Revised : April 30, 1975
Screenplay By David Zelag Goodman
This script had a bunch of variations from what showed up in
the final film. Many drug references were deleted or removed. The
sexual conotations were downplayed. And most of all interesting
character building dialoguie and motivations explanations were
changed or removed resulting in a far weaker film. Aside form the Ice
Cave most of the changes occured in the first part of the film.
Cut Opening Sequence
This entire sequence was shot, then removed
from the film.
FADE IN:
BEFORE AND DURING TITLES
1 EXT. - SKY NIGHT
The moon and stars are visible, but as CAMERA looks down, the SCREEN
fills with dark, billowing clouds. CAMERA moves into the clouds and
just as they blank out the SCREEN, a distant shimmer of light
becomes visible. Moving toward it, the shimmer becomes
2 EXT. - DOME OF GLASS - NIGHT
A glowing but not transparent structure stretching off into the
clouds that press it. CAMERA continues to move in until the
detailed structural webbing of the dome fills the SCREEN and then
CAMERA MOVES THROUGH IT and we see
3 EXT. - THE CITY - DAY
Shining below the dome (which we now see as a series of dome-like
structures standing off without end) -a marvelous crystalline city
of great openness, building clusters, green plazas, fountains...
multi-leveled but human scale, crisscrossed by the flickering clear
tubes of the MAZE- CARS.
4 CLOSER ANGLE - ROOFTOPS
As a MAZE-CAR slides softly to a stop.
5 ROOFTOP - THE RUNNER
The hatch opens and a MAN in a hurry leaves the maze-car and runs
swiftly along the rooftop and disappears into an open elevator
which instantly starts to descend.
6 INT - RESIDENCE PLAZA - THE ELEVATOR
From a busy courtyard below we watch the elevator slide down from a
great height. As it reaches the courtyard the RUNNER darts out,
pushes into the crowd.
7 OUT
8 WITH THE RUNNER
As he reappears around a corner, skirts a brimming pool and makes
for a kind of broad corridor which seems to lead out of the
courtyard. He is moving even faster now, glancing back as if he
fears pursuit.
9 ANOTHER ANGLE - CORRIDOR
Above, at the railing of an oval light well, dressed in black and
silver, a figure holding an odd looking weapon lazily in one hand
-- and watching. It is FRANCIS.
10 WITH THE RUNNER
Moving rapidly down the corridor, he suddenly stops as if feeling
the presence above. He looks up, sees the SANDMAN and his face
breaks in terror. He wheels, frantic, screaming, runs back into the
hall.
11 THE SANDMAN (FRANCIS)
Vaulting the rail, dropping lightly to ground level, weapon poised.
12 P.O.V.
The crowd melting, parting to reveal the Runner backed against the
pool. People are YELLING, shaking their fists, terribly excited and
fearful.
13 THE SANDMAN
Emotionless. Aims. Fires.
14 THE RUNNER - CLOSE
Seeming to burst aflame in the LENS, then slipping BELOW FRAME to
reveal Francis sauntering forward, holstering his weapon. The crowd
closing in behind him, applauding, congratulating him.
15 THE SANDMAN
Arriving at the pool where the body lies, half immersed. He leans
over, lifts the right hand from the water, revealing a palm with a
black flowercrystal shape in it. He lets the hand fall back now as
the crowd CHEERS and APPLAUDS him.
16 EXTREME CLOSE UP - HAND - IN THE WATER - (INSERT)
Closing in until the crystal fills the SCREEN.
MATCH DISSOLVE TO:
(TITLES END)
Nursery Sequence
Unused Lines and cut footage
17 CLOSE UP - CRYSTAL - (INSERT)
Clear, sparkling, flower-like. CAMERA PULLS BACK to reveal
18 INT. - NURSERY CORRIDOR
The crystal is in the hand of a sleeping INFANT who is behind glass
in one of many cubicles. Standing outside, looking in, LOGAN, dimly
lit in the soft glow of the cubicle where the sleeping infant
lies, swaddled and coccooned in the rosy auto-tender which caters
to the baby's every need. Faint MUSIC bubbles like distant
laughter.
19 OUT
19X1 LOGAN
Logan is twenty-five, strong, virile (yet sensitive) with a kind of
austere grace.
He is somewhat manic...proud...as he peers through the nursery
window into a kind of foam cocoon which cradles THREE SLEEPING
INFANTS. Logan is KNOCKING on the soundless glass.
LOGAN
Wake up...come on, Logan-6.
19X2 FRANCIS
entering .
FRANCIS (shaking
his head in mild, mocking
disbelief)
You are here. I couldn't
believe it when they told me.
What are you doing?
LOGAN (still knocking
on the soundless glass)
Turn this way.
(as one of the infants
stirs, smiles, bubbles)
No, no...not you...YOU!
Francis tries to pull Logan away from the window, but Logan is
intent on waking one of the infants.
FRANCIS
You should've seen me take my
last Runner...perfect.
(Logan continues to pound the
soundless glass)
I backed him up against a residence
pool and when he terminated...his
hand...
(breaks off as Logan
is paying no attention)
So now you've seen him...what's
the difference awake or asleep?
LOGAN (to infant)
Open your eyes once, idiot.
(to Francis)
It's not every day that a Sandman
son is born. I'm telling you,
Francis - that's him!
FRANCIS
Maybe, maybe not. What's the
difference? Come on, Logan,
let's get out of here before
everybody finds out.
But Logan isn't moving. Francis gets an idea.
FRANCIS
Okay...you really want to wake
him up?
Francis starts to pry at the Panel...knowing it will sound an
ALARM.
LOGAN
Hey, cut that out !
Too late: There is a SOUND OF ALARM CHIMES. The area in which they
stand is bathed in a violet glow. Logan grabs Francis firmly and
stops him from prying at the panel:
LOGAN
Now you've done it...
The CHIMES STOP...but the glow continues, a metallic VOICE is heard:
VOICE
Break-in scanners report intrusion,
identify.
LOGAN
Logan-5...Francis-7, authorized duty
quadrant. Intrusion accidental.
VOICE
Clear Logan-5 and Francis-7.
The violet light goes off.
FRANCIS (with affection:
to Logan)
Had enough?
LOGAN (looking at the infant)
Even the alarm didn't wake him.
As Francis starts out:
LOGAN (one last look;
joining Francis)
All right, Francis...I'm with you.
They move off down the corridor...the lights behind them DIMMING as
they pass cubicles suffused with soft pink light, CHILDREN
automatically tended.
CHIMES...soft. A lullaby and a soothing impersonal VOICE.
VOICE
Sleep time...go to sleep.
Sleeping time, little ones.
As they exit Nursery...Logan stops and takes one final look
backward.
FRANCIS
You need a lift. Let's go
to Arcade and celebrate...
(teasing tone)
your alert successor...Logan-6.
LOGAN
Has anyone ever broken in to
where the babies are?
FRANCIS
(putting a card key into a door
which opens soundlessly)
Not in my time...
They move through the door which closes.
20 EXT. - MAZE STATION - NIGHT
They are now on a kind of enclosed platform with widely spaced
doorways, each glowing faintly. They pause, waiting.
FRANCIS (peering
at Logan curiously)
Why?
LOGAN
just wondered...what happens?
FRANCIS (shrugs)
Dunno...flameout maybe. Whatever
happens, you can bet it's final.
But who would want to find out?
One of the doorways brightens and the word ARCADE _ appears on it.
