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 of a block-like shape, with a narrow opening.
Exhausted, Flynn lets Ram down to the ground, goes to the opening
and looks in. Looks okay, so he comes back.
CUT TO:
280 FLYNN AND RAM 280
sitting down inside the hiding place, collapsing. Ram is unconscious
anyway, and Flynn's eyes soon closed.
FADE TO BLACK:
281 FADE UP FROM BLACK 281
Some light comes in the opening, and we see Flynn lying on a
platform across from Ram. Ram's glow appears to be almost gone.
Flynn's eyes open. For a second he doesn't know where he is, but
then he spots Ram, and comes fully awake. Ram is watching him. Flynn
looks around. He gets up and stretches, his hand reaching up towards
the ceiling. It brushes against one panel and suddenly the energy
glow from his body seems to leap from his hand to the panel, leaving
it with a glow of its own. The entire chamber starts to shake and
RUMBLE.
FLYNN
(holding onto
the wall)
What's goin' on?
RAM
(looking around, weak)
We're inside a Recognizer...
(to Flynn)
You are crazy -- stealing a Recognizer --
FLYNN
(stumbling, trying to
keep his balance)
Are you kidding? I think it's stealing us -
Flynn tentatively places his-hands on separate parts of the
instruments. An energy flow starts, and with a mighty heave and
shudder, the chamber they're in turns over, knocking both Flynn and
Ram to one side. The Recognizer is now in its standard upright
position.
CUT TO:
282 EXT. SHOT OF THE RECOGNIZER 282
as it stands up, covered with a static overlay, partially de-rezzed.
283 INT. RECOGNIZER 283
Through the head of the Reco, we can look out at the landscape below.
Flynn sits stunned for a moment, then stumbles over to Ram, who's
going fast.
FLYNN
You okay? You don't look so good.
Ram nods weakly.
FLYNN (CONT.)
Hang on. We'll get you outta here.
Flynn touches panels, trying to get the Recognizer going, but with
no result.
FLYNN (CONT.)
Damn! Never fails... minute the
warranty runs out...
RAM
Come here.
Flynn goes over to him and kneels. Ram grabs his hands. Suddenly
Ram's fading glow begins to flow through their clasped hands into
Flynn. Horrified, Flynn tries to pull away, but Ram holds him fast.
FLYNN
Hey... !
RAM
Little more juice's all it needs...
Ram's last bit of energy flows into Flynn and Ram's body de-rezzes.
Flynn watches in horror, frantically trying to reverse the flow,
but it's too late. Ram disappears before his eyes. Stunned, he
gazes at the empty space for a moment, then stands up.
DISSOLVE TO:
284 THE CITY LANDSCAPE 284
Tron arrives at the city, gazing around an empty, surreal, burnt-out
landscape. Buildings seem two dimensional, barely there, at a low
rate of power, so drained by the MCP. The cycle de-rezzes. There's a
NOISE from above, and Tron looks up.
285 TRON'S POV 285
A Recognizer floats over the city, moving towards him.
286 EXT. CITY LANDSCAPE 286
He hides behind a building as the Reco passes. A strange, zombie-like
figure comes down one of the streets, and the Recognizer swoops over
it, the static field flashing between the legs, passing through the
figure, dissolving it.
287 CLOSE UP TRON'S FACE 287
Very grim. He looks out onto the street and sees two more of the
figures, standing together, staring at each other, barely moving.
Dead, lifeless, but animate. Tron comes out on the street, staring
at these figures. He locks around the city in confusion, shaking his
head sadly, but walks on.
288 TRON TURNS A CORNER 288
Up ahead we see a large, multi-storied factory-like building.
289 CLOSE UP - TRON IS FACE 289
This is what he was looking for. He looks from side to side,
figuring the best way to get to the building. In front of the
building stand a small group of the memory guards.
CUT TO:
290 EXT. CITY - LONG SHOT 290
of the city, and the tower and beam rising high into the air, with
Sark's carrier far away, nearing the city.
CUT TO:
291 EXT. CITY - LONGER SHOT 291
over the complex landscape, of the distant city and tower, with
Sark's carrier far away, nearing the city.
CUT TO:
292 INT. RECOGNIZER - FLYNN 292
This was his POV out of the window of the Recognizer. His face is
sad, he is still mourning Ram. This is a very low point. He sighs,
then looks around, putting his palm on one panel after another.
One of them glows brilliantly as he touches it, and the Recognizer
gives a violent shake, then stops.
FLYNN
Never gonna figure out how to work
this thing...
There's a NOISE from above. He looks up.
293 HIS POV 293
We see a bright glow behind one of the pieces of equipment.
294 FLYNN 294
His eyes widen, then narrow. He non chalantly turns away, pretending
to be still examining things.
CUT TO:
295 THE GLOW 295
Appearing again, peeking around the corner. It comes forward, trying
to get a look at Flynn. The BIT.
296 WIDE SHOT 296
Flynn whirls around, fingers poised like a gunfighter. The Bit gives
a violent start and leaps back, out of the way, but immediately
comes back, peering at Flynn. Flynn is moving closer.
FLYNN
Okay -- hold it right there!
The Bit is still in its pure energy form, but then it suddenly
recognizes Flynn (thinks he is Clu), expands in a smooth green
sphere -- the "Yes" mode and shouts:
BIT
Yes!
The Bit subsides into energy form again.
FLYNN
(still suspicious)
What do you mean, "'yes"?
BIT
Yesssss. Yes. Yes. Yes.
From now on, whenever the Bit speaks, it is a ball-shaped character,
red or green, with a hint of a face, but as soon as it stops
speaking, it reverts to a brilliant spark of light.
FLYNN
That all you can say?
BIT
(of course not,
you know better)
No, nyet, negatory, not on your
tintype, no way.
FLYNN
Oh. Anything else?
BIT
Oui, da, yessiree, sure 'nuff, you betcha.
FLYNN
only yes and no...
(it dawns)
You're a bit.
BIT
(hippie)
For sure...
FLYNN
where's your program? Won't it miss you?
BIT
(confused)
No...
Flynn eyes the bit cautiously.
FLYNN
I'm your program?
BIT
(emphatic)
Right on the money!
FLYNN
(sighs)
Another mouth to feed... you don't by any
chance know how to drive this crate?
In answer, the Bit moves toward the center of the cabin where a
platform supports a four-foot tube with a crossbar. Flynn follows,
stares at the setup for a moment, then steps onto the platform and
grabs the cross-bar.
FLYNN (CONT.)
Like so?
Before the Bit can answer, Flynn's power flows into the Recognizer,
and it takes off like a bat out of hell
297-298 OMIT 297-298
299 EXT. RECOGNIZER 299
heading for the city. It lurches forward unevenly, crashing drunkenly
into a wall and bouncing off another one.
300 INT. RECOGNIZER 300
FLYNN
Way to go! We're haulin'!
BIT
Yes, okay, exactement!
301-302 OMIT 301-302
303 INT. SIMULATION HANGER COMPLEX 303
This is the building Tron was eyeing when we left him. We see him
inside now, in a corridor, passing a large opening which gives views
of partially completed structures: an aircraft carrier, a strange
elongated craft that resembles a sailboat on its side. All composed
partially of glowing lines, and partially of flat smooth surfaces.
We see several female programs working in these rooms. This building
only has female workers, but they are all pale and listless, no
interest in anything, staring at their feet as they shuffle along.
Tron looks farther down the corridor.
CUT TO:
304 HIS POV 304
We see a file of the female workers coming down the corridor towards
Tron.
CUT TO:
305 TRON 305
as he moves back against the wall, into a niche.
As the first girl passes his vantage-point, his hand flashes out and
grabs her around the mouth, yanking her back into the niche with him.
The line of workers mechanically files on past.
We watch from the rear of the niche, as Tron holds the girl against
his chest until all the workers are gone. She struggles feebly,
half-heartedly.
TRON
I'm not gonna hurt you.
She stops struggling.
TRON (CONT.)
I'm going to let you go now... don't
scream, or I'll be very sorry.
His hands loosen, and he releases her.
CUT TO:
306 SHOT FROM IN FRONT 306
We see the faint pale image of the girl from full face for the first
time. She looks tired and uninterested. Her face...is Lora's face,
still beautiful in its pallor.
TRON
Put your hand behind your back.
Slowly she obeys.
307 CLOSE UP - TRON 307
A slow smile appears on his face.
308 SHOT OF THEM BOTH 308
He extends his own hand to touch hers, palm to palm. As contact is
made, a rich glow appears between the two hands, strengthening as we
watch. A look of wonder crosses her face as the energy flows into
her. She turns, entwining her fingers in Tron's.
GIRL
TRON!!
She throws her arms around him.
TRON
(smiling, hugging
her tightly)
Yori... hey...
YORI
Oh, Tron... I knew you'd escape...
they've never built circuit that could
hold you...
She-looks around nervously.
YORI
(pulling him by
his hand)
This way. Come on.
They walk quickly toward a flight of stairs.
CUT TO:
309 THE STREETS 309
Tron and Yori are cautiously passing along the sidewalk. We can see
the glowing beam of the 1/0 Tower over the tops of all the buildings,
and several half-gone programs standing around. As they pass, they
hear snatches of conversation.
PROGRAM
...artillery for Video Game Sector...
PROGRAM 2
...all mathematical functions
transferred to...
YORI
I can't believe how bad it's gotten
around here since the MCP started
taking over... all the good functions
have shut down... everybody looks so dead...
I'm afraid to even go out during down-time...
TRON
That's all going to change, Yori...
YORI
How?
TRON
Don't know yet... I have to get
in touch with Alan. He was going
to tell me how to
Suddenly Yori looks up, sees something, grabs Tron's hand and pulls
him back into a nearby alley. She points up in the air.
CUT TO:
310 EXT. SKY - HER POV 310
as she looks up. Recognizer.
CUT TO:
311 YORI 311
She shivers, and holds Tron's hand tighter.
CUT TO:
312 EXT. YORI'S BUILDING - LONG SHOT 312
Tron and Yori arrive at the ground level entrance.
313 INT. HALLWAYS 313
Tron and Yori walk through long hallways and arrive at her door.
She whistles and the door disappears. They step through.
CUT TO:
314 INT. YORI'S APARTMENT 314
As Tron and Yori enter. The apartment appears to be a box, with one
window overlooking the cityscape, and the I/0 Tower. At first it
looks empty, with strange murals of one dimensional furniture on the
walls and floors.
YORI
My quarters.
TRON
Why is everything...like this?
YORI
It's a flat. But wait a micro...
She lays her palm on the wall near the door. The door reappears, and
a glow starts to fill the room, softly, slowly. Tron looks around;
the flat paintings of furniture are expanding, filling out, becoming
three-dimensional. The room glows a soft rose color, becomes
charming, soothing. It is still small and limited, but the light in
the air and the few pieces of furniture give off a loving, seductive
aura. Tron turns back to Yori, smiling, and stops.
315 HIS POV 315
With her hand still on the wall panel, she is glowing absorbing
extra energy, changing. The severe work clothes metamorphosize into
shimmering, diaphanous drapery, twinkling with thousands of
diamond-like points of light. A silvery tinkling SOUND comes from
her robes as she moves forward; her beautiful face, now surrounded
by a soft mane of hair, glows with pleasure at the expression in
Tron's face. She smiles lovingly, and reaches out her hand.
YORI
Come here.
316 TRON 316
His face tells the story. The fugitive, returned from long exile, is
being fully rewarded for his efforts.
TRON
You're beautiful, Yori.
317 SHOT OF THEM BOTH 317
as their hands touch, and the glow springs out between their
flattened palms.
Tron pulls her close to him, sliding his hand up her arm, leaving a
glowing trace, and her hands move up over his chest.
YORI
You've grown, big program.
TRON
I had to...in the games...
They move together into an embrace, but their lips never touch. All
the energy is transmitted through their hands. They sink down onto
what looks like cushions made of stars, their glow increasing. The
room fills with the brilliance of the energy they are giving each
other, and we hear their sighs, as the MUSIC comes up. Each of them
moves their hands over the other, moving slowly, as if they were
trying to touch the other's entire body at once. They roll over and
are enveloped in the cloud of stars...
SLOW, SLOW DISSOLVE TO:
318 EXT. AIRCRAFT CARRIER 318
hovering in the air above the factory city, moving slowly forward.
ZOOM OUT past the carrier towards the landscape beyond.
CUT TO:
319 EXT. CITY - L0NG SHOT 319
A slightly out-of-control Recognizer arrives in the city, wobbling,
careening, glancing off a building or two.
320-321 OMIT 320-321
322 INT. RECOGNIZER 322
Flynn is having trouble controlling the Reco.
FLYNN
This honey doesn't handle so good
in town...
BIT
(agreeing)
No, nuh-uh, never in a million years!
He lays his hands from panel to panel, causing one after another to
light up in a random pattern, almost with a beat, but the Recognizer
only slams into another building and keeps going. The Bit starts
shouting:
BIT
Ix-nay! Noper! Under no conditions -
Flynn looks frantically around, spies a large panel to one side that
he hasn't tried yet, and slaps his palm down on it.
BIT
(that's more
like it)
Right, confirmed, I couldn't have
put it -
CUT TO
323 EXT. 323
as the Reco screeches to a screaming stop... but the head of it,
with Flynn and the Bit, breaks loose, and flies through the air,
landing in what looks like a garbage dump.
CUT TO:
324 INT. 324
as Flynn shakily pulls himself out of the debris, the Bit nervously
hovering over him.
FLYNN
(to Bit)
Catch me listening to you again.
325 EXT. 325
A group of low resolution programs are walking by. Flynn emerges
from the broken-off head, stunned, but unhurt, the Bit flying by
his side. He blearily sees the passing programs, but doesn't realize
they are at such a low state of consciousness that they can't see
him.
FLYNN
Hey. Hi. Hey, everything's okay. Fine.
Little trouble, but we're okay. Thanks
for your concern. So long.
They move on.
FLYNN
(to the Bit)
This town's full o' live ones.
BIT
Not a chance.
328 EXT. CITY PLAZA 328
Tron and Yori are crossing an open plaza-like area, on their way to
the I/0 Tower. They pass by more zombie-like programs and overhear
bits of conversation, all in dead-sounding monotones.
PROGRAMS
I have to re-route the insurance
information bits... Next cycle we
start the war game simulation for
the MCP... Did you make that accounts
receivable adjustment for Sark...
Certainly... the MCP wants only
minimal functions left in Sector 84Q.
329 EXT. THE BASE OF THE I/0 TOWER 329
It looms high overhead.
330 TRON AND YORI 330
on a long curving walkway which encircles the base of the Tower,
approaching a wide door in the wall.
331 INSIDE THIS DOOR' 331
We see that it opens onto a wide elevator platform, which is now
rising upwards at a steep angle, carrying Tron and Yori smoothly
and silently towards an opening in a floor a hundred feet overhead.
332 SHOT FROM BELOW THEM 332
looking upwards as they move.
333 THE UPPER FLOOR 333
as the elevator platform arrives, and they step off. We get the
sense of massive, over-size ceilings, floors, windows and machinery,
dwarfing the programs who come to the Tower to communicate,
preparing them for the experience, as a vaulting cathedral prepared
the sinner for confession. But here, everything is composed of clean,
sharp, angular surfaces. On this second story there is floor and
ceiling, but no outer wall, so we can still see the city-grid below
and beyond.
Tron and Yori cautiously move forward across the floor, heading for
a door into the inner parts of the Tower.
334-349 OMIT 334-349
350 THE CENTRAL CHAMBER 350
of the I/0 Tower. A large, raised circular altar stands against one
wall, with a darkened opening behind it. A square, secondary altar
supports the first, about fifty feet up a side.
In the middle of the altar we see a structure of stacked, diminishing
steps, the final one forming the shoulders of an armless, padded
suit with a puffed headdress revealing the face of the I/0 Tower
priest, DUMONT. His eyes are shut. His face is lined with age, but
still holds a sprightly sensitivity. It is the face of Dr. Gibbs,
from the laser lab in the Real world. There is a large, V-shaped
opening behind the altar, and the circular steps glow a hot neon,
each a different color. The stripes of color thus formed bleed
upwards onto the wall, lining either side of the V opening. There is
only blackness beyond.
351 DUMONT'S FACE 351
asleep.
352 REVERSE ANGLE 352
Tron and Yori walk toward him from an entranceway across the wide
room, their footsteps ECHOING.
353-374 OMIT 353-374
375 CENTRAL CHAMBER - TRON, YORI, DUMONT 375
Tron and Yori stop at the foot of Dumont's altar.
YORI
(quietly)
Dumont... ?
The priest's eyes flicker open. He looks at Tron and Yori, doesn't
recognize either one.
DUMONT
Yes?
TRON
(nervous)
I... have come to communicate with
my User.
DUMONT
Hmm. A difficult proposition...
difficult proposition at best.
(indicates empty chamber)
Perhaps you've noticed... we're not
exactly packing them in these days ...
YORI
Yes...what--?
DUMONT
You know, not so long ago, you
could've come in here and seen
programs lined up all the way back
to those doors, waiting for communion
with their Users. The building fund
was doing well too...but now...
(sighs)
...this so-called Master Control
Program is going around cutting
programs off from their natural
creators, grabbing all our believers
and making them ride around on little
motor scooters and shoot things at
each other and Weiner knows what all--
oh, it's enough to give you a crisis
of faith...
TRON
Well I want to communicate --
DUMONT
Oh, you want to -- hah. I could
get myself de-rezzed just-for letting
you in here. They hate this tower.
They'd close it down if they dared
to but they keep me around, in case
one of them wants to deal with the
other world once in a while. And
you should hear the way they commune!
Sounds like they were routing a
payroll, for all the heart they put
in it. No, I don't think you
Tron steps closer, speaks quietly to Dumont.
TRON
Dumont... my User has information
that could -- could make this a
free system again.
DUMONT
Hah.
TRON
Really. You'd have programs lined
up around the block to use this
place -- and no MCP looking over your
shoulder.
DUMONT
(sighs)
When you've been in the system as long
as I have, you hear many promises...
many reassurances...many brave plans...
He pauses, sizing Tron up, considering it. Finally:
DUMONT (CONT.)
(falling into ritual)
Who is your User, program?
TRON
Alan-One. He calls me... may I pass?
DUMONT
All that is visible must grow beyond
itself and extend into the realm of
the invisible.
Dumont nods, and the neon glow fades a little.
DUMONT
You may pass, my friend.
Tron runs lightly up the steps, past Dumont, into the darkness
beyond.
CUT TO:
376 EXT. 1/0 TOWER 376
We see Flynn and the Bit walking towards the Tower, staring
curiously at the zombie-like characters on the streets.
CUT TO:
377 A CORRIDOR IN THE TOWER. A CORNER. 377
We see a face peer around it. Flynn.
FLYNN
This is where Tron said he was going...
Below him, at waist level, also peeking around the corner, we see
the glow of the Bit. Flynn moves out from the wall and starts going
down the hall, Bit following.
FLYNN (CONT.)
Looks like his kind of place, too...
real serious.
CAMERA SWIVELS and watches him walking quickly away from us. We HEAR
the sound of many feet marching as Flynn reaches the end of the
corridor. He stops and glances over his shoulder.
CUT TO:
378 A SHOT FROM IN FRONT OF HIM 378
As he stares down at the far corner. The SOUND of marching feet
coming closer.
CUT TO:
379 CLOSE SHOT - MANY FEET MARCHING FAST 379
PULL BACK AND TRUCK IN FRONT as we get a view of these characters...
Sark... and a force of guards and six Blue Warriors. Sark is in
front, enjoyment on his face. As far as he's concerned he's just
going in for a final, easy kill of one renegade program who is
trapped.
GUARDS
Hut! Hut! hut! Hut! Hut!
CUT TO:
380 A SHOT OF THE CORRIDOR WHERE WE LAST SAW FLYNN 380
as Sark and his men come around the corner. Flynn is nowhere to be
seen. Sark marches TOWARDS THE CAMERA, right into it.
CUT TO:
381 A SHOT FROM THE CORNER 381
at Sark and his men from the back as they continue on down the hall.
The file of men is moving away. We can see that there is a wide ledge
about ten feet up the wall, containing the lighting source.
CUT TO:
382 POV FROM LEDGE 382
looking down at the file of men going by. The last one passes.
CUT TO:
383 A SHOT FROM RIGHT BEHIND THE LAST WARRIOR 383
Flynn suddenly drops down to the floor. The warrior turns snarling,
lifting his staff.
CUT TO:
384 A SHOT OF FLYNN'S UPRAISED ARM 384
his hand in a fist, falling.
CUT TO:
385 A FLASH OF BLUE LIGHT. 385
CUT TO:
386 A SHOT FROM ABOVE 386
Flynn is standing over the fallen Warrior.
BIT (V.O.)
All right!
Flynn looks up AT THE CAMERA, finger to his lips.
CUT TO:
387 A SHOT FROM THE CORNER OF THE HALL 387
We can see Sark's men marching on away from us, and Flynn leaning
over the warrior with the Bit hovering over him. As we watch, Flynn
places both his hands on the Blue Warrior's chest. Quickly, the blue
static pattern covering the guard flows into Flynn's hands up his
arms, and transfers entirely to him and the warrior derezzes.
CUT TO:
387A The Bit, upset, BUZZES around Flynn nervously. 387A
FLYNN
Sshhh I'm still me. Just a different
color. C'mon.
CUT TO:
388 A SHOT OF FLYNN 388
marching fast down the corridor, after Sark.
CUT TO:
389 INT. I/0 HALLWAY - MED. SHOT SARK - FULL FACE 389
surrounded by his guards. He. is looking up, eyes narrowed.
CUT TO:
390 A LONG SHOT FROM BEHIND HIM 390
We see that he is standing in front of the huge, closed door to the
I/0 Tower central chamber. The guards have formed two long rows, and
Sark's lieutenant is standing by his side.
SARK
That old fruitcake Dumont...
he'll pay for this.
CUT TO:
391 A CLOSE SHOT LOOKING OVER SARK'S SHOULDER 391
He turns.
SARK
Bring in the logic probe!!
392 THE HEART OF THE TOWER 392
We see Tron approaching a bell-shaped structure, with the brilliant
golden beam emerging from the highest point of the bell. It is
surrounded by a cylinder of energy hundreds of feet in diameter.
Tron walks into an opening at the base of the bell.
393 INT. COMMUNICATION BELL 393
Tron stands on the rounded rim of a dish-shaped room, the floor of
which rises to a cone in the center. The top of the cone is a flat,
sliced-off surface. Tron walks down into the dish, a soft, padded
surface, and then climbs up to the flat, central podium. We see that
this surface is round, about four feet in diameter, and glowing from
within, with a complex circuit pattern embedded in it. Tron looks
down, and then up.
394 HIS POV 394
The curving inner surfaces of the bell culminate in a round opening.
395 FROM THE OPENING 395
We see Tron's upturned face. He steps up on the podium, hands gripped
into fists at his sides. His face is gradually filling with a deep
inner excitement and anticipation, his eyes searching the space
above. His expression remains still, his mouth closed and even. Only
his eyes project the emotion he is feeling, burning with the
knowledge of the experience to come.
396 A SHOT FROM BELOW HIM, NEAR HIS FEET, LOOKING UP. 396
He takes out his disk, grips it in both hands and slowly raises it
high above his head. He stands stiffly, willing the response to
happen... At first nothing stirs. Then a splendid, radiant beam of
light bursts down from the opening in the top of the bell,
illuminating Tron and the disk. His hands start to shake with the
force of the communication beam, and suddenly the disk is ripped
from his hands, to rise, glowing brilliantly, upwards to the source
of the light.
397 TRON'S FACE FROM ABOVE 397
filled with a quiet awe, eyes narrowed against the strong light. His
hands drop to his sides. The disk rises out of sight, and we
CUT TO:
397 A SHOT OF THE BEAM 397
intensifying with every second.
398 THE 1/0 TOWER CENTRAL CHAMBER 398
The glow is visible, illuminating Yori and Dumont.
399 EXT. CENTRAL CHAMBER - DOOR 399
A machine, floating above the floor, with a pointed cone facing the
door, is switched on, and a blast of pure electricity leaps from it
to the surface of the door with the SOUND of sizzling LIGHTNING
DISCHARGE--
CUT TO:
400 INT. CENTRAL CHAMBER 400
Yori turns to look at the door, hearing this muffled sound.
CUT TO:
401 HER POV - THE DOOR 401
One section of it is glowing, starting to de-rez.
YORI V.0.
(Gasp)
Dumont--!
CUT TO:
402 INT. COMMUNICATION CHAMBER 402
Tron is looking upwards. Suddenly a voice booms out, echoing, and
distorted, Alan's voice.
ALAN V.0.
TRON... TRON... Location query...
location query... Confirm.
TRON
Confirmed, Alan-One.
ALAN
(sigh of relief)
There you are... look, before we get
cut off again...
In the air above Tron, images begin to materialize, shifting,
transparent forms. First we see a network with pinpoints of light
at each intersection; it rotates, and becomes a globe, with a
bright light at the center.
We see one of the intersection lights become very bright, and the
others dim.
ALAN (V.0.)
I'm going to put some new coding on
your-disk, so you can get into the
memory core of the Master Control...
when you get there...
As Alan's voice continues, we
CUT TO:
403 INT. DUMONT'S. CENTRAL CHAMBER 403
A SHOT OF THE de-rezzing door. The dissolving section has expanded,
and we can start to see the guards inside.
