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.
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)
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.
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.
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.
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.
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.
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?
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....
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.
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
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...
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.
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
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.
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.
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.
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:
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: