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+LOGANS RUN Screenplay By David Zelag Goodman Producer: Saul David Director: Michael Anderson Production Design: Dale Hennesy Revised :April 30, 1975PLEASE NOTE THE CRYSTAL WILL BE USED IN THE LEFT HAND OF ALL CHARACTERS.FADE IN:BEFORE AND DURING TITLES1 EXT. - SKY NIGHT The moon and stars are visible, but as CAMERA looks down, the SCREENfills with dark, billowing clouds. CAMERA moves into the clouds andjust as they blank out the SCREEN, a distant shimmer of lightbecomes visible. Moving toward it, the shimmer becomes2 EXT. - DOME OF GLASS - NIGHTA glowing but not transparent structure stretching off into theclouds that press it. CAMERA continues to move in until thedetailed structural webbing of the dome fills the SCREEN and thenCAMERA MOVES THROUGH IT and we see3 EXT. - THE CITY - DAY Shining below the dome (which we now see as a series of dome-likestructures standing off without end) -a marvelous crystalline cityof great openness, building clusters, green plazas, fountains...multi-leveled but human scale, crisscrossed by the flickering cleartubes of the MAZE- CARS.4 CLOSER ANGLE - ROOFTOPSAs 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 runsswiftly along the rooftop and disappears into an open elevatorwhich instantly starts to descend. 6 INT - RESIDENCE PLAZA - THE ELEVATOR From a busy courtyard below we watch the elevator slide down from agreat height. As it reaches the courtyard the RUNNER darts out,pushes into the crowd.7 OUT8 WITH THE RUNNERAs he reappears around a corner, skirts a brimming pool and makesfor a kind of broad corridor which seems to lead out of thecourtyard. He is moving even faster now, glancing back as if hefears pursuit.9 ANOTHER ANGLE - CORRIDOR Above, at the railing of an oval light well, dressed in black andsilver, 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 feelingthe presence above. He looks up, sees the SANDMAN and his facebreaks in terror. He wheels, frantic, screaming, runs back into thehall.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 thepool. People are YELLING, shaking their fists, terribly excited andfearful.13 THE SANDMAN Emotionless. Aims. Fires.14 THE RUNNER - CLOSE Seeming to burst aflame in the LENS, then slipping BELOW FRAME toreveal Francis sauntering forward, holstering his weapon. The crowdclosing in behind him, applauding, congratulating him.15 THE SANDMAN Arriving at the pool where the body lies, half immersed. He leansover, lifts the right hand from the water, revealing a palm with ablack flowercrystal shape in it. He lets the hand fall back now asthe 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)17 CLOSE UP - CRYSTAL - (INSERT) Clear, sparkling, flower-like. CAMERA PULLS BACK to reveal18 INT. - NURSERY CORRIDOR The crystal is in the hand of a sleeping INFANT who is behind glassin one of many cubicles. Standing outside, looking in, LOGAN, dimlylit in the soft glow of the cubicle where the sleeping infantlies, swaddled and coccooned in the rosy auto-tender which catersto the baby's every need. Faint MUSIC bubbles like distantlaughter.19 OUT19X1 LOGAN Logan is twenty-five, strong, virile (yet sensitive) with a kind ofaustere grace.He is somewhat manic...proud...as he peers through the nurserywindow into a kind of foam cocoon which cradles THREE SLEEPINGINFANTS. Logan is KNOCKING on the soundless glass. LOGAN Wake up...come on, Logan-6.19X2 FRANCISentering . 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 isintent 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 anALARM. LOGAN Hey, cut that out !Too late: There is a SOUND OF ALARM CHIMES. The area in which theystand is bathed in a violet glow. Logan grabs Francis firmly andstops 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 asthey pass cubicles suffused with soft pink light, CHILDRENautomatically 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 lookbackward. 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 - NIGHTThey are now on a kind of enclosed platform with widely spaceddoorways, 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 itthrough the doorway which dims behind them as the maze-car WHOOSHESsoftly off into a kind of twilight.21 INT. - MAZE-CAR - LOGAN AND FRANCISThe door slides shut. They sink into seat forms which yield to them.They move off. 22 EXT. - MAZE- CARMoving through the city at terrific speed. Giving us glimpses of thecity as it goes. slowing finally as we see:23 THE CITY - FEATURING ARCADEBrightly lit, garish. We get only a glimpse as the maze-cardisappears into a tunnel.24 MAZE-CAR STATION - ARCADEAs the maze-car stops, opens and Logan and Francis exit into agathering CROWD.25 FULL SHOT - ARCADEGlittering, crowded. Throngs of people moving on many levels, somewalking, some on moving platforms. It's The Great White Way, LunaPark -- you name it. Gaudy booths and entrances, featuring everydelight -- too much to take in at a glance.26 WITH LOGAN AND FRANCISAs they thread their way through a crowd which admires them when itnotices them, across halls and up moving platforms, the good-naturedargument continuing... LOGAN but you don't know, you Just say what everyone says. One for one. One for one." FRANCIS Well, why no!? 