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
 
96 x 568		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 .
 
96 x 70						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.
 
96 x 76						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.

See the missing shot in Quick Time!

                               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:
 
96 x 65248		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 Ill 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: