man...when you're on the other side
of the screen...it all looks so easy...
Ram and Tron look at Flynn as if he's crazy, then start smiling and
grinning, until all three are LAUGHING.
259 DESERT LABYRINTH 259
as the force of tanks RUMBLES through the terrain, the aircraft
carrier hovering overhead.
260 BRIDGE OF THE AIRCRAFT CARRIER 260
Sark is staring feverishly out over the barren landscape.
SARK
(to one of the bridge
personnel)
Get the pursuit force back into 404A.
There's no place else they could be...
Sark's lieutenant is watching the wall-sized screen behind Sark,
where we can see a diagram of the area, with the tanks visible,
moving through it. He turns to Sark.
LIEUTENANT
(confidently)
We'll have them in no time, sir. Long
before the interrupt interface.
SARK
(whirls on him)
We better, null unit. I'll be lucky if
the MCP doesn't blast me into a dead zone.
I want those programs!
261 INT. CAVE 261
Ram, Tron and Flynn are climbing up to an opening in the wall of the
cave. Beyond them we can see a cluster of structures, like a
cityscape, and one enormous TOWER with a golden beam of light rising
from it, farther up than the eye can see. No tanks are visible.
FLYNN
(looking out)
It's all circuits...
(points at tower)
Must be an input/output component...
RAM
The tower, yes -- Flynn, have you
remembered anything else about
yourself -- like what sector you're
from?
FLYNN
(sitting down
against a rock)
Well...my home "sector" was called
Paramus ...
RAM
(sits also)
PARAMUS... wonder what those initials
stand for ... (starts counting them
off on his fingers) ...probably Program
Assist Routine -- well, it sounds like
a lovely place.
FLYNN
(shrugs)
It grows on you.
He notices that Tron is not listening to them any longer, but is
gazing upwards.
TRON
(murmuring)
I can feel it ...
Flynn and Ram turn.
FLYNN
Feel what? You okay?
RAM
Alan-One...
TRON
Yes... he's got something to tell me...
Ram and Tron look out at the distant tall tower.
RAM
You think we can make it there?
TRON
We have to.
FLYNN
(pointing to a corner
of the cave)
Hey, what's that?
They all look back, into the darkness behind them. A glowing stream
can just be seen. Ram gets up.
RAM
it's just what we need.
262 INT. NICHE 262
Ram and Tron are drinking, kneeling at the stream of flowing,
brilliant LIGHT.
TRON
Oh, that's nice. You always forget how
good fresh energy feels, till you get
to a pure source...
(to Flynn)
Have some...you'll need it.
Flynn goes to the stream, dips his hands in, takes a drink.
FLYNN
(wiping his mouth)
well... when do we pay a call on the ol'
Master Control?
Tron and Ram are taken aback.
TRON
What, just the three of us?
FLYNN
(shrugs)
You know anybody that's got an army for
rent, that's fine...but my, uh, User said
to go take that sucker out. An' let's
face it, the big ox isn't gonna get any
weaker. I feel like hittin' him now,
while I'm good an' mad. Some nerve...
what does he care whether you guys get
killed, long as he keeps rakin' in
quarters?
RAM
(to Tron)
Do you know what he's talking about?
TRON
(to Flynn)
I have to find out what Alan wants...
that comes first.
FLYNN
Okay, that's first. Maybe he knows
what to -
Suddenly, we hear a RUMBLING SOUND. Flynn looks up sharply.
FLYNN (CONT.)
What's that?
TRON
Tanks...coming back. Let's go.
With that, there's an EXPLOSION from outside the cave. Each of the
men holds up his cycle handlebars, and the three cycles SIZZLE back
into shape and race up the ramp, and on out.
263-265 OMIT 263-265
266 EXT. CAVE 266
The three cyclists pause at the cave opening, sizing up possible
avenues of escape in the terrain below.
FLYNN
(points)
How about over there...that empty
memory?
TRON
(shakes head)
No good...they might block off the
old chip.
(points)
This way.
The cycles race out of the cave entrance and head down, away from
the approaching tanks, through the electronic canyons, shells
EXPLODING around them. We see the tanks close behind.
267 POV OF A GUN SIGHT 267
from inside of the tanks, of the three bikes heading into a narrow
arroyo.
268 SHOT OF THE CYCLES 268
They just make it around the corner when an EXPLOSION boasts the
entrance to the arroyo, entering what appears to be a maze of very
narrow canyons with short walls. They turn another corner and come
to the edge of a gaping ravine.
Several hundred feet to their left a narrow bridge connects their
ledge with another canyon wall, and a wider ledge, which leads down
to the floor of the entire area, and on to freedom.
TRON'S VOICE
The bridge! Come on!
The tanks are following through the maze, smooth gray automatons,
lifeless, inexorable nemesis. Tron's cycle is in the lead as all
three race for the bridge, but behind them, we see the first tank
turning the corner.
CUT TO:
269 POV OF TANK GUNSIGHT 269
as the turret swings around and focuses on the bridge.
270 SHOT OF THE BRIDGE 270
Tron races out on it, Ram and Flynn behind. Just as Tron reaches
the other side and Ram has just started to cross, there's a
tremendous EXPLOSION of electronic FLAK, blasting Ram and tossing
him back on top of Flynn. Both cycles de-rez. The bridge disappears,
and a mass of rubble falls, partially Obscuring Ram and Flynn. Tron
SCREECHES to a halt and swings his bike back around.
He looks around -- Ram and Flynn are nowhere in sight. in the ravine
below, he SEES a pile of motionless rubble.
The tank fires again, narrowly missing Tron, and he REVS up again,
speeds off down the ramp, and is gone.
CUT TO:
271-272 OMIT 271-272
273 FLYNN AND RAM 273
Ram is badly injured, unconscious. Flynn struggles to his feet,
sees the tank turret swiveling towards him, grabs Ram and picks him
up.
274 SHOT OF FLYNN 274
struggling with Ram's limp body, wedging himself into a narrow crack.
CUT TO:
275 SARK 275
in the carrier above. He is watching the action on the wall screen
behind his console, back to the camera. The picture is coming from
the lead tank. To him, it appears as though Ram and Flynn had been
blown up, since no sign of them is visible. We can see his
lieutenant nearby, operating the communications.
SARK
(to lieutenant)
Make contact with master Control...
(smiles)
he'll be pleased to hear we're all
finished with that User he sent us.
276 EXT. DESERT - TRON'S CYCLE 276
speeding through the flat, desert-like terrain, heading straight for
the cityscape tower in the distance.
277 SHOT IN FRONT OF HIM - HIS FACE 277
Far behind him, we see the image of Sark's carrier ponderously
moving in his direction.
CUT TO:
278 FLYNN AND RAM 278
Flynn is supporting Ram, half carrying him, and it is
getting darker.
FLYNN
You gonna make it?
Ram weakly nods, but doesn't look very convincing. Flynn bites his
lip and struggles on. They are down on the floor of the desert,
leaving the towering canyons behind. A large, dim shape can be made
out. Flynn peers at it hopefully and struggles towards it.
CUT TO:
279 FLYNN 279
arriving in front | 