The two men move to the spot as a maze-car stops. They enter it
through the doorway which dims behind them as the maze-car WHOOSHES
softly off into a kind of twilight.
21 INT. - MAZE-CAR - LOGAN AND FRANCIS
The door slides shut. They sink into seat forms which yield to them.
They move off.
22 EXT. - MAZE- CAR
Moving through the city at terrific speed. Giving us glimpses of the
city as it goes. slowing finally as we see:
What did this mean? Well for one thing the original screenplay (1967)
started with a runner trying to break into Nursery to get at her child.
This last bit was probably a leftover bit from the original screenplay.
Arcade
23 THE CITY - FEATURING ARCADE
Brightly lit, garish. We get only a glimpse as the maze-car
disappears into a tunnel.
24 MAZE-CAR STATION - ARCADE
As the maze-car stops, opens and Logan and Francis exit into a
gathering CROWD.
25 FULL SHOT - ARCADE
Glittering, crowded. Throngs of people moving on many levels, some
walking, some on moving platforms. It's The Great White Way, Luna
Park -- you name it. Gaudy booths and entrances, featuring every
delight -- too much to take in at a glance.
26 WITH LOGAN AND FRANCIS
As they thread their way through a crowd which admires them when it
notices them, across halls and up moving platforms, the good-natured
argument continuing...
LOGAN
but you don't know, you Just
say what everyone says. One for
one. One for one."
FRANCIS
Well, why not!? That's exactly how
everything works. How else could
the city stay in balance -You have
a better idea?
LOGAN (laughs)
No, but at least I wonder sometimes --
instead of doing that "one for one" song
of yours. You sound like a sleepteacher
With a stuck tape.
FRANCIS
Well the minute you get a better
idea you can stop wondering.
(beat)
You know, Logan -- you wonder
a lot. Too much for a Sandman
They are passing the facade of a Relive Shop The signs urging people
to: RELIVE YOUR MOST PRECIOUS MEMORIES. DO IT AGAIN AND AGAIN!
REFRESH AND RENEW ANYTIME!!
As they cross the entrance, two men come out, grinning broadly,
falling into step just ahead of Logan and Francis. Then one of the
men stops abruptly, almost colliding with them. He mumbles an
apology and starts back to RELIVE.
As he disappears into the RELIVE SHOP, his friend shrugs cheerfully
to Logan and Francis and moves on.
27 ARCADE - ANOTHER ANGLE - NEW YOU
They are moving past a shop called NEW YOU #483 when a man comes
cannonading out, thrilled and excited. He rushes over to a pretty
young woman who has been eying Logan and Francis, plants himself in
front of her with his hands framing his face.
MAN
Well? How do you like it?
WOMAN (critically)
I don't know. The cheeks maybe...
look a little -
MAN
Cheeks? Cheeks? Right. Too much,
you think?
WOMAN
Too little.
MAN
Too little?
(gestures)
Too little. Okay, wait for me.
And he darts back into NEW YOU #483. The woman shrugs, glances
around, smiles and goes off with a passer-by.
28 ARCADE - ANOTHER ANGLE - LOVE SHOP
Signs promising LOVE, FULFILLMENT, RARE DELIGHTS. People streaming
in and out. A woman comes out looking glazed, breathing
"yes...yes..." As she passes CAMERA Logan and Francis emerge from
the crowd and CAMERA moves with them.
LOGAN
Did you ever see Francis-8?
FRANCIS (shaking his head)
I never even visited Nursery before
tonight.
(beat)
When you wonder, it slows you up --
you know?
They are now passing the facade of HALLUCIMILL where the signs
promise: LIFT OFF, CRAZY LIFT, SUPER LIFT...here the people going
in are simply excited but the ones coming out are clearly stoned
out of their minds...
FRANCIS
I don't know what makes you so curious.
You have any idea who his seed-mother was?
LOGAN (quickly)
Of course not! I m curious, not sick.
(laughs)
The crowd is growing denser, funneling into a kind of passageway.
Logan and Francis are swallowed up in the group.
Great Hall
Deleted Scene
29 FULL SHOT - ARCADE GREAT HALL
An immense room into which the streams of people coming from the
entertainment area are mingling. There is a general air of
anticipation stirring the crowd as CAMERA singles out Logan and
Francis entering, waving to friends. CAMERA closes in on them just
as they reach a beautiful woman who is obviously pleased to see
Francis. They embrace, and as they break:
FRANCIS
and that's my friend, Logan.
(as she acknowledges
the introduction)
We're celebrating his next in line.
Carousel - Arcade - who knows?
Want to come along?
WOMAN (smiles, shakes her head)
Only if I make it to the top of
Carousel.
(she holds up her hand)
Thirty -- and the big spin.
In her palm the crystal blinks, red, black. Francis nods, gives her
a half-squeeze.
FRANCIS
You're thirty -- already? I always
thought I was older than you -
(beat)
Well, give it a good try.
WOMAN (pleasantly)
You know I always have.
Another beautiful WOMAN joins them.
2ND WOMAN (to the first)
Sorry I won't be at Carousel tonight.
It's my Love-Shop turn.
WOMAN
That's all right. Happy turn.
2ND WOMAN
You'll renew. I've got a feeling.
WOMAN (smiles)
So do I...but if I don't at least I'll
have the ultimate thrill. I'd almost
rather have that than renew.
2ND WOMAN
I feel the same way. Sometimes I think
I'm not even going to try and renew when
my time comes. But -- that's three years away.
So long.
The 2nd Woman walks away.
FRANCIS (after a beat;
to first Woman)
It's been nice.
WOMAN
Um-huh.
They look briefly and then she turns away. Francis takes Logan's arm
and they move off.
FRANCIS
I guess you never had her?
Logan shakes his head.
FRANCIS
You missed something special.
At this point the sequence of the movie
contineues and you can hear the following lines.
LOGAN
Well...you can't have them all.
LOGAN AND FRANCIS
(together, it's an old joke)
But you can try.
They laugh, but the laughter is broken as a trio of youngsters,
moving with erratic speed of lightning, smashes between them,
almost knocking Francis over. He reels, Logan catches him and they
recover in time to see the trio rip wildly through the crowd,knocking
people down, screaming with shrill joy as they disappear.
FRANCIS
The damned Yellows are getting out
of hand. Those three ought to be in
Cathedral. No business scrambling in
Arcade...
LOGAN (laughs
cuffs Francis' arm)
What an old, old man you're getting
to be, Francis. Weren't you ever a
Yellow? I bet you were even wilder
than -
(he breaks off as the lights
in the Great Hall dim)
-- come on, Sandman.
The two of them start to move to the far end of the Great Hall.
30 FULL SHOT - GREAT HALL
As everyone begins to move to the far end, where great curtains
have parted to reveal
31 ARCADE GREAT HALL - CAROUSEL ENTRANCE
AC the far end of the hall, where the throng is a huge crystal
design ornaments an entrance The crystal is red and pulsing
rhythmically to the accompaniment of a deep and thrilling TONE. As
we move toward it with Logan and Francis, the TONE deepens, the
great pulse takes on a hypnotic quality...
32 WITH LOGAN AND FRANCIS
In the crowd they overtake a fellow Sandman, DANIEL, and fall in
step with him. When they speak now, their voices are hushed.
LOGAN
You should have been with us in Nursery,
Daniel. I'm positive I recognized him -
FRANCIS (hustling
Logan)
Come on. I don't want to miss the
filing-in. There'll be some I know
tonight, I think...