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 SandmanThey are passing the facade of a Relive Shop The signs urging peopleto: 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 themen stops abruptly, almost colliding with them. He mumbles anapology and starts back to RELIVE.As he disappears into the RELIVE SHOP, his friend shrugs cheerfullyto Logan and Francis and moves on.27 ARCADE - ANOTHER ANGLE - NEW YOUThey are moving past a shop called NEW YOU #483 when a man comescannonading out, thrilled and excited. He rushes over to a prettyyoung woman who has been eying Logan and Francis, plants himself infront 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, glancesaround, smiles and goes off with a passer-by.28 ARCADE - ANOTHER ANGLE - LOVE SHOPSigns promising LOVE, FULFILLMENT, RARE DELIGHTS. People streamingin and out. A woman comes out looking glazed, breathing"yes...yes..." As she passes CAMERA Logan and Francis emerge fromthe 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 signspromise: LIFT OFF, CRAZY LIFT, SUPER LIFT...here the people goingin are simply excited but the ones coming out are clearly stonedout 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 HALLAn immense room into which the streams of people coming from theentertainment area are mingling. There is a general air ofanticipation stirring the crowd as CAMERA singles out Logan andFrancis entering, waving to friends. CAMERA closes in on them justas they reach a beautiful woman who is obviously pleased to seeFrancis. 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 hera 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. It¹s 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 armand they move off. FRANCIS I guess you never had her?Logan shakes his head. FRANCIS You missed something special. 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 theyrecover in time to see the trio rip wildly through the crowd,knocking people down, screaming with shrill joy as they disappear. FRANCIS The damned Yellows are getting out of hand. Those three ought to be in Cathedral. No business scrambling in Arcade... LOGAN (laughs cuffs Francis' arm) What an old, old man you're getting to be, Francis. Weren't you ever a Yellow? I bet you were even wilder than - (he breaks off as the lights in the Great Hall dim) -- come on, Sandman.The two of them start to move to the far end of the Great Hall. 30 FULL SHOT - GREAT HALLAs everyone begins to move to the far end, where great curtainshave parted to reveal31 ARCADE GREAT HALL - CAROUSEL ENTRANCEAC the far end of the hall, where the throng is a huge crystaldesign ornaments an entrance The crystal is red and pulsingrhythmically to the accompaniment of a deep and thrilling TONE. Aswe move toward it with Logan and Francis, the TONE deepens, thegreat pulse takes on a hypnotic quality...32 WITH LOGAN AND FRANCISIn the crowd they overtake a fellow Sandman, DANIEL, and fall instep 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 vanishinto the throng passing under the great crystal, turn the corner andwe see33 FULL SHOT - CAROUSELframed in a huge corridor we see a steep-sided arena dropping downto a shadowy center, which even now pulsates and flickers inchanging dimensions, but always maintaining the jewel- flowershape. There is one entrance into the center -- a kind of ramp frombelow the seats, leading directly into the mysterious bowl -- Just now the seat's are filling, and the sense of expectation buildsPeople sit and immediately crane their necks, waiting...34. ANOTHER ANGLEFeaturing Logan and Francis as they find places in the arena. Likethe others, they crane upward. As they do, Logan gestures at anumber of pretty girls who are just being seated. LOGAN Now there's a few who could have been his seed-mother. FRANCIS Only a few? You're just not trying.35-36 OUT37 PANNING THE CROWDAs the seats fill, the excitement builds. Suddenly the lights beginto dim and dim...SOUND: A kind of collective sigh, breathing in unison...38 OUT38X1 ANGLE THE TIER BELOW THE SEATSSuddenly visible, the LASTDAY GROUP. Their arms are upraised and ineach palm the crystal blinks red-black, red-black.39 THE CROWD Transfixed, gripped with a religious fervor.40 LASTDAY GROUP