404 INT. COMMUNICATION CHAMBER 404
The light increases in brilliance, as we hear Alan's voice fading out,
consumed by static.
ALAN (V.0.)
search all password code series
TRON
Wait! I can't hear...
He stops.
The voice is gone. The beam continues to bathe Tron in its glow, and
gradually we see an object emerging from the glow. The disk. It
slowly descends, Tron raises his hands to catch it, gripping it,
pulls it down and stares at it.
CUT TO:
405 POV - THE DISK 405
It is glowing with a new power. Superimposed on its surface is a
complex mandala pattern, changing kaleidoscopically as we watch,
shifting swirling liquid color.
CUT TO:
406 OMIT 406
407 THE DOOR 407
Almost gone. We can hear the voices of Sark's men outside.
YORI (V.0.)
Dumont! The door...
408 YORI 408
turning back to Dumont. Behind Dumont stands Tron, framed in the
entry to the Communication chamber.
409 OMIT 409
410 SHOT OF DUMONT 410
He is rising from the altar, the rest of his body emerging from the
neon steps, until he is standing in front of Tron. We see that he
has on a floor-length robe with huge shoulder pads forming
winglike supports for the fabric.
DUMONT
I have waited for this moment many
thousands of cycles. It is time for the
new order to begin... The Users are
waiting.
As we watch, Tron comes forward, and grips Dumont's shoulder briefly.
Then he holds out his hand to Yori.
411 LONG SHOT as Yori steps forward up the steps. 411
CUT TO:
412 EXT. CHAMBER - THE DOOR 412
We see it is almost transparent, and as we watch, there is a burst
of energy and the door disappears into thousands of sparkling dots
of light.
CUT TO:
413 INT. CHAMBER - THE DOOR 413
It dissolves completely. Framed in the center of the opening, stands
Sark.
SARK
(pointing)
Dumont!
The blue warriors race by him, pouring into the chamber.
CUT TO:
414 FULL SHOT - CHAMBER 414
We see Dumont standing on the top of the steps, no sign of Tron and
Yori. The guards spread out through the room, Sark strides towards
Dumont.
SARK
Where's the program?
DUMONT
(dotty-old-man act)
Program? I'm sure you're mistaken.
414A CLOSE SHOT - SARK 414
furious.
SARK
Take him!!!
415 EXT. SIMULATION HANGAR 415
As we see Tron and Yori racing through the streets, headed for it.
416 INT. HANGAR 416
Tron and Yori enter. Solar Sailer simulation hovers.
417 A LONG SHOT 417
As Tron and Yori race across the floor.
YORI (V.0.)
This way...there's a simulation
we can use...
And we see them race towards it.
418 SHOT OF THEM RISING ON AN ELEVATOR PLATFORM, FROM 419
ABOVE, LOOKING DOWN AT THEM.
419 A SHOT FROM THE SIDE OF THE SAILER, RISING WITH TRON 419
AND YORI
We see that this vessel is a simulation of a futuristic spacecraft,
designed for travel in the Real world using solar energy, with an
enormous metallic sail to catch the rays of sunlight like wind, and
move with the speed of light. The sail is at the bow of the craft,
and a long, slender walkway connects it with the deck area, which is
made up of several connected flattened box-shapes, giving it the
look of a dragonfly. In this world, the Sailer catches data
transmission beams instead of sunlight, and is propelled along the
information paths to the Central Processing Unit.
TRON V.O.
Can it carry us?
YORI V.0.
The design is good... We don't know
why the User abandoned the project...
The elevator platform brings Tron and Yori through the center,
forming part of the deck as it reaches a level position, locked
into place.
420 SHOT OF THEM FROM THE LONG WALKWAY, FACING THE STERN 420
We see Yori bending over a console of touch panels.
YORI
Yes...it can take us across the
Sea of Simulation... all the way
out of the Game Grid...to the MCP.
TRON
(looking out
of hangar)
As long as it gets us out of here
421 EXT. HANGAR 421
The crowd of Sark's men are racing towards it.
CUT TO:
422 EXT. SOLAR SAILER DECK - TRON AND YORI 422
Bending over the console, from the POV of the sail. As we watch, a
head leans into the frame from the right. A memory guard. Then we
see a hand gripping a staff, and the legs of another guard on the
left.
CUT TO:
423 THE TWO OF THEM FROM A LOW ANGLE 423
On the console, as Yori leans over it. We see that she is looking at
a map of the system, a flat grid, and on it, in miniature, are the
beam transfer points and transmission location.
CUT TO:
424 THE TWO GUARDS, CREEPING DOWN THE WALKWAY 424
silently. We can see Tron's back as he hears a noise. His head snaps
up; he sees the guards.
TRON
Yori! Get down!
425 THE GUARDS 425
Abandoning any attempt at silence, leap forward, shouting, thrusting
their staffs at Tron.
CUT TO:
426 A LOW ANGLE, AS TRON KICKS THE FIRST GUARD BACK 426
and slashes the second across the face, knocking him out.
CUT TO:
427 EXT. ENTRANCE TO THE HANGAR 427
As Sark's men rush in and head for the stairs to the catwalks that
ring the hangar walls. They start swarming up.
CUT TO:
428 TRON 428
reacting, holding his disk ready.
CUT TO:
429 OMITTED 429
430 WALKWAY OF SAILER 430
as guards start swarming on board. We see Tron move forward and then
stop, letting them come.
CUT TO:
431 YORI'S POV - LONG SHOT 431
looking down at the walkway. Beyond it we can see the great door
starting to rise.
432 TRON 432
throwing his disk. It smashes into the guards in front, tossing them
backwards.
CUT TO:
433 A SHOT FROM THE EXTERIOR OF THE HANGAR 433
The great door is almost all the way up. We can see the Sail with
its tip ready to emerge. Below, on the ground, more guards are
racing towards the hangar.
434 TRON 434
Beating back the guards, tossing them over the side of the walkway.
We see one last guard standing on top of the bunker that forms the
connection of the craft to the sail. Tron advances on him... the
guard stares at him, then looks down... then jumps off, intimidated.
There's a sudden lurch forward, and Tron is thrown back, losing
his balance.
435 YORI 435
smiling.
YORI
We're off!
436 EXT. HANGAR 436
The transmission beam is flowing, passing directly through the craft,
from behind, hitting the sail bunker, and passing through, so that
it looks like a headlight. The Sailer starts moving, fast,
accelerating so that it reaches a tremendous velocity in a matter of
seconds.
437 EXT. AIRCRAFT CARRIER - BRIDGE - SARK & MCP 437
Back on the bridge of the carrier, Sark is in the MCP hologram. In
front of him, we see a view of the city below, and the hangar, and
the Solar Sailer -- racing away.
MCP
I hope you've enjoyed being a command
program, Sark. I wonder how you'll like
working in a pocket calculator... maybe
one of those watches that plays "Happy
Birthday" to its User once a year.
SARK
Now, sir... We did take care of that
User you sent us --
MCP
Yes, and now you've got two renegade
programs running all the hell over the
system in a stolen simulation.
SARK
We'll get them, sir... These things
take time.
MCP
I don't have time, Sark. And neither
do you. End of line.
438-439 OMIT 438-439
440 SOLAR SAILER - WALKWAY - TRON 440
from the stern. Tron picks himself up from the floor where he was
thrown when the Sailer took off, and heads for Yori (at the camera).
He stops, seeing something.
YORI V.O.
Tron, are you all right?
Tron waves at her... then...
441 CLOSE SHOT FROM IN FRONT OF TRON 441
He looks over at the guard rail.
CUT TO:
442 TRON'S POV 442
fingers gripping the rail. ZOOM IN on the fingers.
CUT TO:
443 A SHOT FROM BELOW THE WALKWAY 443
Several yards away from it. We see one of the blue warriors hanging
on, trying to get a leg up on the rail, and we see Tron race to the
edge, look over and see this guard.
444 CLOSE SHOT OF TRON 444
By the rail with the blue arms and head in the shot. Tron raises his
disk to slam into the intruder, when suddenly a spherical glowing
shape comes into the frame from bottom right.
BIT
(buzzing around Tron's
head like a fly)
No way, not on your life, no siree!!
Nothing doing, forget it!!!
CUT TO:
445 SHOT OF WARRIOR'S FACE 445
....Flynn.
CUT TO:
446 FLYNN'S POV OF TRON 446
Who looks down, really seeing the face below for the first time.
TRON
Flynn!!
447 SIDE SHOT OF THEM BOTH 447
FLYNN
Greetings, program...