DANIEL (glances at his
own red crystal, nods)
Yes. Me, too. You know we're
both on Monitor tonight.
FRANCIS
Damn! That's right. Just when I
feel like an ALL OUT BLAST in
Arcade .
LOGAN
Want me to take your shift? I'm
feeling restless anyway
Francis glances at him, exchanges a look with Daniel. They vanish
into the throng passing under the great crystal, turn the corner and
we see
A lot of this was edited out. Some of it was filmed. I am not sure if
they ever filemed the second girl talking about her turn at the Love
Shop.
Runner Sequence #2
58 CLOSE ON - LOGAN AND FRANCIS
As the SCREAMING goes on in the b.g. of the SHUT... we hear a
BUZZING noise. Logan reaches into a pocket and takes out a small,
dark plastic box.
Logan looks at the box. On it we see:
MAN: RELIVE STORE 14
LOGAN
(to Francis)
Looks like I'm working.
Francis stands.
LOGAN
Who invited you?
FRANCIS
I'm in my party mood.
Logan smiles . . . and the CAMERA PANS them rushing out of the
bleachers.
They make their way into the hall.
After The Runner Sequence
63X13 ANOTHER ANGLE
As the Stickmen move up and out, we see the exhilarated crowd
beginning to pour out of Carousel.
63X14 LOGAN AND FRANCIS - ARCADE
Descending from the top level -- not much of a crowd. Francis is
gesturing toward the Hallucimill.
FRANCIS
...Well I think you're getting stale.
You need old Lucey--Go on. Gee the whole
burn--try the new psycho-lift-they tell
me it turns you inside out...
He shoves Logan in that direction and continues on down.
FRANCIS
(calling after him)
I'll look for you here when I'm off--
And he is gone.
63X15 LOGAN
waves, smiling, then turns to the Hallucimill.
63X16 POV - HALLUCIMILL EXT.
Crazy, man.
63X17 BACK TO LOGAN
Hesitates, as a COUPLE push past him gleefully on their way. He
looks and we see:
63X18 POV - ARCADE, UPPER LEVELS
The people from Carousel starting to pour in, loud, happy, ready for
more fun.
63X19 LOGAN
Not with it. He turns and starts making his way downwards towards
the exit.
Evidently
this was another scene that was shot.. but then, along with most of
the other drug references, was cut.
82 EXT. - A SLEEK, OUTDOOR RESTAURANT - NIGHT
There are three men and a woman seated at a table. Jessica reaches
the table and sits down.
83 CLOSE ON - LOGAN
A distance away...watching.
84-85 OUT
86 EXT. - RESTAURANT - FULL ANGLE - THE THREE MEN,
WOMAN AND JESSICA
Eating without enthusiasm...obviously more interested in their
conversation.
SECOND MAN
He's blinking...so what? Sandmen get
old, too.
FIRST MAN
But what if he's telling the truth?
THIRD MAN
I say no. It's not worth the risk.
WOMAN
I absolutely agree. He's killed Runners
for a decade. He has no feelings.
JESSICA
He was born a Sandman. He had no
choice.
WOMAN
Neither do we.
87-88 OUT
88X1 SANDMAN READY ROOM
Four Sandmen at the consoles. They look up as Francis enters. He
goes to one of the men who stretches, yawns, gets up.
1ST SANDMAN
Thanks, Francis.
FRANCIS (taking his
place at the console)
Just don't be forever about it like last
time.
1ST SANDMAN
Ah-h you love it. You're afraid
you'll miss a really good Run.
They all laugh. Francis takes up his watch as the other exits.
89 OUT
89X1 EXT - RESTAURANT - THREE MEN A WOMAN AND JESSICA
Leaning together talking in an undertone
SECOND MAN (urgently)
If he believes you, he'll come.
JESSICA
Why Arcade Station?
SECOND MAN (impatiently)
Why? It's our only chance--kill him
and get away in the crowd heading
for the evening slaughter --
JESSICA
Right at the station itself?
MAN
No - just there - on the first level.
(beat)
Don't look for us. We'll see you.
WOMAN (cutting in)
You don't seem quite sure, Jessica.
(beat)
Can you do it? Will you?
Slowly, Jessica nods.
THIRD MAN
Tonight?
JESSICA (stalling)
Y-yes...if I can find him.
WOMAN
I think you can. Don't you?
Jessica faces her squarely, nods. The woman looks deeply into her
eyes, relaxes.
WOMAN
I'm sorry. We all are. But he has heard
about Sanctuary -- and that makes him
dangerous to all of us.
After murmurs of agreement:
SECOND MAN
(staring at Jessica)
We're counting on you.
Jessica exits. They look at each other in dismay.. After a moment,
one of the men follows her. They don't trust her.
90-92 OUT
93-94 OUT
94A1 READY ROOM - FRANCIS
Obviously enjoying the work, watching--tracking a Runner's progress,
the assignment of a Sandman, the kill.
In the Maze Car
110-
120 OUT
121 INT - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT
LOGAN
Have you ever been through Cathedral?
Jessica shakes her head.
LOGAN
They're like beasts. Wild.
JESSICA
Maybe they're angry because they're
grown in meccano-breeders.
LOGAN (interrupting,
grimacing)
Instead of what? Nine months inside a
woman:
(ugh)
We're all raised the same but most of
us don't become cubs in Cathedral.
JESSICA
Some people say children need human
mothering.
LOGAN
Insane. Nurseries are better than any
mother could be.
JESSICA
I'm only telling you what I've heard...
(slightest beat)
Haven't you ever wondered what your
seed-mother was Like...?
LOGAN
Uh-uh.
JESSICA
I have.
LOGAN
(after a beat)
When did you begin to question Lastday?
JESSICA
I don't remember exactly...except I was
a Green.
(another beat)
What would you like to relive, Logan?
LOGAN (smiling)
Let's see - how long has it been?
Cathedral
Description of Muscle/ Removed sequence/
Cubs kill someone.
123 INT. - WALL - DAZZLE CHAMBER
A room of angled, reflecting surfaces. At one end a jagged corridor,
also mirrored, leads away. The zigzag, angled effect creates an
absolute confusion of images. but Logan leads her unhesitatingly
across the chamber to the corridor. Jessica hangs back, momentarily
certain she's about to smash into something.
LOGAN (guiding her)
Just follow--no matter how it seems...
JESSICA (doing her
best)
But what is this--why?
LOGAN (as they enter
the corridor)
The Cubs. When they're flying on muscle
there's no way to catch up. Without the
dazzle, they'd just go past us--
(gesture)
too fast
JESSICA
Muscle? I don't know that one.
Logan is leading her down the zigzag corridor. It's stop and go--a
fun house in which you can get hurt.
LOGAN
It's unauthorized. No good for any-
one over thirteen anyhow--shakes you
to pieces--speeds everything up to a
blur--
(he is amused)
you can see what happens when some
flying Cub tries to go through this
on muscle--splat!
Jessica reacts...to what Logan has said...then: A moment later:
I understand that the above scene was filmed.. then cut out because
of the way the scene looked.
LOGAN
No cubs over fifteen, Billy! Ever
heard of a cub with a green flower?
You'll leave Cathedral then, Billy,
when you're on green, because they
won't let a green stay here.
(slightest beat)
If you try to stay the young ones will
gut-rip you apart!
BILLY
Shut up! Shut up your damn mouth!
Logan falls back into a fighting crouch...but before he can strike a
blow..he is grabbed and slammed against the wall of an abandoned
building.