Hands still raised, filing slowly into the mysterious well ofCarousel.41 CROWDTense, beginning nervous APPLAUSE here and there.42 CAROUSELAs the last one enters, beginning to glow and, as it does, the bowlslowly puts out leaves like some great plant, enfolding and hidingthe people within a series of translucent petals. As the Last oneenfolds them the Light intensifies, the exterior surfaces seeming toshift as if a kind of motion was beginning inside it...43 CROWDVisible in the growing Light from Carousel -gripped with passion andexcitement, APPLAUDING, gesturing as they see44 CAROUSELMoving, bands of light seeming to spiral upward Like a containedaurora as the Carousel picks up speed.45 LOGANCaught up in it Like the rest.46 CAROUSELBeginning to blur with its own speed. Through the shifting,spiraling curtain of light we see bodies moving in a kind ofweightlessness, always struggling to move higher.Follow a shadowy form as it moves, twists through other writhingshadows -- upward, upward. Suddenly the form is spread-eagled, andin a moment it is sharply outlined against the swirling canopy andthen -- a searing flash. And it is gone. SOUND: Crowd in a frenzy -- SCREAMING.47 FULL ANGLE - THE BLEACHER CROWD - FAVORING LOGANStanding. SCREAMING their cheers as:48 FULL SHOT - UP AT CAROUSELHigh, reaching downward out of the shadows beneath the dome,fringing, intersecting rainbow bands appear, looping the swirlingupper Carousel like Saturn's rings. Now we see figures reachingoutward toward them...reaching and missing and falling -downwardagainst the curtain and the flash of extinction.49 MEDIUM ANGLE - A MAN At the highest level...straining for the rainbow...50 SWEEPING PAN SHOT - THE BLEACHER CROWD Hysterical...starting to chant... CROWD Renew!The man continues to strain: CROWD Renew!51 CLOSE ANGLE - THE MAN Almost a blur...but still straining: CROWD'S CHANT Renew!52 CLOSE ON - LOGAN AND FRANCIS LOGAN AND FRANCIS (chanting with the rest) Renew!53 CLOSE ANGLE - THE MAN The blur...but still there...straining with all his might for therainbow... CROWD'S CHANT Re...Suddenly, the man...topples into the whirling blacknessbelow...where he is instantly incinerated.54 WIDE ANGLE - THE CAROUSEL Whirling - whirling - the rainbows shining.55 WIDE ANGLE - THE BLEACHERS Orgiastic pleasure -- a Spanish crowd at a perfect killing --SCREAMING, fulfilled.56 OUT57 FULL ANGLE - THE CAROUSELOther figures move to the topmost level...straining for the rainbowbands.58 CLOSE ON - LOGAN AND FRANCIS As the SCREAMING goes on in the b.g. of the SHUT... we hear aBUZZING 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 thebleachers.They make their way into the hall.Logan takes out the small plastic box. We can tell from his facethat he is disappointed...until a faint BEEPING SOUND emanates fromthe box.Francis watches as Logan wheels in one direction... the beepingstops. He turns in another direction... again, there is no beeping.As Logan turns in a third direction...the BEEPING commences.Logan and Francis move swiftly in that direction and the BEEPINGGROWS LOUDER...AND LOUDER...until Logan and Francis see:59-59X11 WIDE ANGLE - A MAN running.CHASE: INTER CUT between Logan and Francis following the running manin the great hall...empty. We can HEAR the CROWD SCREAMING inCarousel offstage.A. Logan and Francis separate...to encircle the running man.B. The running man turns a corner and for a moment Logan cannot seehim.C. As Logan turns the corner...Francis is on the other side andFIRES at the running man...JUST MISSING HIM.D.Francis winks at Logan as he pursues the running man up a rampand Logan gets it: A little cat and mouse is in order. (NOTE: THE CHASE WILL BE THE DIRECTOR'S OPTION.)E. Logan FIRES... just missing the man...Francis FIRES again. . .just missing, too.F. The man is in a panic as he continues up the ramp...to variouslevels and areas.G. Both barrels (of Logan and Francis' respective guns) glow againas they FIRE...with both just missing the running man once more.H. The man's face is crazed...and sweating...the mouse is goingberserk as he has been chased to a high level.I. He stands frozen, petrified, driven to the edge of a high balconyby the shots--teetering now. He is in full sight of Logan, Francisis across the hall.J. The Runner¹s face. He looks at death twenty feet away--Loganaims.K. Francis, watching, smiling at the perfect moment.L. Logan's face. A shadow of thought, a hesitation.M. The Runner lunges. Logan fires, misses.N. Francis fires a salvo, drives the Runner back to the rail wherehe teeters again, throws his hands in front of his face and plunges.The SCREAMING in Carousel reaches a peak.59X12-63X1 OUT63X2 WITH LOGAN As he arrives at the dead body of the Runner, bends over