TRON
(dumbfounded)
You're alive!
FLYNN
Yeah, I... oops!
He loses his grip, and starts to fall. But Tron, just in time, grabs
Flynn's wrist and starts to pull him up. We see the blue static guard
disguise fade off Flynn.
449 YORI 449
leaning over the control console anxiously, watching Tron come up
the steps towards her with Flynn and the Bit.
450 WIDER SHOT 450
As they reach her.
YORI
(nervously)
Who is this?
We see Flynn look at Yori and silently mouth "Lora" in surprise...
but then realize his mistake.
TRON
(smiling)
Flynn...
(he turns to
Flynn eagerly)
Where's Ram?
FLYNN
I'm sorry, Tron... he's...
he didn't make it.
Tron shakes his head, sadly.
TRON
(to Yori)
This is Flynn... the one who
busted me out.
YORI
(to Flynn)
Then I owe you some thanks...
FLYNN
No big deal. I ought to know my way
around that Light Cycles routine...
I mean, I did write the program for it.
TRON
(mystified)
Wrote the...?
FLYNN
It's time I levelled with you, Tron.
I'm a -- well, I'm what you guys call a
User.
Tron and Yori are stunned and awed.
YORI
A User -- in our world?
FLYNN
(nods)
Guess I took a wrong turn somewhere...
TRON
But -- if you're a User -- then
everything you've done has been
part of a plan ...
FLYNN
(laughs)
You wish. Man, I haven't had a second
to think since I got down here. I mean
in here. Out here. Whatever.
TRON
Then...
FLYNN
Look, you guys know how it is. You just
keep doin' what it looks like you're
supposed to, even if it seems crazy, and
you hope to hell your User knows what's
goin' on.
TRON
Well -- that's how it is for programs,
yes, but --
FLYNN
I hate to disappoint you, pal, most-the
time, that's how it is for Users, too.
TRON
Stranger and stranger...
BIT
You said it.
FLYNN
(pats Tron on back)
So... Nice ship you got here. What's our
next move?
TRON
(smiles)
Remember you wanted to pay a call on
the MCP?
Flynn nods.
TRON (CONT.)
We're on our way.
(indicates disk)
Alan-One gave me the coding we need to go
up against Master
FLYNN
All right. Thank God. Alan stayed awake,
at least.
451 LONG SHOT 451
The aircraft carrier rolls past the camera.
452 THE BRIDGE - SARK 452
looking out the observation window, as his lieutenant approaches
from behind.
LIEUTENANT
Sir, what do you want done with
the tower guardian, Dumont?
Put him with the others?
SARK
No, bit brain.
Sark turns to face him.
SARK
Prepare him for inquisition. I need
a little relaxation. But first rez up
the carrier for pursuit... And one other
thing.
lie stares at the lieutenant, paranoid
SARK
(continuing)
Don'tthink anymore. I do the
thinkingaround here.
453 LONG SHOT OF SOLAR SAILER ON THE BEAM 453
speeding through the System, right on target.
454/455 OMITTED 454/455
CUT TO:
456 SOLAR SAILER DECK 456
We see Flynn looking back the way they came. Yori is at the controls,
with Tron beside her, his arm around her shoulders, looking at Flynn.
FLYNN
What about our friend - Sark?
TRON
Probably decided not to pursue us,
The Sea of Simulation is tricky..
lot of illusions...rough navigating.
Programs have a way of just...
disappearing here.
FLYNN
Not us, I hope.
TRON
(shakes his head,
indicates disk)
Not with this disk. I'm going to
check on the beam connection, Yori.
You two can keep a watch out for
grid bugs.
He moves off down the walkway, the Bit following. Flynn turns and
leans out over the side.
FLYNN
Boy the view from up here... you
know the territory?
YORI
A little ...
(points out sights)
Over there, the Mountains of Data...
and I think that's the Silicon Valley...
FLYNN
(pointing)
What's wrong with that area?
457 HIS POV 457
We see an area of darkened, gloomy, two-dimensional shapes.
YORI
(sadly)
The MCP blasted it... There are very
few domains left with any power at all.
FLYNN
Lousy utility companies ...
they're the same wherever you go.
456-461 OMIT 456-461
462 INT. DIMLY LIT CELL 462
Where we see Dumont plugged into energy foot sockets. Two memory
guards stand by his side holding their staffs against his chest.
Dumont's face is wracked with pain, his robe torn, but his
expression is full of determination. As we watch, another blast of
torturous energy comes from the boots, and his face contorts. CAMERA
PULLS BACK AND ANGLES UP to the second level where we see Sark
looking down into the pit that is Dumont's cell.
463 CLOSE UP SARK 463
464 MED. SHOT - DUMONT 464
He looks up.
DUMONT
What do you want? I'm busy.
465 SHOT OVER DUMONT'S SHOULDER 465
of Sark.
SARK
(snarling)
Busy dying, you worn-out excuse for
an old program.
DUMONT
Yes, I'm old.
466 SHOT OF DUMONT 466
from the front.
DUMONT
(continuing)
Old enough to remember the MCP when he
was just a chess program. He started
small, and he'll end small.
467 SHOT OF SARK 467
SARK
(throws back his
head and laughs)
That's very funny, Dumont. Maybe I
should keep you around, just to make me
laugh.
467A SHOT OVER DUMONT'S SHOULDER 467A
of Sark.
SARK
(continuing)
Guards! Bring this antique to the
bridge so he can watch his friends
be obliterated.
CUT TO:
468 THE DECK OF THE SOLAR SAILER 466
We see Tron at the bow. Flynn and Yori are up on the deck near the
controls, with the Bit hovering over them. Yori is, pointing
something out to Flynn.
469 TRON'S FACE 469
reacting to the sight of something ahead of the Solar Sailer.
470 LONG SHOT FROM THE SIDE 470
We see the transmission beam which carries the Solar Sailer
increasing in brightness, throbbing with a pulse of mad glowing
energy, coming towards the ship. It hits the sail, and the ship
shivers. The whole beam is now tripled in brightness.
CUT TO:
471 EXT. DECK OF SOLAR SAILER - SHOT OF CONTROL PANEL 471
As Tron runs up to Yori's side. He grabs her shoulder, pulling her
against him... they have to shout to be heard above the noise of the
increasing beam.
TRON
(shouting)
What is it?
YORI
Power surge... the transmission beam's
too strong!
TRON
We have to get off this beam!
YORI
(frantic)
I can't. There's no junction due for at
least 7 or 8 nanoseconds!
472 OMIT 472
473 LONG SHOT 473
The ship is throbbing and jerking, bits of it de-rezzing.
474 DECK OF SOLAR SAILER 474
Flynn looks around, points to one side.
FLYNN
There's another beam!
YORI
It's too far!
Flynn suddenly looks to the bow of the ship, makes a decision, and
races forward.
CUT TO:
475 VIEW D0WN THE WALKWAY, FROM THE STERN 475
We see Flynn race to the bow, where the horrendous power of the beam
is blasting away at the sails. He slows down, but keeps going.
CUT TO:
476 YORI'S FACE 476
Watching -
YORI
Where's he going?
CUT TO:
477 TRON'S FACE 477
Also watching.
TRON
The beam connection...
but he'll be de-rezzed!!
CUT TO:
478 SHOT IN FRONT OF SOLAR SAILER, FACING THE BOW 478
We see Flynn emerge, leaning out into the beam, his face brilliantly
illuminated by the beam. He reaches forward with one arm.
CUT TO:
479 FLYNN'S HAND 479
Entering the beam.
CUT TO:
480 SHOT FROM ABOVE FLYNN 480
He is lying spread eagled at the bow, with one arm in the light. He
raises his other arm and points at the beam which was so close, but
too far to reach. Suddenly his whole body glows with the same
intensity as the beam.
CUT TO:
481 TRON AND YORI 481
Shielding their eyes from the light.
CUT TO:
482 SHOT FROM ABOVE FLYNN 482
His body glowing, arm outstretched. Suddenly another beam blasts out
from his arm.
CUT TO:
483 LONG SHOT 483
We see the new beam from Flynn's arm flash over to the neighboring
transmission beam and connect. We see the ship pulsing, and then
breaking free of the old beam, following the new path, and connecting
to the safe beam.
The craft starts to travel safely on its way.
CUT TO:
484 YORI'S FACE 484
Radiant. Tron amazed.
CUT TO:
485 SIDE SHOT 485
Tron races down the walkway toward Flynn, closely followed by Yori
and the Bit.
CUT TO:
486 SHOT OF TRON 486
Carrying Flynn towards the stern, carefully, gingerly with Yori
watching.