ANOTHER VOICE
Let him suck Muscle! That'll shut
his mouth! Let's watch him shake
himself to death!!
We see the Cubs take out drugpads. They squeeze the pads and inhale
the "Muscle." At once their movements become blurringly rapid. They
take menacing positions - some leaping overhead.
A VOICE
Give him some Muscle!!
Like lightning they change positions and flash around Logan and
Jessica
126 CLOSE ON - JESSICA
Watching..terrified.
127 CLOSE ON - LOGAN
Being held against the wall by Cubs as:
ANOTHER VOICE
Shake him to death!!
A VOICE
Kill him!
128 ANOTHER ANGLE - INCLUDING BILLY
moving a drugpad against Logan's face.
Logan is holding his breath...desperately trying not to breathe the
"Muscle" directly from the pad into his system.
BILLY (chilling laugh)
He's trying to hold his breath...
As Billy presses the pad tighter against Logan's face:
With all his might, Logan wrenches his arms loose... drops to the
ground and pulls out his gun.
He fires and fire girdles a pillar...and they start to back away.
BILLY
We can rush him...we can take
can take him again, we can!!
The pack hesitates...stops backing away.
LOGAN
(moving the gun slowly
back and forth)
All right! How many of you want this to
be Lastday?!
The pack moves back again...and disperses, leaving Billy facing
Logan alone.
LOGAN
Come on, Billy...come on...you cut
a Sandman, didn't you?!
Logan tucks the gun back into his waist.
LOGAN
Come on, Billy...cut me...Come on
After a beat, Billy turns and runs away.
Logan comforts the shivering Jessica for a moment then takes out the
small box from his pocket and turns it...until it starts BEEPING.
The CAMERA PANS Logan and Jessica...following the SOUND.
They move over the rubble...and cautiously around abandoned
buildings.
We HEAR A SCREAM...and HEAR the Cubs who've only obviously found and
attacked someone. The SOUND is coming from a different direction
than where the beeping is coming from.
LOGAN
(shaking his head)
They've got someone else! Why would
anybody come here?
Jessica shudders as the scream dies abruptly.
132 EXT. - THE OTHER SIDE OF THE ABANDONED BUILDING -
MED. ANGLE - FRANCIS WATCHING
He is shocked, unbelieving.
133 CLOSE ON FRANCIS
Stunned and uncertain, Francis aims his gun toward Logan and
Jessica...but he wavers...watching them disappear into the rubble...
134 ANOTHER ANGLE - FRANCIS
shivering like a wet dog. He turns toward open window.
FRANCIS (in a firm, cold
tone)
Runner!
The woman turns, staring insanely. Her mouth opens like a fish as:
Francis FIRES his gun. A moment later, as the burning body topples
to the floor;
134X1 MAZE-CAR PLATFORM - THE MEN
hearing the unmistakable SCREAMING sound of the kill, they exchange
a look.
135 LOGAN AND JESSICA
At the flash of FIRE from Francis' gun, they turn.
Logan and Francis' eyes meet. A beat, then Logan grabs Jessica and
pulls her away.
136 FRANCIS
After a long, long hesitation, takes out his small plastic box and
starts to speak into it:
FRANCIS (quietly)
Runner terminated at G.16
Ready for cleanup at Cathedral
Quadrant 39.
137 ANOTHER ANGLE - OVERLOOKING CATHEDRAL ENTRANCE
The Second and Third Men...very close to the maze-car platform...
peering into the darkness and seeing Logan and Jessica emerge onto
the maze-car platform. We can tell from the way the two men look at
one another that they believe Logan has fired the shot they have
heard.
They hide from the approaching Logan and Jessica.
SECOND MAN
I almost believed her.
They move off soundlessly. Behind them, a maze-car has arrived.
138 MED. - ANGLE - FRANCIS
Gun in hand...running through Cathedral toward the maze-car
platform.
139 INT. - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT
JESSICA
I'm ashamed. I was bringing you
to be killed.
LOGAN
Where? Sanctuary? Can you take
me there?
JESSICA
Logan, I don't know where Sanctuary is.
But if I take you to them, they'll kill you.
LOGAN (a beat)
All right. But why? I didn't kill the
Runner.
JESSICA (interrupting)
Yes, but they won't know that...or care.
They're hunting you, Logan. Maybe me too,
now...
LOGAN (wry laugh)
That's nothing...there's a Sandman
behind us, too and there'll be
more soon. Take me to them.
JESSICA (torn)
I - I can't.
LOGAN
Then - why don't you leave me - go
to them - explain
JESSICA
No. Not that either.
Logan considers her. A long BEAT. Thinking, then:
LOGAN
All right. New You 483. I'll find
out myself.
139X1 INT. - SANDMAN READY ROOM - FRANCIS
Distracted...ignoring the greetings of Sandmen who are monitoring
the city.
139X2 ANOTHER ANGLE - FRANCIS
Walking past the GIANT LIFECLOCKS into the debriefing area.
The scanners begin moving.
Moments later the scanner stops...the word:
IDENTIFY
appears on a SCREEN Francis pauses a moment and places his palm into
the groove.
Now he takes out the items of the dead woman Runner and places them
on the scanning table.
An ALARM SOUNDS and the word:
REJECT
flashes on and off on the SCREEN.
Sandmen come running into the Area.
SANDMAN
What happened?!
Francis hesitates....then....quickly, as if changing his mind,
taking the items off the table:
FRANCIS
Can you beat it....I've got the damn
wrong bag.
SANDMAN
You ought to put yourself on reliefcall,
Francis.
FRANCIS (starting out)
Yeah....
New You Sequence
Deleted Dialogue / Deleted Character
Sequence / Holly is a fettishist!
In earlier versions of the script when Doc
turns off the healing Holly gets excited and wants to watch Logan
torn apart!
LOGAN (brusquely)
A Sandman can get as sick of his face
as anyone else. Where's the doctor?
RECEPTIONIST (smiling)
I like your face. Would you mind if Doc
took a picture? I'd Like him to give
your face to somebody else.
LOGAN
It's all right with me. Is he here?
RECEPTIONIST
My name's Holly...Holly 13. In
ancient times they said my number
was unlucky. Do you believe in luck?
LOGAN
No - Look, I'm in a hurry.
HOLLY
Doc'll be with you soon, Sandman.
Logan and Jessica walk to one of the chairs in the waiting area and
sit down next to an attractive WOMAN.
WOMAN CUSTOMER
Is this your first time?
Logan and Jessica nod.
WOMAN CUSTOMER (smiling)
This is my third...
(a beat)
... I did it when I turned yellow ...
and green.
(showing her palm)
I turned red yesterday.
LOGAN (looking)
Beautiful work. This man do them all?
WOMAN CUSTOMER
No. But I hear he's terrific. Have you
seen any of his work?
LOGAN
Just one.
HOLLY
Doc's ready, Sandman.
DOC
I designed it myself.
(slightest beat)
What'll it be ...a face job or
a full-body job?
LOGAN
Just the face.
DOC
Fine....Holly will get you ready.
You're in good hands, believe me.
Holly comes forward and unbuttons the collar on Logan's tunic.
As Holly brushes her fingertips lightly down Logan's arms:
DOC
Holly works here because she gets a
lift out of watching the Table...
(smiles)
and other things. I'll be back in a
minute.
HOLLY
He's going to sterilize himself.
LOGAN
Do I have to undress?
HOLLY
Not for your face.
Logan follows Holly to the Table. (Jessica remains behind with Doc
who speaks to her with soft urgency).