him, turnsthe man's left hand up. We see the flower crystal. Black.Logan takes out his transceiver.63X3 INSERT TRANSCEIVER A man's face visible. Logan checks it against the face of the deadman. They are not the same. 63X4 ANOTHER ANGLE As Francis comes up, waits. Logan moves the transceiver to the deadman's face, rests it on his forehead.63X5 INSERT TRANSCEIVER READOUT:The words appear: IDENT. AFFIRM....NEW YOU #483 ALTERATION63X6 LOGANScowls for a moment, then shrugs. He takes out a small flat pouchand methodically strips from the body its few personal things,stuffs them into the pouch. Then his eye is caught by the man'sright hand, clenched. Logan opens it. A metal ankh on a bit ofchain. It means nothing to Logan who stuffs it into the pouch andcloses it. Now again he fiddles with the transceiver, speaks into itsoftly. LOGAN Runner terminated 0:31 (a beat) Ready for cleanup.Done with his job, he rises to face Francis. LOGAN (smiling) That was a great shot you made. FRANCIS Yes. (beat) But you look a little rusty to me -- what were you doing, wondering?Logan shrugs. He's not sure himself. Together they walk off down thehall, passing CAMERA 63X7 ANOTHER ANGLEWe see in the distance, a pair of Stickmen descending into the hall,riding through the air on their odd vehicles, passing overhead thendescending. One hovers not far away as the other comes down, hangs afew feet over the body.63X8 1ST STICKMAN AND BODY The driver makes sure he's in position, then presses a button on oneof the arms of the vehicle. There is a broad spray of vapor from thebottom which covers the corpse. 63X9 CORPSE (INSERT)It turns to crystals which sag away from the human form, as a sandsculpture erodes when it's dry.63X10 1ST STICKMAN CLOSE ON HEAP OF CRYSTALSSatisfied, he revs his machine and it rises smoothly out of theSHOT. As it leaves, the second machine moves down and into itsplace. 63X11 2ND STICKMANGlances at the crystals, maneuvers into position, presses hisbuttons. 63X12 CLOSER ANGLE - THE CRYSTALS, STICKMANSucked up into the machine as it hovers. As the floor is once againbare, the 2nd Stickman revs slightly and his machine pulls up andaway. 63X13 ANOTHER ANGLE As the Stickmen move up and out, we see the exhilarated crowdbeginning to pour out of Carousel.63X14 LOGAN AND FRANCIS - ARCADEDescending from the top level -- not much of a crowd. Francis isgesturing 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 LOGANwaves, 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. Helooks and we see: 63X18 POV - ARCADE, UPPER LEVELS The people from Carousel starting to pour in, loud, happy, ready formore fun.63X19 LOGAN Not with it. He turns and starts making his way downwards towardsthe exit.63X20 LOGAN'S APARTMENT As he enters. Idle, restless. He crosses to a sideboard--makeshimself a drink, sips, doesn't like it. Gets rid of it, makesanother. He fiddles with things, a game--sits, gets up. Now he isbeginning to feel the drink. Takes another belt, smiles. Now he goesover to a tall wall recess flanked by a console with many dials.63X21 AT THE WALL RECESS As Logan dials, blurred and smoky images appear in the recess--aslow protoplasmic eddying in many colors. He tunes it in and thefigure of a smiling young man appears--bejeweled, lustrous, willing.63X22 LOGAN AT THE CONSOLE Bored as Mastroianni turns the dial again and the young mandissolves. He dials again and now a beautiful young woman takesshape. It is Jessica. 63X23 JESSICA AND LOGANStill in the recess, she makes no gesture of interest, no smile.Around her neck, from a collar, a dangling ankh. It catches Logan'seye. He smiles, clicks another dial and she becomes real. He reachesout a hand and leads her out into the room.64 LOGAN AND JESSICAAs Jessica turns to him, Logan moves in strongly and embraces her-but, to his surprise, she resists. Logan, still holding her loosely,is amused and surprised. LOGAN What's wrong, Available? JESSICA (breaking away gently) Please . . .No.She backs away, almost apologetically. Logan follows, smiling. LOGAN Please . . . no ? (noting that she looks trapped, he understands) You mean "not here"--that's it? You're a private Available but particular, (he is moving in on her as he speaks, she retreating, which amuses him) Don't worry. There's no one here but me. And you. JESSICA No. (that stops him) Just no. LOGAN You prefer women? JESSICA No. LOGAN Well then...? JESSICA Nothing. I felt sad, I put myself on the circuit. It was a mistake. LOGAN Sad? What made you sad? JESSICA A friend of mine went on Carousel tonight. Now he's gone. LOGAN (after a beat) Yes...probably he was renewed? JESSICA (flatly) He was killed LOGAN Killed? Why do you use that word? JESSICA Isn't it right? Isn't that what you do? Kill. LOGAN