CUT TO:
487 CLOSE SHOT 487
as they reach the deck in front of Tron, as he holds Flynn. We can
see Yori's anxious face to one side. Flynn's head comes up for a
moment, dazed.
FLYNN
(weakly)
Did we make it?
TRON
Yes.
Flynn smiles weakly.
FLYNN
Hooray for our side...
He faints.
DISSOLVE TO:
488 A WATERY, WAVERING VIEW OF YORI 488
Her face, upside-down, peering downward.
489 SOLAR SAILER - TRON, FLYNN, YORI 489
Yori is sitting on the floor beside the control console with Flynn
stretched out beside her, his head in her lap. Her hands are on
either side of his face. Tron is seated across from them and the Bit
is quietly floating beside him. In b.g. we SEE that the Solar Sailer
is passing through a series of narrow canyons.
FLYNN
Hey... you guys OK?
TRON
(nods)
How about you?
FLYNN
Aah, I'm fine... little hung over
is all...
YORI
How did you do that, Flynn?
FLYNN
(sitting up)
Elementary physics... a beam of
energy can always be diverted...
ooh, my head
(looks around --
to Yori)
Are we there yet, Mommy?
YORI
Almost... I just have to adjust our
course at the next junction. I'd better
go check the instruments ...
She heads O.S., toward the bow.
490 LONG SHOT 490
The Sailer is about to pass the mouth of another canyon.
491 TRON & FLYNN 491
Tron looks away from Flynn for a moment to check the Sailer's
progress.
492-500 OMIT 492-500
501 TRON'S POV 501
as the new canyon comes into sight. CAMERA LOOKS UP AND UP... to the
immense bulk of the aircraft carrier, moving fast toward the Sailer.
TRON (V.0.)
Sark!
502-519 OMIT 502-519
520 LONG SHOT 520
The carrier lurches forward and rams the Sailer, splitting it in
half.
521-523 OMIT 521-523
524 YORI AND FLYNN 524
Falling on top of one another, Flynn trying to pull Yori out of the
way as the bulk of the carrier appears to slam into Tron and he's
gone.
CUT TO:
525 TRON 525
falling through space.
CUT TO:
526 FLYNN AND YORI 526
As the carrier keeps moving forward. Flynn holding Yori, and the Bit
hovers beside them. A second level of the carrier, with an open hold,
comes rushing at them.
527 THEIR POV 527
The gaping hold rushes forward and the screen goes black.
CUT TO:
527A LONG SHOT 527A
Their half of the Sailer is scooped up into the carrier.
CUT TO:
528 TRON 528
catching hold of something. He is swinging freely. Hanging onto a
wall, he starts pulling his feet up to gain a precarious foothold.
529/530 OMITTED 529/530
531 INT. DUMONT'S CELL 531
Dumont standing, facing the camera. HEAR door SLAMMING.
532 FULL SHOT 532
of cell. Yori rushes forward to Dumont. We see Flynn standing just
inside the door, shoulders slumped and we can see that his disk has
been removed.
532A MED. SHOT 532A
Dumont holds Yori as she SOBS.
DUMONT
Quietly, Yori...
He looks up.
DUMONT
(continuing)
Tron... ?
Flynn looks down at his hands and turns away, leaning against the
wall.
YORI
He's dead.
DUMONT
(sighs, looks
at Flynn)
And who is this?
YORI
He's a User, Dumont. He came to
our world... trying to help us...
Her voice breaks, she turns away.
DUMONT
(despairing)
If the Users can no longer help us...
His voice trails off. Suddenly, a stronger LIGHT flashes on in the
cell, the door opens, and we see Sark standing there, framed in the
cell door.
SARK
So... we have erased the program that -
As he catches sight of Flynn, his voice falters.
SARK (CONT.)
You! No!
Flynn looks up curiously.
SARK (CONT.)
You died! I saw you!
FLYNN
Not me, boss.
SARK
Well... we can take care of that
soon enough.
He points to Dumont. The guards grab him.
SARK (CONT.)
Take this program to the holding pit.
The guards start to drag Dumont out.
YORI
(rushing after him)
Dumont...!
A guard pushes her roughly to the end of the cell.
SARK
(indicates Dumont)
I'm taking our friend here, and
some other religious fanatics, to
Master Control... the MCP has expressed
an interest in assimilating them --
probably for archival purposes.
I'm not going back to the Game Grid
on this ship, though -- I'll take
the Transport Beam.
(smiles)
Less traffic. But when I disembark,
this ship...and everything that remains
on board...will automatically de-rez.
This means you.
Enjoy your trip...
LAUGHING, Sark leaves. The guards, with Dumont in custody, follow.
533 SHOT LOOKING DOWN INTO THE PIT CELLS 533
into the cell that holds a dozen dejected, defeated, aging programs,
the I/0 Tower guardians. We see the door to the cell open and guards
beginning to herd them out.
534 ANGLE - LEVEL ABOVE CELLS 534
where we can see Sark walking towards an open portal. He looks down
into the cells at his feet and laughs again.
535 FLYNN 535
staring up as Sark moves past their cell and out of view.
536 LONG SHOT 536
of the carrier approaching a flat-topped mountain, with the
communication beam of the MCP visible at the very center.
537/538 OMITTED 537/538
539 SHOT FROM THE CARRIER 539
of the MCP's mesa moving closer, the only structure visible in a
vast plain covered with a glowing grid.
540 EXT. BRIDGE AREA OF CARRIER 540
We can see the observation port and below that a section of the
ship's structure is moving forward.
LIEUTENANT (V.O.)
Docking module prepared to disengage, sir.
541 INSERT 541
Sark's hand touching a control panel.
542 OMIT 542
543 EXT. SHOT 543
As the landing pod disengages completely, floating away from the
carrier and then starting its final journey to the MCP, picking up
speed on a straight and even course. We can see a small speck
clinging to one side of the pod...
543A CLOSE UP - SPECK 543A
TRON, holding himself braced into a narrow crack.
544 FLYNN, YORI AND THE BIT 544
Yori is sitting with her head in her hands. Flynn is at the door
testing it, running his finger along the edges.
545 LONG SHOT 545
Of landing pod flying over the glowing grid that surrounds the MCP's
mesa.
546 A SHOT 546
from behind the carrier of the pod getting smaller with distance.
547 POD POV 547
Steep cliff face of the MCP's mesa is coming closer and closer, more
and more detail visible.
548 POD 548
tiny against the massive bulk of the MCP's mesa, descending for
landing. The top edge of the cliff is encrusted with irregular
shapes and the pod is headed for one opening among the shapes,
fitting itself neatly in between so that it becomes a part of the
structure.
549 INT. POD 549
There is a minor jolt and Sark lays his palm on another panel. From
the rear wall of the pod we see the entire front wall rising slowly.
Sark and his lieutenant stand by either side of the door, and we
gradually are given a view of the MCP, two or three miles away at
the center of the plain ahead. The structure is a series of gleaming
black blades, forming a great cylinder, and the communication beam
rises out of the center of this cylinder.
550 EXT. CARRIER 550
floating upwards and forward.
551 MED. SHOT 551
Flynn still at the door. Suddenly his hand goes right through the
door.
FLYNN
Hey!
The door is disappearing, dissolving.
FLYNN
(continuing; turning)
Look, the door's almost...
He stops in horror.
CUT TO:
552 HIS POV 552
Yori is standing lethargically staring at her hands... through them.
She is de-rezzing too. Her whole body becoming transparent. She looks
up dimly at Flynn, with no expression.
553 WIDE SHOT 553
Flynn races back to her and takes her in his arms roughly, hugging
her close, his energy flowing into her.
Their faces are very close as he stares down, terrified that he is
too late to save her. Her eyes are half-closed.
FLYNN
Yori!
554 CLOSE SHOT 554
Just their two faces. Flynn bends closer, their lips almost touch.
Suddenly her eyes widen as her form returns to solidarity, and color
floods back into her. Her mouth opens in wonder and she looks up at
Flynn. He pulls a little away from her, still holding her.
YORI
(in awe)
You... you brought me back...?
Why...? How ... ?
Flynn lets go of her.
FLYNN
I'm gonna need your help. Hey, Bit!
He looks around, spots a small glow in one corner of the cell, runs
to it and stoops down, cupping the glow in his hands. It wavers.
Flynn wills his energy back into it, frowning with concentration.
Suddenly the Bit pops into life.
BIT
Yes!
FLYNN
Let's get outta here.
They head for the door.
555 THE MESA TOP OF THE MCP 555
The prisoners file forward on the path to the MCP. Sark is leading
them. We can see the structure of the MCP closer now, looming bigger.
The four memory guards are standing at regular intervals along the
path.
556 EXT. POD DOOR - LIEUTENANT 556
on duty. He hears a NOISE and turns... and in a flash of light a
speeding disk smashes into him, knocking him over. The CAMERA WATCHES
over his de-rezzing body. We see a figure approaching closer... its
arm is raised, and... the disk slams back into the hand.
557 CLOSER SHOT 557
It is Tron. He steps over the body of the Lieutenant.
558 THE MCP 558
from right outside. We see the prisoners beginning to file inside,
up the final slope leading to the base of the MCP.
559 SIDE SHOT OF THE ENTRANCE 559
to the MCP. As the guardian programs enter. Sark stands waiting,
watching them, his back to the camera.
560 POV OF THE DOOMED PROGRAMS 560
As the first one gets through the opening. The light from the MCP's
beam pours out. Moving forward, through the entrance, the MCP is
finally revealed. A giant cylinder, a hundred feet high, with a
network of circuit lines, and stretched across all the visible
surface... is a face. Flattened, stretched, bizarrely distorted,
the face is capable of moving to any section of the-cylinder. The
impression is similar to the look of a grotesquely fat person's face,
but more so. It's horrible. Beneath the floating cylinder face two
inverted cones of light, meeting at their apex, support it. We
continue moving forward, the MCP looming over us. Then the CAMERA
STOPS and the doomed programs file past us, separating and going to
the inner walls. The MCP speaks, we see his enormous lips moving.
MCP
(echoing, booming)
I am delighted that so many of you
could turn out to give your
power over to me...
561 FULL SHOT - THE PROGRAMS 561
lining the wall. They are sucked back, pinned, immobile, and we see
them starting to de-rez.
MCP
You're very lucky, all of you. You
are participating in the creation of
the single most powerful program in
the history of the system... of all
systems...
The programs begin to disappear, one by one.
MCP
(continuing)
A program with a will... with
ambition... a superior form of
life...
562 EXT. MCP 562
Sark stands in front of Dumont.
SARK
Go!
Dumont's face is devoid of hope. He starts into the MCP's inner
chamber.
563 CLOSE - DUMONT'S FACE 563
seeing the MCP, reacting.
564 INT. INNER CHAMBER OF MCP 564
Over Dumont's shoulder, with a view of the MCP. Zoom IN on MCP's
face.
MCP
Welcome!
565 EXT. CARRIER BRIDGE 565
Flynn and Yori race into view. We can see two of the memory guards
in a de-rezzed, two dimensional state, disappearing completely in
the course of this scene. Flynn runs to Sark's position, looking out
the window.
FLYNN
Check out the controls.
As Yori looks over the control conso1e.
FLYNN
(continuing)
We're getting closer.
566 HIS POV 566
Down the length of the carrier. It is de-rezzing, parts of it gone
already. We see the CPU approaching, as the carrier rises.
567 EXT. LANDSCAPE - LONG SHOT 567
The carrier drifts over the edge of the mesa, high above it, whole
sections only visible as outlines.
367A EXT. MCP 567A
CAMERA MOVING FORWARD towards the MCP's beam.
568 INT. MCP - MED. SHOT - DUMONT 568
He is slowly disappearing.
MCP
Dumont, I'm so pleased that we've
finally come to terms with one
another...
569 EXT. CPU MESA 569
Sark is standing, looking in the opening, waiting for the signal to
depart. His back is to the camera.
VOICE
SARK!
Sark turns, curious, eyes widen incredulously..
570 SARK'S POV 570
We SEE Tron standing, legs spread, arms poised by his sides, disk in
one hand. It gives off a pure white light.
571 CLOSE UP SARK'S FACE 571
SARK
I don't know how you survived,
slave.
572 WIDE SHOT FROM THE SIDE 572
SARK
It doesn't matter. Prepare to
terminate.
Sark flings his disk with a violent jerk of his wrist.
573 SHOT FROM ABOVE 573
as the disk races at Tron. He dodges, drops to one knee and ducks
under it. Sark's disk circles like a homing missile and attacks
again. Tron deflects the second attack with his own disk, and the
two meet with an explosion of light. Sark's disk ricochets off and
races away, back to Sark. We see Tron throw his own weapon.
574 EXT. CARRIER BRIDGE 574
FLYNN
I can rev this baby up a little
He looks out sees something, does a double-take, looks again
FLYNN
(continuing)
Wait a minute Yori! YORI!! LOOK!
575 FULL SHOT 575
as Yori runs to Flynn's side and-peers down.
YORI
TRON!!
576 CLOSE UP - YORI 576
tears of joy streaming down her face.
577 HER POV 577
the fight continuing.
577A FULL SHOT - THE BRIDGE 577
YORI
Flynn, we've got to help him!
FLYNN
Let's get some power here.
His hands, laying on the control console, begin to send forth great
pulses of glowing energy into the carrier.
CUT TO:
578 CLOSE UP 578
Sark's face.
SARK
You are very persistent, Tron.
579 MED. SHOT 579
Tron's disk circles Sark, attacking twice. Sark deflects it and
immediately throws his own disk.
580 SHOT OF TWO WEAPONS 580
racing almost side by side through the air.
581 SHOT OF TRON 581
as the two disks come at him.
TRON
I'm also better than you....
He leaps into the air, grabs his own disk, pulling his legs up as
Sark's disk passes under him.
582 SHOT OF SARK'S DISK 582
Making a sharp turn in the air.
583 SHOT OF TRON FROM BEHIND 583
He looks over his shoulder, sees the disk coming at him.
584 TRON'S HAND 584
As he slams his own disk into Sark's, using his as a shield.
584A MED. SHOT SARK 584A
SARK
Very clever, Tron. You know you
should have joined me.
585 OVERHEAD POV 585
Tron hurls again.
586 FLYNN AND YORI 586
Flynn is at the controls, transferring power.
FLYNN
Any response?
YORI
It's starting
She looks down at the battle. Her hand reaches over and grips
Flynn's tightly.
CUT TO:
587 SARK 587
He catches his own disk, spots Tron's coming at him right behind,
and holds up his own disk as a shield.
SARK
We would have made a great team.
588 TRON'S DISK 588
turning sideways in its flight, edge on.
589 SARK 589
With a CRASH and explosion of light, Tron's disk cuts right through
Sark's disk, and on through Sark's head. The disk shatters, and we
see Sark's surprised face, hands still in position to hold the
disk... a jagged open slash right through his forehead. We can see
energy pouring out of this wound like blood.
590 LONGER SHOT 590
Sark falls, dead, face first.
591 OMITTED 591
592 TRON 592
wailing past Sark's body.
593 SHOT FROM BEHIND TRON 593
as he goes in the MCP's inner chamber.
MCP
(before he sees Tron)
It is very good that you...
594 OMITTED 594
595 SHOT OF TRON 595
framed in the doorway.
TRON
I don't think it is good for you, MCP.
596 SHOT OF MCP 596
MCP
Sark! How have you allowed this
program to
597 OMITTED 597
598 SHOT FROM BEHIND TRON 598
TRON
Sark's out. Would you like to
leave a message?
MCP
I am the message. The only message.
Sark!
Tron throws his disk. It's deflected off the base of the MCP, and
returns to him.
MCP
(continuing)
SARK!
As Tron is preparing to throw again he notices Dumont and races over
to him.
599 CLOSE SHOT - WALL 599
Dumont is transparent. Tron runs up to him.
TRON
(trying to pull
Dumont away from wall)
Dumont!
DUMONT
No... Tron ... must... destroy
MCP... first...
TRON
Dumont! Where's Yori? Where's
Flynn?
DUMONT
(very weak)
They may be... de-rezzed... on
the carrier ... hurry...
600 MED. SHOT - TRON 600
He turns, murder in his eyes, draws back his arm for the throw.
MCP
Program... stop. This is not allowed!
Tron throws.
601 SHOT OF MCP 601
The disk smashes into him. Once, twice...
MCP
I will not allow this Sark!
(thundering)
SARK!!!
The voice reverberates, shaking the chamber. Tron continues to throw.
602 OMITTED 602
603 INSERT 603
Sark's dead hand. We see the circuit pattern of the mesa top begin
to glow around the hand, throbbing with energy. The hand moves.
604 TRON 604
throwing again at the MCP, hitting, catching his disk again.
MCP
(thundering)
SARK!!!
605 SARK 605
His body is glowing, expanding. He starts to rise, his face looks up.
606 CLOSE UP - FACE 606
It is vacant, staring with white eyes. His head still has the gaping
hole in the forehead. He's a zombie, the living dead. He rises.
607 LONG SHOT 607
Carrier floating over the CPU, near the MCP's beam. Flynn looks out,
from side to side, quickly assessing the possibilities. He spots the
beam.
608 OMITTED 608
609 HIS POV OF BEAM 609
very close.
610 SHOT OF YORI AND FLYNN 610
FLYNN
Yori, steer us over the beam,
right next to it.
YORI
(going to controls)
Why? What are you going to do?
FLYNN
(staring down)
Jump.
Yori looks up.
YORI
But... won't you be de-rezzed?
FLYNN
(turns to her)
Probably.
611 INT. MCP - TRON 611
about to fire again. There's a sudden roar and Tron turns.
612 TRON'S POV OF GIANT SARK 612
Who rips open the doorway into the MCP and advances.
613 BRIDGE 613
Yori has steered them right next to the beam. She turns to Flynn,
goes up to him.
YORI
Flynn... you can't... I
FLYNN
(lays finger on
her lips)
Shhhhh.
He takes her in his arms.
FLYNN (CONT.)
(whispering)
I'm sure Tron wouldn't mind if...
just once...
His head bends down and their lips meet. Yori's body begins to glow,
change, metamorphosize until she has the same appearance as in the
love scene with Tron, sparkling and gorgeous. Her eyes are closed.
614 CLOSE UP - THEIR FACES 614
Finally Flynn pulls away from her. Her eyes stay shut for a second,
then open.
FLYNN
Don't worry.
615 LONGER SHOT 615
He releases her, steps to the edge of the observation port, poises
on the brink, and then leaps off, directly in the beam. We see Yori
shakily grip the edge of the port and lean out.
616 HER POV 616
Flynn is diving through space in the beam, falling in slow motion
directly into the center of MCP itself.
617 INT. MCP 617
Sark is much bigger than before, advancing on Tron. He speaks, but
his voice is that of the MCP.
SARK/MCP
End of line, program...
We can see the MCP in the b.g. Suddenly there is an explosion of
static, as Flynn falls into the MCP. We see a weird 2-D image of
Flynn's face circling in the cylinder with the MCP as they battle.
Sark falters, stumbles, distracted by this, and Tron ducks under him
and hurls the code disk for the last time. It circles the MCP once,
and then hurtles straight for the target, the apex of the energy
cones. And connects.
618 SHOT OF THE APEX 618
A brilliant explosion of lights bursts out.
619 SHOT OF SARK 619
Dead face wracked with the pain of a second death. He begins to melt
into a column of pure energy, dissipating completely.
620 SHOT OF THE MCP 620
We see something materializing in the apex of the energy cones. It
is dressed like Dumont was at the I/0 Tower, an old man in the
padded altar costume, spinning, slowly, finally stopping. We see the
wizened, wrinkled face of the true MCP for just a few seconds, and
see that he is furiosly TYPING on an old Remington portable. Then he
too dissolves into liquid energy, and disappears. The cylinder of
the MCP glows brighter and brighter.
621 YORI AND THE BIT 621
on the bridge of the carrier looking down at this.
622 HER POV 622
A fountain of energy explodes upwards like a Supernova, right at the
camera.
623 YORI 623
shielding her face from the power of the blast.
624 LONG SHOT 624
The nova of energy bursting upwards. We start to see the glow
returning to the surrounding domains, as the nova dissipates,
leaving the sky full of sparkling stars.
625 YORI 625
still shielding her eyes, but looking out in wonder at the domains
regaining their life.
626 HER POV 626
one domain after another, scattered around the horizon, glows
brightly, increasing.
627 LONG SHOT 627
The carrier starts to descend.
CUT TO:
628 EXT. CPU MESA - TRON 628
Leading Dumont out of the chamber with several of the other guardian
programs that were saved. He looks up, spots the carrier descending.
629 SHOT OF CARRIER 629
Basically all that is left of it is the bridge, with only a very
faint image of the rest of the body. It lands on the mesa.
630 EXT. CPU MESA 630
Tron catches Yori as she jumps down. He hugs her close and looks at
her, about to speak. But she reaches up and presses her lips to his
in a quick, intense kiss. Then pulls back.
TRON
(laughing)
Nice...
YORI
It's something Users do.
TRON
Where's Flynn?
He looks up at the bridge.
YORI
He's gone. He went into the beam.
He saved you. He saved all of us.
Tron stares at her, holding onto her shoulders. Then he looks up at
the sky, thoughtfully. She also looks up.
DUMONT
He really was a User...
BIT
(quietly, sadly)
Yes...
631 LONG SHOT FROM OVERHEAD 631
of the landscape, glowing again with new life, every I/O Tower a
shining beacon, a symbol of the new found freedom of communication.
DISSOLVE TO:
632 RACING OVER THE CIRCUIT PATTERN 632
and returning to the real world.
633 THE REAL WORLD - LASER LAB 633
CLOSE on the business end of the huge laser in ICOM's lab. A bright
blast of LIGHT shoots out of the mechanism.
WIDEN TO REVEAL the laser pouring its light onto the floor, near the
chair where Flynn was sitting when he was digitized.
Slowly -- in a reverse of his disappearance -- Flynn's BODY takes
shape on the floor. As the laser shuts off, he is revealed intact --
back in his real-world body and clothes... and as bewildered to find
himself here as he was when he first arrived in the electronic world.
He studies his hands -- and SEES that they're now nonluminescent
flesh and blood.
He looks out the window and SEES that it's shortly past dawn, with
weak sunlight coming in.
And, at the SOUND of light MACHINERY at work, he turns to look at
Lora's computer terminal, where a hard-copy computer PRINTER is
coughing out a long document on wide blue paper.
Flynn gets up off the floor, goes over to the printer, and READS the
document. As he does so, his eyes widen, and a SMILE appears on his
face.
The printer finishes its run, clicks patiently. Flynn, exuberant,
tears the printout from the machine and rushes to the door with it.
CUT TO:
634 INT. ALAN'S OFFICE - ALAN AND LORA 634
Bleary but excited, they gaze happily at the information on Alan's
CRT screen as Flynn bursts into the room, waving his printout.
FLYNN
Hey -- you guys
Before he can say anything more, Alan turns to greet him, holding up
a seven-inch computer software FLOPPY DISK in its cardboard sleeve.
ALAN
Flynn! I made it. I worked out some
new codes for Tron, put 'em on a disk,
and -- it's running.
FLYNN
I know, I met him.
Alan and Lora look at him -- the same sort of mystified look he got
from Tron and Yori in the other world. He checks himself.
FLYNN (CONT.)
I mean, I saw it read-up -
hey, look at this.
He shows them the printout. It takes Alan and Lora a few seconds of
reading it to figure out its significance.
ALAN
Your old files -- ?
FLYNN
And Dillinger's instructions to
divert them -- it's all there -
look, even his home phone number,
when he logged on.
ALAN
Oh, that is beautiful. You've got
the goods...
Flynn folds up the printout, puts it in his pocket. Alan and Lora
get up, stretch, start wandering slowly toward the door with him.
FLYNN
You're telling me...
As they talk, CAMERA PANS over to Alan's color CRT SCREEN and HOLDS
on it.
635 CRT SCREEN 635
The lines of printed information that had filled it up wipe off, and
are replaced by a number of shapes very much like the ones in a
typical video game:
A BLUE CYLINDER, poised on a BLUE MESA -- resembling the MCP in the
electronic world. And THREE YELLOW ROCKETS. They move randomly at
first, then converge on the blue figure from three different
directions.
FLYNN (V.0.)
you have any idea how much I can sue these
jokers for?
LORA (V.0.)
Well, just don't forget your old friends
when you're rich and famous.
FLYNN (V.0.)
Are you kidding? You guys'll he running
this joint by then...
ALAN (V.O.)
Your friend Dillinger sure won't...
The yellow rockets all hit the blue mesa at the same time. It
EXPLODES in typical video-game fashion -- radiating lines of blue
SPARKS. The yellow rockets fly away from it and form a vertical
formation, heading together toward the side of the CRT screen as we
HEAR Flynn, Lora, and Alan heading for the door.
FLYNN (V.O.)
Hey, you know anybody who wants to
get hold of some video games... cheap?
LORA (V.O.)
You're getting out of the business?
ALAN (V.O.)
Shouldn't you wait till your
lawsuit's settled?
FLYNN (V.0.)
Nah...I decided...I've had enough of
video games to last me a good long
time. I feel like gettin' into some
real life...
at the SOUND of the DOOR to Alan's office closing O.S., the three
yellow rockets leave the CRT screen, sailing off its left-hand edge.
HOLD a moment on the exploded blue figure and
BLACK OUT.
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