144X1 THE SURGICAL TABLE - LOGAN AND HOLLY
Logan lies down.
The Table ripples...accepting his weight prisoning and positioning
him.
HOLLY
(leaning - close to
Logan)
I like dark hair. Have him give you
dark hair.
DOC'S VOICE
All set?
HOLLY
Um huh. Would you take a picture
of him, Doc? I'd like you to give
his face to somebody else.
DOC
Why not?
Doc pushes a button...there is a tiny FLASH.
DOC
Do you have anything special in mind?
LOGAN
I don't care...Just get it over
with.
DOC (smiling)
Hurry...hurry...hurry.
HOLLY (whispering)
Dark hair.
LOGAN
Holly'd like dark hair.
DOC
Holly'd like a lot of things.
(studying Logan's face)
We can start by narrowing the
cheekbones.
144X2 THE SURGICAL TABLE - LOGAN
His face tense--he knows something's wrong. Over him Holly's bright
face with its rapt look. She's not sure, but she enjoys whatever's
happening.
144X3 BACK TO DOC
who is playing the console as he speaks.
DOC
Perfect depth adjustment on this
one, Sandman. The beam will cut
through that uniform and just
exactly through the skin beneath--
absolute precision. Watch now
And the machine does its stuff, slashing through Logan's tunic--a
seam of blood following the rip.
DOC
Of course, it doesn't mend uniforms,
Sandman, but otherwise it does
everything, doesn't it? Just
imagine what would happen to you
if the healing stopped functioning.
And the arm moves back again, spraying the healing fluid into
Logan's new wound. Again the blood disappears.
Suddenly Doc's look is ferocious. He turns off the healing switch
and punches buttons fiercely. The laser arms begin to move wildly
and the SOUNDS become shrill. Holly looks alarmed.
HOLLY
No! You're scrambling the table.
He'll be cut to pieces, Doc.
DOC
Damn right! It was a trap. They
know!
LOGAN
No - I'm Running!
151 ANOTHER ANGLE - LOGAN
As Logan desperately sucks in his belly....trying to flatten himself
into the Table.
152-153 CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIM
As laser blades cut into his face....followed by a spray of healing
liquid on the cuts.
154 CLOSE - ON HOLLY
Excited....flushed....as:
155 CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM
As two wide blades of light sweep downward....and hover three inches
above his neck....and keep lowering ....HUMMING loudly....and one
inadvertently frees Logan's right arm.
156 CLOSE ON - DOC
Shocked as Logan reaches for his gun.
157 CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM.
As dozens of laser beams slash toward Logan....he twists away....and
breaks off....jumping off the Table.
Doc rushes Logan holding what appears to he a frozen police billy.
In an instant he has knocked Logan's gun away....and as Logan looks
down at it....we see it lying on the floor completely frozen.
Slowly, Doc moves toward Logan the short smoke-colored stick
menacing in his hand.
LOGAN (out-of-breath)
What I told you is the....
Abruptly, Doc lunges toward Logan...missing him as Logan ducks away.
As Doc turns to attack....Logan smashes his elbows into Doc's chest
and Doc falls back onto the Table.
157X1 CLOSE ON - HOLLY
SCREAMING, as Doc is slashed by the machine amid showers of sparks
and gouts of steam as the metal twists and wires short out and
various fluids boil and spill onto hot surfaces. Holly tries to
fight her way into the mess to help Doc, but Jessica, recovering,
pulls her down and the two struggle.
157X2 CLOSE ON - DOC
In terror as the laser beams begin to slash him to ribbons.
157X3 LOGAN
Making an effort to stop the machine, pulling levers and pushing
buttons in vain. He sees what's happening, pulls Jessica away from
Holly and, grabbing up his gun and tunic, heads for the entrance.
Crossing the waiting room they are stopped by the sight of:
Interesting sequence deletions. The woman is reduced to looking at a
screen and giggiling. Holly's character was significantly altered for
the final version, and Logan tries to save Doc.
Love Shop Sequence
Deleted trip through the halucimill /
Deleted character dialogue
167X1 LOGAN AND JESSICA
Suddenly she pulls him in another direction.
JESSICA
Follow me, Logan. Stay close.
As they run into Hallucimill...Francis...never too far behind...
spots them and follows.
168-
173 OUT
174 EXT. - HALLUCIMILL - TWO SHOT - LOGAN AND JESSICA
Exiting from the other side...and running through the crowd toward
and into a Love Shop...followed by Francis coming out of the
Hallucimill, too... and running toward the Love Shop.
175 INT. - LOVE SHOP - LOGAN AND JESSICA
As they enter the hot darkness. The Love Shop is throbbing with
sexuality. In it, the darkness breaks at Irregular intervals -- when
booths and cubicles flare into brilliance, each time revealing an
orgiastic tableau. The Love Shop is multi-leveled and the random
flashes may appear from any direction at any time, blinding and
stunning the viewer. Logan and Jessica pause to get their bearings
and as they do, a beautiful WANTON grabs Logan, pulling and
laughing:
WANTON
I have an empty one, Sandman
Logan tries to pull away, looks around for Jessica just in time to
see a man almost carrying her off. Then the light is gone again and
Jessica with it.
176 LOGAN AND THE WANTON
As she tears at his clothing, wrapping herself around him, trying to
pull him down. Then, as the light flares again she suddenly lets go
and grabs another man...Logan is, freed, starts looking for Jessica.
177-
179 SERIES OF SHOTS
Logan hunting through the Love Shop, fighting them off.
INTERCUT SHOTS of the suddenly-illuminated tableaus. Sex, manifold
and multiform -- everybody doing it.
180 ANOTHER ANGLE - FRANCIS
Entering, starting to look around -- grabbed by one of the laughing
Wantons.
181-182 LOGAN, JESSICA
Brief glimpses of them looking for each other.
183 FRANCIS
Hunting both.
184 WITH LOGAN
As he suddenly collides with a woman -- shoves her away and sees
it's Jessica. Now together they make for an archway where multiple
mirrors enclose them.
Suddenly they are in darkness. Then a heavy door slides open and
Jessica leads Logan through the opening. Behind them the door slides
shut again.
185 FRANCIS
Desperately trying to get rid of a woman, sees a flash of Logan and
Jessica far across the room -sees them leave. Then he's pulled down
again as the orgy continues.
186-
186X1 OUT
186X2 INT. - AN IMMENSE METAL STAIRWAY
After a moment, Jessica takes Logan's hand and they start down in
the darkness. The SOUNDS of Love Shop still heard from behind the
wall.
LOGAN (interrupting)
You think Sandmen will?
(before she can answer)
There's no other way for me,
JESSICA
We'll convince them.
They pause. He puts his hand over hers. Jessica is silent. Then she
turns his hand over. The crystal blinks red -- on, off.
JESSICA
Yes, Logan.
(turning to him blindly)
I'm glad they didn't change your
face.
Logan embraces her, but his look is strange and remote. They
continue down into the darkness.
Behind them the SOUNDS of Love Shop die away and only their
footsteps are heard.
187 OUT
187X1 FRANCIS
At the mirrored archway, looking around carefully, testing. He knows
they went through somehow. Hands claw at him - he brushes them away
as he searches.
188-200 OUT
Sanctuary HQ
As the voice speaks the spotlight finally goes off and by a dim glow
around the perimeter, we see we're in some kind of large underground
chamber--some part of the vast undercellars of the city. The light
is enough to reveal that there are perhaps twenty people in the
room, reds and greens both--but all are silhouetted, no face seen.