I never 'killed' anybody in my life. Sandmen terminate Runners (a beat) Who brought you? JESSICA Nobody. I felt sad. .. I put myself on the circuit. LOGAN You felt sad. What's your name? JESSICA Jessica. LOGAN (matter-of-fact) You're beautiful. Let's have sex. JESSICA No. LOGAN Later. JESSICA No. LOGAN But you put yourself on the circuit! JESSICA I thought I had to do something. LOGAN And? JESSICA I changed my mind LOGAN And now? JESSICA Curious. LOGAN About what? JESSICA How a Sandman lives.Logan smiles, takes off gunbelt, etc. LOGAN Let's have sex. (as Jessica shakes her head) I thought you were curious. JESSICA Not about that. LOGAN (after a beat) I'm listening. JESSICA I'm afraid to tell you. LOGAN (smiling) I'm not armed. (a beat) Well? JESSICA Why is it wrong to run? LOGAN You shouldn't even think such things... (smiles) And you picked a strange person to say them to - JESSICA I suppose. But what if you want to live? LOGAN So? Do what everyone does. Try like hell for renewal.Logan stretches out his right hand. We see a red flower crystalembedded and centered in his right palm. It is exactly the sameshape that we have seen in black in the palm of the dead runner. LOGAN When this turns black...that's it. (laughs) If for any reason you want to be 31... you have the same chance as everyone else...Carrousel.Logan takes his gun and points it at her. LOGAN (playfully) But if you're one of the misfits... that's where I come in. JESSICA (somewhat frightened) I didn't say that I would run... I Just... LOGAN (interrupting; turning over her palm) Are you a 5 or a 6? (we see a green crystal) JESSICA Six. I go red next year. LOGAN You're years away . . . I don't know why you're thinking of these things, much less talking about them. (offering Jessica the gun) Want to try?Jessica shakes her head. Logan looks at Jessica carefully...in anadmiring sexual way...from her toes to her head...briefly noticing(in the process) chat she is wearing an identical piece of jewelrythat he has taken off the dead runner...around her neck. LOGAN What Quad do you live in? JESSICA K. LOGAN (softly) You're sure you don't want to try?Jessica nods. LOGAN It's nice to know you can nod. Jessica smiles. LOGAN It's nice co know you can do that, too. Suddenly Francis and two dishevel led young WOMEN burst in and comelaughing toward Logan and Jessica Stoned, hilarious, they crowdaround Logan one of them embracing him. In the wild hilarity,Jessica slips away and Logan, seeing her go, makes a vain effortafter her. Francis notices, laughs. Amid the noise he shouts toLogan: FRANCIS These are for me -- you've got your own. (looking after Jessica) She must have been something--? At Logan's expression he roars with laughter Francis picks up anatomizer and hurls it at the ceiling where it shatters and a greatpink cloud settles over them all.64X1 EXT. - SAND MAN H.Q.A frowning structure of dark stone and mirrored copper, fronted bybroad steps. Logan and Francis are climbing the steps as a SANDMANis coming out... His uniform is in tatters. They greet one another...then: LOGAN What happened to you? SANDMAN (embarrassed) I lost a Runner in Cathedral. LOGAN How come? SANDMAN Ran into some Cubs I couldn't manage. (as they stare) One of them cut me bad... (extends his arm and moves a finger from his shoulder to his wrist) all the way down. FRANCIS (with anger) CUBS! SANDMAN (shrug) On my way to the New You for repairs. LOGAN Get yourself a new face while you're at it They know you now.They wave. Logan and Francis continue.64AX1-64BX1 OUT 64CX1 INT. - SANDMAN H.Q. LOBBY (VOICE OVER)As Logan and Francis cross, turn into a corridor. LOGAN I just might look in on New You 483 myself. FRANCIS You? Why? You're already beautiful. LOGAN No -- it's that last Runner -- someone in 483 was trying to help him.64X2 INT. - SANDMAN H.Q. - READY ROOMAs Logan and Francis cross the room, Logan nods to other Sandmen,who are monitoring areas of the Megalopolis on video consoles. Oneof these Sand-men speaks to Francis who hasn't greeted them SANDMAN (Monitor) What's with you, Francis? FRANCIS (touching his head; grimacing) Last night The other Sandmen, including Logan, smile as Logan and Franciscontinue to:65-68 OUT69 INT. - SANDMAN H.Q. - DEBRIEFING AREABlack door opens revealing Logan and Francis who now enter a mammothroom. As they walk. . . they pass FOUR GIANT LIFECLOCKS...WHITE,YELLOW GREEN AND RED. Each LIFECLOCK pulses out the moments of every person alive in thecity, governing everyone's crystal changes automatically shifting tothe next LIFECLOCK when the time comes.There are no humans.Francis walks over to a circular table at the end of the room....above which is a circular overhang. There is a groove...the shape ofa palm crystal on one part of the circular table.Francis takes out the plastic bag which contains the contents of thedead Runner's pockets and starts putting the contents on the table.