There's a kind of aisle open down the room's center and it's
obviously the way they are to go. Logan and Jessica move off. Logan
pauses.
LOGAN
I don't know who you are. I'd
like to thank someone.
VOICE
It doesn't matter who we are. Follow
the tunnel to the end.
LOGAN
Will there be someone to tell us
where to go from there...?
A murmur of discussion then:
VOICE
Someone will follow. When you come to
the lock, he will tell you how Co go
on the other side. Jessica may go with
you as far as the lock.
LOGAN
(a deep breath)
No. Jessica goes back now. Take her back.
(suddenly his tone is
urgent as he speaks to her)
Now! Go on back. Back outside, Jessica.
She is bewildered by the change.
JESSICA
Why?- No...no...I'm going with you.
VOICE1
Only to the lock. After that
there's no way back.
JESSICA (small voice)
I don't care. I'm going to Sanctuary.
With you.
A BABBLE of VOICES. "Impossible"...She ignores, watches Logan.
JESSICA (cont'd)
Will you take me with you?
LOGAN
Why, Jessica? You're still a green.
JESSICA shakes her head. She doesn't know why.
Logan puts his arm around her, marveling, trying to understand,
moved. But suddenly he remembers the urgency of the moment. He
wheels, pulling her with him.
LOGAN
Come on then--they'll be here any
minute!
Uncomprehending, she starts to run with him. Too late. An EXPLOSION
shakes the chamber--the wall bellies inward and a group of Sandmen,
led by Francis, burst into the room, firing as they come.
Panic. Turmoil. PEOPLE running, SCREAMING--the ALARM BELL RINGING,
RINGING as Sandmen methodically slaughter the people in the wreckage
of the room.
209 OUT
209X1 LOGAN AND JESSICA
As the brief, one-sided battle rages, echoing SHOTS and SCREAMS in
the dust filled room, Logan pulls her down out of the way. They
watch, helplessly. Suddenly the figure of a Sandman looms before
them. He stares at Logan, unsure. Logan reacts, draws, fires. The
Sandman is smashed away, burning.
209X2 LOGAN
Suddenly aware that he has killed a Sandman. Jessica pulls him down
again into the shadow. Neither realizes chat the soft pulsing of his
crystal can be seen from the room.
210 ANOTHER ANGLE
Francis, quartering the room like a hound, searching, searching,
stopping as he sees
211 FRANCIS P.O.V.
The crystal blinking red, eerie in the darkness.
FRANCIS
(believing the
blinking crystal is Jessica's)
Logan. I know you're in here.
What've you done...gone crazy over a
Runner?
(whispering)
Nobody knows except me. You know I
won't say anything. I should have
turned you in but I couldn't. Leave
her. Come on out with me. It'll look
like you're part of the group that
hit this nest.
(pleading)
Logan...you're a Sandman!
(slightest beat)
Logan...now...now...Logan...
Steam Tunnels
Sort of stupid plot exposition
deleted
SILENCE. Then the BELL CHIME SOUND and a light illumines the center
of the wheel where there's a kind of keyhole. The WHIRRING continues
for about ten seconds. Then it stops and the light goes out.
214X1 LOGAN AND JESSICA
Hearing a SOUND they turn and see:
214X2 ANOTHER ANGLE - P.O.V.
Far behind them, in the wet glisten of the tunnel, a bobbing light
and shadow -- the SOUND of RUNNING
215-216 CLOSE ON - LOGAN AND JESSICA
As Jessica takes the ankh from her neck - fumbling with the chain.
JESSICA (breathlessly)
Every key only works once...and only
a Lastday key must open this door....
They said it would fit - but....
She tries to fit the ankh into the glowing one, but her hand shakes.
Logan tries to steady her - and in helping, she drops it into the
dark pool of water. They fall to their knees, searching desperately.
Then Logan remembers.
LOGAN
Wait - I have the one I took from
the Runner.
SOUND: The same as before as Logan searches his pockets for the
Runner's ankh.
Logan finds it just as the WHIRRING SOUND has STOPPED again...and
the light has gone out again in the center of the wheel.
As Logan and Jessica wait for the sound, etcetera to repeat again
another TREMENDOUS EXPLOSION is heard rocking everything. In the
distance, Jessica can see the shadow of a FIGURE approaching.
As the SOUND, etcetera, repeat-s once more...Logan pushes the ankh
into the lighted center of the wheel. The ankh fuses and the lighted
center becomes brighter as the door opens.
There is a hesitation...in which Logan turning his head back...
realizes what he has done and is shaken.
219-224 WITH LOGAN AND JESSICA - SERIES OF CUTS
A. Making their way along the walkway side by side.
B. Stopping as the walkway disappears under water. Logan wading in
while she waits -- until he re-emerges. She follows.
C. Choosing between diverging ramps. Having to return.
JESSICA
How do we know this is the right
way?
LOGAN
It's the only way.
D. POV an alley way full of machinery. Logan gives a wheel a half
turn -- great rusty net-combs start to winnow the water.
E. Helping Jessica, Logan slips...falls into darkness. Jessica's
fear until he emerges, hand over slimy hand. The water is cold.
F. POV ancient signs - PROTOPLANK...DEPOT NO #11 DO NOT DECANT...
HABITAT MARITIME...ETC.
Exiting Elevator Sequence
Logan realizes he has 'killed' Unshot or
Deleted sequence
233 INT. - SHAFT - TWO SHOT - LOGAN AND JESSICA
Moving at an extremely high speed...We can see the outside -
flickering - dark, light, - dark, light... and finally to a white
color. They lie slumped, motionless. Finally it stops. The door
opens into a kind of glistening darkness, suffused by a bluish glow.
It is now very cold.
In the silence Logan stirs. Groping, he touches Jessica, who moves
close to him. Logan puts his arm around her and they rise. Slowly,
tentatively, he leads her out into the dark chamber where they stand
for a moment trying to find themselves. What little light there is
seems to come from the left. Arm around Jessica, Logan starts to
move.
JESSICA (whispering)
I'm afraid.
LOGAN
It's brighter there...besides, we
can't go back.
He starts to move again but Jessica hangs back.
JESSICA
Wait.
He halts.
JESSICA (cont'd)
I don't know what's going to happen
to us Logan but --
(a beat)
Are you glad you didn't kill him?
LOGAN
It doesn't make any difference anymore.
JESSICA
You're really one of us now, aren't you?
LOGAN
You knew that I wasn't before, didn't you?
(Jessica nods)
Why did you stay with me?
JESSICA (feelingly)
I wanted to...
(Logan puts his arms
around her)
...And you...what made you kill Sandmen?
LOGAN
I had to. I did kill...for the
first time in my life I killed.
JESSICA
Because you felt like a Runner,
didn't you.
LOGAN
I guess so...I know I felt something
I never felt before...and I didn't
like it...not a bit.
(after another long beat)
I'll tell you one thing...Sanctuary
better be worth it. That's the last
place for me to live now.
JESSICA
For us.
Logan mouths "Us"...a strange word...and why not... in the last
minutes he has done strange things.
234-236 OUT
Ice Cave
Deleted Scene / Changed Dialogue / Well
defined action sequence
236x1 INT. - ICE CAVERN
Suddenly they are blinded by a brilliant light coming from the side
and revealing for the first time where they are.
236x2 ANGLE
Before them a vase, dim, ice-shrouded storage area, row upon endless
row of frozen lockers trailing away into darkness, their legends and
contents unreadable in the thick covering of ice and frost. To the
side, a bright light.
236x3 LOGAN AND JESSICA
Walk toward the light.
236x4 WITH LOGAN AND JESSICA
We see a huge, high-domed cavern ringed and ornamented with
extraordinary ice sculptures-They are everywhere: Otters, fish, a
tusked walrus---overhead a flight of birds.
236x5 ANOTHER ANGLE
As they look in wonder:
VOICE
Overwhelming, isn't it?
Logan and Jessica turn and see:
237-238 OUT
239 FULL ANGLE - BOX
Box is half-man...half-metal.
From the midpoint of his sternum to his hips he is coils and cables.
One hand is a cutting tool. His head is half-flesh...half-metal. his
legs are a chrome pedestal.
BOX
Are you too startled? Am I too
removed from your ken?
(slightest beat)
I'm neither machine nor man...but
a perfect fusion of the two...and
better than either.
(with great pride)
No human sculptor could match this
greatness...don't you agree?
LOGAN
All right - what are you?
BOX (laughs)
Your turn.
JESSICA
It's incredibly beautiful.
BOX
Ah, but wait for the winds. Then
my birds sing. My walrus breathes.
My palace chimes and bells. And the
deep grottoes whisper my name...Box
Box...Bahhhhxxxxsss...
We hear a NOISE outside.
BOX
Is that the wind?
(smiling)
Not yet...
(slightest beat)
You must hear my birds sing.
LOGAN
You know about Sanctuary! I know
you do! You have to help us! You
don't have a choice! It isn't your
decision!! Tell us.
BOX
Never a pair. I have never had a
pair.
LOGAN
Where do you send them?
BOX
You're a beautiful pair.
JESSICA
Please.
BOX
I've never seen humans whom I thought
worthy of being here...
(a beat)
I'd like to sculpt you.
(looking around)
Where would I put you?
(smiling)
I know...you'd be the base of the
column. You'd hold up my world!
LOGAN (exasperated)
Answer the question!
BOX
Do you know how long all this will
last? Not thirty years...or thirty
thousand years...but thirty thousand
thousand years...and you'll be part
of it. Ages will roll...Ages. And
you'll be here...the two of you...
eternally frozen...frozen...beautiful.
LOGAN (to Jessica)
There must be somebody else up here.
I can't believe that he's--
BOX (interrupting;
his voice tone changing;
very lucid)
Let me sculpt you and I will show
you where the others have gone.
LOGAN
That's better.
(slightest beat)
How do you want us?
BOX
Nude. Imagine, a pair.
LOGAN (starting to
take off his clothes;
as Jessica hesitates,
Logan smiles)
It'll be all right...
240-241 JESSICA
Undresses.
Box motions to a pedestal covered with deep white furs.
BOX
Up there.
Logan helps Jessica up to the pedestal. As they stand there:
LOGAN
How do you want us?
BOX (beat)
Up there.
Logan looks at Jessica. Her beauty is glowing in the lamplight.
Logan takes Jessica into his arms.
BOX
Enchanting. Is that what humans do?
By this time, Logan and Jessica are no longer listening to
Box...their arms are enveloping one another...with strong feelings.
BOX'S VOICE
Superb!
242 ANOTHER ANGLE - INCLUDING BOX
As his metal hand begins to BUZZ...he brings it to the base of the
huge column supporting the cavern.
As he works furiously...at Incredible speed:
243 LOGAN AND JESSICA
...oblivious to Box...their feelings intensifying as they continue
to hold one another.
244-245 OUT
246 CLOSE - ON BOX
BOX (stepping back)
Done...behold...!
247 REVERSE ANGLE - LOGAN AND JESSICA
Before they turn to view the sculpture they kiss long and
passionately.
Their mood is broken by:
BOX'S VOICE
Done...Done...Done...
Logan and Jessica break. They turn and see:
248 FULL ANGLE - THE ICE SCULPTURE
Box has captured them perfectly...shimmering with life...filled with
emotion.
249 WIDE ANGLE - INCLUDING LOGAN, JESSICA AND BOX
There are tears in Jessica's eyes as she reacts to the sculpture.
JESSICA (squeezing
Logan's hand)
It's glorious
Logan helps Jessica off the pedestal and they both start to dress.
LOGAN
All right. Now you keep your
bargain.
BOX (rapt by his
work)
Wait for the wind! Wait and hear
the birds sing over you!
LOGAN (only interested
in getting out)
We're ready.
253 ANOTHER ANGLE - INCLUDING THE MEN AND WOMEN FROZEN
IN THE WALL
We can see that each of them has a black crystal flower in the palm
of their right hands.
Logan walks to the end of this wall. Each frozen body has a number
above it. The final body's number is 1056...That number which the
voice in Sandman's headquarters revealed as the number of missing
Runners.
The CAMERA PANS Logan back to Box.
254 ANOTHER ANGLE - INCLUDING BOX
As Logan turns toward him.
LOGAN (stupefied)
How did they get in here?
BOX
Regular storage procedure...the
same as the other food... The
other food stopped coming and they
started.
LOGAN
What other food?
BOX
Fish and plankton, sea greens and
protein from the sea.
(pointing to the frosted
ice wall)
It's all here - ready - fresh as
harvest day. Fish and plankton,
sea greens and protein from the
sea...And then it stopped coming
and they (gesture) came instead.
So I store them here. I'm ready.
And you're ready. It's my Job -
protein, plankton, grass from the
sea
Logan pulls out his gun.
LOGAN
Tell us how to get out...or I¼ll
destroy you..I'll kill you!
Box laughs...The same LOUD, ROARING LAUGH we HEARD earlier. Then:
BOX (calmly)
Such a beautiful pair. I'll stand
you facing one another.
Box starts his saw hand BUZZING. He turns all the flesh parts of
his body away from Logan and starts advancing toward him and Jessica
who is now standing behind Logan.
Box is now like an armed vehicle.
Logan FIRES...the fire reflecting harmlessly off Box's metal frame.
BOX (advancing)
Resign yourself.
255 MED. ANGLE - LOGAN AND JESSICA
Retreating...as Logan FIRES again and again...to no avail.
As Logan and Jessica retreat further and further toward the rear of
this room and:
256 REVERSE ANGLE - BOX
Advancing
We can SEE PERSON AFTER PERSON...embedded in the clear wall of ice.
A strange mute audience to this to-the-death drama.
257 TWO SHOT - LOGAN AND JESSICA
Finally reaching the rear wall of this room as:
258 REVERSE ANGLE - BOX
Relentlessly moving toward them.
259 TWO SHOT - LOGAN AND JESSICA
Seemingly pinned back against the rear wall.
Logan is FIRING his gun futilely with his right hand...while moving
his empty hand against the rear wall...trying to find a knob or
button which might open it.
The entire time he never takes his eyes off:
260 REVERSE ANGLE - BOX
Getting closer. The saw is BUZZING LOUDLY.
BOX (chilling tone)
I make such a small, quick incision ...
you can hardly feel it.
261 REVERSE ANGLE - LOGAN AND JESSICA
Against the rear wall...We can SEE...but they cannot...that above
them...on the ceiling...there are a number of exposed cables.
262 FULL ANGLE - LOGAN, JESSICA AND BOX
Box is practically upon them. As he lunges forward with his
WHIRRING saw hand Logan pushes Jessica to the floor and drops down
alongside her.
Box cannot stop his forward thrust and cuts a sizable chunk of ice
out of the rear wall as:
Logan SHOOTS at Box from the floor Level...upwards ...trying to
penetrate some part of his seemingly impregnable body. He misses but
hits the exposed cables on the ceiling.
There is an EXPLOSION.
BOX (looking up;
screaming)
No! The coils!
Box rushes past Logan and Jessica toward the huge ice cavern
containing his sculptures.
BOX (still screaming)
All my work!' All my work!!
As Logan and Jessica stand:
263-270 OUT
270x1 ANGLE - THE REFRIGERANT COILS
Bursting open, discharging great streams of gases.
270x2 LOGAN
Seeing the effect, shooting again and again at the ceiling and
walls.
Outside
Unfilmed Deleted Sequence?
274 SUNSHINE: A HUGE RISING SUN
As Logan and Jessica shield their eyes...then realizing that the
dazzling light will not go away:
Standing together...in fear of the sunrise.
JESSICA
Is there something on fire!!
Logan shakes his head...he doesn't know.
As Logan looks up at the sun.
LOGAN
It seems to be moving away.
Come on...
274X1 ANGLE - LOGAN AND JESSICA
clambering cautiously down from the barren ledge.
274X2 LOWER - AN AREA OF BOULDERS
Suddenly, a FAIRLY STRONG WIND starts blowing.
JESSICA (frightened)
What's that?
LOGAN
It feels like breath. It makes
everything move. Your hair is moving.
JESSICA (smiling)
And yours.
They reach the level below and pause, look around.
LOGAN
Jessica -- we must be outside!
She looks at him, uncertainly, he puts an arm around her and they
set out again.
Linclon Memorial
Changed Dialogue
301X9 WHAT THEY SEE: THE STATUE OF LINCOLN (MATTE PAINTING)
301X10 CLOSEUP - LOGAN AND JESSICA
Looking up at statue.
LOGAN
I have never seen a face like that
before. It must be the look of great
age. Whoever he was he was terribly old.
JESSICA (beat)
Yes, do you think that's why he looks
so sad---?
Logan shrugs. They turn, start to EXIT from memorial.
Senate Sequence
Slightly different dialogue / Deleted lines
for Francis
305 LOGAN AND JESSICA
Logan clears two chairs of cats and they sit down.
Jessica picks up a book and starts leafing through it.
Logan is deep in thought.
Jessica looks up from the book.
JESSICA (quietly)
How curious people used to be --
All these books...
Silence...until:
LOGAN
That sweet madman -- how could he
Come to exist?
JESSICA
He had a mother and father --
and he knew them.
LOGAN
One in a million, I suppose
LOGAN AND JESSICA (together;
smiling)
...Who knows?
JESSICA (after a beat)
We're going on, aren't we?
LOGAN
(shaking his head)
There's nothing to go on to, Jessica.
Logan continues to shake his head through Jessica's following line:
JESSICA
There's a Sanctuary...there is!
LOGAN
You want there to be one...that
Doesn't...
JESSICA (interrupting;
urgent tone)
There has to be! I know it exists! It
has to!!
LOGAN (gently)
No, there doesn't. Not really --just so
many want it to exist...so many who
don't want to die...want it so much
that a place called Sanctuary becomes
"real". But it doesn't exist. It never
existed. Just the hope.
JESSICA (becoming
hysterical)
You're wrong!! It has to be!!
It Just has to be!!
As Logan takes her in his arms...comforting her:
306 FULL ANGLE - INCLUDING THE MAN
The man returns with a portrait in hand.
OLD MAN
Oh, my don't cry.
The man proudly shows them the portrait....which is a portrait of
himself in his twenties. He sort of brushes the hair...which is rich
auburn.
OLD MAN (gesturing)
There are larger pictures of other
people over there. I don't know who
they are. Perhaps they're family.
She man leads Logan across the chamber to a far corner.
307 CLOSE ON - JESSICA
Remaining near the podium. She is dejected. Logan's argument that
there is no Sanctuary has sunk in and taken hold.
308 OUT
308x1 THE CORNER - LOGAN AND THE OLD MAN
We see portraits of Presidents of the United States.
We can recognize all of them...with the exception of the dozen or so
that come after Ford.
As Logan looks at the portraits he recognizes Lincoln.
LOGAN
That's the same fellow who's outside.
If he was so important - why isn't he
first?
The old man shakes his head.
311 INT. - SENATE CHAMBER
FRANCIS' VOICE
Here!!!!
Logan looks up...and we see Francis crouched behind the railing of
the first row of the gallery...with his gun pointing down at Logan,
holding the terrified Jessica with his other arm.
OLD MAN (cheerfully)
How nice...more company...
FRANCIS (emotional;
disjointed thoughts)
We had such good times together...
I let you go!
(frenzied)
You didn't terminate a Runner and
I let you go!!
(a beat)
She did this to us! How could you
let her?! An ordinary available??!!
(with this he flings
Jessica down and away.
She lies there...stunned)
And what about Logan-6 and Francis-8?
(a tear in his eye)
....Why didn't you think about them?!
(up a notch)
There's over two hundred years of
Sandmen's blood in you, Logan....
and now you'll spill it for a
stinking Runner!!
312 CLOSE ON - LOGAN
Holding up his right palm.
LOGAN
Look at your palm, Francis....
look! It's clear. Clear!
313 REVERSE ANGLE - FRANCIS
Looking at his palm....shocked...dropping his gun. It falls on the
CHAMBER FLOOR.
FRANCIS
Why did you do that??!!
LOGAN
I didn't do anything, Francis!
They've made us believe that....
FRANCIS (interrupting;
wild)
Why did you do that???!!!
Francis leaps from the gallery and falls on Logan.
314 WIDE ANGLE - CATS
Scattering in all directions as:
Water Gardens
Deleted Scene
362 LONG, LONG ANGLE - LOGAN JESSICA AND THE OLD MAN - DAY
Walking up the beach toward the domed city. We get an idea of the
scale. They appear as ants in front of redwood trees.
363 OUT
364 LOGAN, JESSICA AND THE OLD MAN
Approaching. The wave power inlet in f.g. They
HEAR: THE ROAR OF THE WATER
As they approach cautiously...they see:
365 WAVE POWER INLET
Waves pounding over ACRES OF STRANGE STEPPED CONSTRUCTION...
DESCENDING TO A VORTEX.
JESSICA
What does that water do?
LOGAN
It's part of the hydrogalvanic
system. The ocean tides are changed
into energy somehow.
JESSICA
Is it inside the city?
LOGAN
Of course.
(a beat)
I don't know where...
(frowning)
I Just took them for granted.
(Logan takes Jessica's hand)
It's our only chance.
The CAMERA PANS LOGAN, JESSICA and the OLD MAN down the STRANGE
STEPPED CONSTRUCTION until they reach:
14 THE RUNNER - CLOSE
Seeming to burst aflame in the LENS, then slipping BELOW FRAME to
reveal Francis sauntering forward, holstering his weapon. The crowd
closing in behind him, applauding, congratulating him.
15 THE SANDMAN
Arriving at the pool where the body lies, half immersed. He leans
over, lifts the right hand from the water, revealing a palm with a
black flowercrystal shape in it. He lets the hand fall back now as
the crowd CHEERS and APPLAUDS him.
16 EXTREME CLOSE UP - HAND - IN THE WATER - (INSERT)
Closing in until the crystal fills the SCREEN.
MATCH DISSOLVE TO:
(TITLES END)