(These contents are the ones from the Runner Francis has killed atthe beginning of the film.)The moment the first item touches the table...it activates a scanneron the overhang above. Francis stands alongside the table...his attitude is very matter-offact. He has been through this procedure many, many times.He touches his head...(the hangover)...and Logan smiles. Momentslater...the scanner stops...the word: | IDENTIFYappears on a SCREEN. Francis places his palm into the groove. . .and the words: CLEAR FRANCIS-7appear on the SCREEN. FRANCIS See you in the hydrotoner! Logan nods.Francis exits as Logan places the contents of a plastic bag with theitems he has taken off the Runner who jumped to his death. Amongthem is the odd-shaped piece of jewelry.Logan is standing nonchalantly...as the scanner moves over theitems...waiting to be quickly identified and cleared as Francis wasearlier.The scanner continues scanning.Logan starts becoming impatient...but the scanning goes on and onand on.Now...Logan is clearly puzzled...it has never...ever taken anythingremotely resembling this length of time.Suddenly, directly before him...on the SCREEN... the word: PROBABILITYblinks on and off...on and off...catching Logan's attention. AsLogan turns toward the SCREEN...the scanner stops moving. The wordPROBABILITY blinks off and is replaced by the word: APPROACHWe can tell from Logan's expression as he walks to the corner. . .that he has never seen this before. Logan sits in a chair in the area facing the SCREEN. There is astellar groove (that we have seen on the Table) the shape of a palmcrystal....glowing on an arm of the chair.The word on the SCREEN is now: IDENTIFYLogan places his right palm with the flower crystal into the groove.We hear a HUMMING NOISE....then: The piece of jade Jewelry appearson the SCREEN and below the piece of jewelry the following wordsappear on the SCREEN: OBJECT OCCURS IN NONRANDOM PATTERN AND FREQUENCY. LINKED WITH OBSOLETE WORD: SANCTUARY. PROBABLE EXISTENCE ESTABLISHED. QUESTION: IDENTIFY OBJECT? LOGAN Negative. Question: What is it? Words on SCREEN now read: PREMILLENNIAL SYMBOL. NAME: ANKH. QUESTION: IDENTIFY CONCEPT SANCTUARY? LOGAN Negative.Words on SCREEN now read: SANCTUARY: CODE WORD PREMILL- ENNIAL RELIGIONS DENOTING PLACE OF IMMUNITY. LOGAN I don't understand?Words on SCREEN now read: SANCTUARY NOW MATHEMATICALLY RELATED TO UNACCOUNTED CITIZENS NUMBERING 1056. LOGAN Question:Word on SCREEN now reads: HOLD It disappears and words on SCREEN now read: OBJECT ANKH ASSOCIATED WITH UNACCOUNTED CITIZENS 1056. CONCLUSION SANCTUARY EXISTENT.... RUNNER GOAL. LOGAN 1056 unaccounted for?!Word on SCREEN reads: CORRECT LOGAN Impossible! (Rising tone) Question: Maybe they weren't all Runners. Maybe most of them reached Life Renewal on Carousel.Words on SCREEN read: NEGATIVE...UNACCOUNTED CITIZENS 1056... LOGAN Question: None of them reached renewal?Word on SCREEN reads: ZERO LOGAN But everyone believes that some....Words on SCREEN read: ANSWER: ZERO UNACCOUNTED CITIZENS NUMBER 1056....LOGAN- 5 ASSIGNED TO LOCATE SANCTUARY AND REPORT.... LOGAN Question: You mean nobody's ever been renewed?Words on SCREEN read: - - QUESTION ANSWERED.... ZERO....ECOLOGICAL-NEGATIVE...As Logan reacts the new words which appear read: AUTHORIZATION TO PENETRATE CITY SEALS... LOGAN (startled) The Seal...... (Breaks off) Question: The Seals? Go outside?! But there's nothing outside!The words on the SCREEN read: SANCTUARY DESTRUCT... FIND DESTROY LOGAN I will. The words on the SCREEN read: ASSIGNMENT SECRET. LOGAN Question: (a beat) What if I need help from another Sandman?The words on the SCREEN read: NEGATIVE. REPEAT: ASSIGNMENT SECRET. LOGAN-5 TRANSFER TO RUNNER SEEKING SANCTUARY. Logan takes a breath. LOGAN Question: I am six Red...how can I pretend to be approaching Lastday?The words on the SCREEN read: LIFECLOCK--ALTER LOGAN My Lifeclock... (slightest beat) Question: My Life-- Before the startled Logan can finish...he feels a shock of pain andhis hand is immobile. Logan stares at the back of his hand as if itwasn't his. His forehead shines with sweat.Now the entire area, including the chair and the screen begins toglow bright red. The glowing becomes so bright that Logan is forcedto close his eyes.As the glow subsides...Logan looks at his right hand. The red flowercrystal in his palm is blinking. He stares at it, fascinated,fearful. LOGAN Question: (urgent tone) Am I still six Red? The words on the SCREEN read: LIFECLOCK-ALTER LOGAN (standing) I know that but I had four more years (extending the blinking palm) This means ten days to Lastday. Of course I will get the four years back, won't I?The words on the SCREEN read: TAKE OBJECT WITH YOU LOGAN (very urgent) Question: Do I get my four years back?Too late. The SCREEN is BLANK. For a moment his lips part as if tosay something more but he changes his mind, turns away.Now Logan walks over to the table and removes the ankh. Almostautomatically, he starts moving his hand toward the groove...but theSCREEN already has the words: CLEAR LOGAN-5Logan looks at it - then:The CAMERA PANS Logan out of the mammoth room.... past the GIANTLIFECLOCKS....where he pauses.... glances at his BLINKINGCRYSTAL....and continues out into:69X1 INT. - HYDROTONER - DAY Spectacularly 23rd century. Logan enters. He looks around and spotsFrancis.... in a whirlpool bath....trying to recover from hasincredible hangover.In the b.g. of the SHOT we can see some Sandmen doing calisthenics.Logan walks over to Francis....hiding his blinking crystal byholding his hand against his leg. FRANCIS What the hell took you so long? LOGAN (after a beat) Did you ever see anybody renew? FRANCIS I think you've been skulling out too much. First Nursery and now stupid questions. LOGAN Did you? FRANCIS Of course. LOGAN Anybody we know? FRANCIS Look....why don't you get into the water....you need it....more than I do. LOGAN (after a beat) I'm fine.... (walking away) See you.... FRANCIS At Carousel tonight?Logan nods, exits. The CAMERA REMAINS on a slightly puzzled FRANCISfor a moment then FOLLOW Logan out to:70 EXT. - SANDMAN BUILDING Logan is on the steps, irresolute. He looks at his blinkingcrystal...moves as if to reenter, changes his mind. Now takes outthe black box, dials. LOGAN (into box) Location...female Green Six... name Jessica...living in Quad K.71-73 OUT73X1 INT. - LOGAN'S APARTMENT Logan opens the door to see Jessica. Behind her a young SANDMAN whohas obviously escorted her there. YOUNG SANDMAN (smiling) She says she's been here before... LOGAN She has.Jessica half turns and shrugs a 'see?'. The young Sandman's smilewidens, he waves to Logan and shoves off. JESSICA You could have called me yourself. LOGAN But I wasn't sure you'd come. JESSICA (the game has started) Here I am. (beat) Shall I come in?Logan gestures, leading her inside to the living area. LOGAN I couldn't get you out of my mind. JESSICA I'm the most beautiful woman you've ever seen, I suppose? LOGAN Maybe...sure.... JESSICA Thanks...but I have the choice. LOGAN Of course. JESSICA Then it's still no.Logan laughs. JESSICA You can have any woman in the city. What do you really want? LOGAN You know JESSICA I don't believe you. There has to be more. LOGAN All right.Logan extends his right hand. He turns his right palm so that.Jessica can see it blinking red.Jessica gasps for a moment...then: JESSICA Why show me? LOGAN I'm going to run. JESSICA (after reacting) Why tell me? LOGAN You know something. JESSICA About running, dying what? LOGAN Both...running's what I'm interested in. JESSICA I know what everyone knows. Try like hell for Renewal. You have the same chance everyone else has. LOGAN It's different now. Help me. JESSICA How can I?Logan takes out the ankh. JESSICA Where did you get that? LOGAN A Runner gave it to me. JESSICA And then you killed him, right? LOGAN I let him go...believe me. JESSICA I don't.. LOGAN (a beat) Speak to your friends for me, Jessica... please... JESSICA Please? What friends? LOGAN (clutching the ankh, looking at Jessica's; then:) I don't have much time. JESSICA I never heard of a Sandman running . . . ever. . . LOGAN (putting the ankh in his pocket; dropping the bombshell) And I never heard of Sanctuary.Jessica reacts. She is about to speak. . .doesn't..Logan reaches out and touches her hand. LOGAN What can I do to make you believe me?Jessica draws her hand away quickly from his touch.Logan stands and starts out...as Jessica watches him..74-81 OUT 82 EXT. - A SLEEK, OUTDOOR RESTAURANT - NIGHTThere are three men and a woman seated at a table. Jessica reachesthe 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 JESSICAEating without enthusiasm...obviously more interested in theirconversation. 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 OUT88X1 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 OUT89X1 EXT - RESTAURANT - THREE MEN A WOMAN AND JESSICALeaning 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 hereyes, 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 OUT93-94 OUT94A1 READY ROOM - FRANCIS Obviously enjoying the work, watching--tracking a Runner's progress,the assignment of a Sandman, the kill. 94X1 WITH JESSICA Making her way through the strolling crowd, her face thoughtful.94X2 ANOTHER ANGLEThe man from the restaurant, following.94X3 GALLERY, SANDMAN RESIDENCE -- JESSICAWalking slowly up to a door, she hesitates, KNOCKS.Logan opens the door, reacts. LOGAN Are you here to help me? JESSICA What do you need?A moment, then Logan moves toward her hungrily, pulling her in tohim as the door closes.94X4 OUTDISSOLVE TO: 94X5 WITH LOGAN AND JESSICAWalking along a handsomely landscaped stream. Laughing together,stopping to admire the beautiful fish (koi). JESSICA What're you going to do? LOGAN That's tomorrow. JESSICA (turning away slightly) I wish I could help you. LOGAN (turning her gently back) Maybe you'll chink of something... JESSICA (hating herself) I wish I knew what you think I know. Logan smiles at her, both knowing what's false, but drawn to eachother anyhow. They commence walking again. 94X6 ANOTHER ANGLE The followers, ahead now, watching, trying to make up their minds asto whether Jessica is bringing Logan to the ambush. As they argue,Logan and Jessica approach.94X7 WITH LOGAN AND JESSICA LOGAN If you did know, you'd tell me. JESSICA Of course-- LOGAN (overriding) If you trusted me, you'd know. JESSICA (evading it) We're coming to Arcade. (beat) - Shall we Relive together? 94X8 CLOSE ANGLEAs they pass, Jessica looks full in the face of one of thefollowers, looks away. Logan does not notice. The followers arepartly reassured. One of the men is now holding a garrote made fromhis necklace. The man who first followed gestures and the others gooff purposefully. He continues after Logan and Jessica as they exitround a corner.94X9 OUT94AX9 READY ROOM As 1st Sandman returns, still cheerfully chewing. Francis isreluctant to give up his place and when he does, he remains standingthere, watching. He loves the work--they all do.94X10 ARCADE - LOWER LEVEL Logan and Jessica entering. Logan is aware of Jessica's increasingtension. He pretends unconcern, but he is wary.94X11 ANOTHER ANGLEBehind them, visible through the crowd--two of the men we sawbefore. The Follower and the man with the garrote. They are movingso as to intersect with Logan and Jessica where the crowd isthickest, streams coming together to move to a higher level.94X12 FEATURING JESSICA As they move, fearful--torn between her promise and her feeling forLogan. Catching a glimpse of the followers, she makes a small sound,hesitates, pretends to have stumbled.94X13 THE AMBUSHERS Closer now, closing in -- the wire garrote gleaming between theman's hands. 94X14 LOGAN AND JESSICA Suddenly she stops. He comes round facing as people eddy by them.Logan looks at her searchingly. LOGAN Tell me, Jessica.Behind him the two men move in. The man with the garrote raises hishands. One more step... Logan senses something, half-turns just aswe hear a familiar urgent SOUND--the sound of his transceiver.Behind him the man hesitates, drops his hands. Logan takes thetransceiver from his belt and moves out of the crowd to the side,Jessica with him. Now he bends to read the message and Jessicacranes her head to see too. 94X15 READY ROOM - FRANCIS AND SANDMENAs the Runner alarm pulses and the readout flashes its message: RUNNER FEMALE: CATHEDRAL Q-2 ...LOGAN-5The Sandman at the console turns and says: 1ST SANDMAN Hey, Logan's got a mean one tonight-- why don't you--But Francis is already at the door. A wave and he's gone. The othersad lib interest-- "watch out in there--they can cut you before yousee them" etc.95-105 OUT105X1 ARCADE STATION - THE AMBUSH The two watching, muscles taut -- wondering.106-106X1 OUT106X2 ARCADE - TWO SHOT - LOGAN AND JESSICA As he speaks he leads her into the maze-car station and punches outhis destination on the car caller. LOGAN A Runner...Cathedral. A woman.106X3 MAZE-CAR STATION ARCADE JESSICA You're not going, are you? LOGAN (a beat) Why not? Maybe she'll help me. You won't. You'd better stay here.The maze-car arrives and they move to it. JESSICA (touching his arm) I'd rather be with you. LOGAN (knowing she is lying through her teeth) That's nice. They enter the car which instantly moves off. As it passes, the menin ambush come forward and read the destination. They ring foranother car which pulls in immediately.107-109X1 OUT 109X2 ANOTHER ANGLE As the two jam into the maze-car which rockets off in pursuit...110-120 OUT121 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?As Jessica turns her head...looking somewhat guilty, the maze-carslides to a stop.A warning light pulses on the car's console and a RECORDED VOICEspeaks before the hatch opens. VOICE Attention passengers. Cathedral Station is a personal risk area. Persons with business are warned to be careful.121X1 EXT. - MAZE-CAR - CATHEDRAL STATION Now the hatch opens. They step out, Logan first, Jessica timidly,looking around. Behind them the hatch closes, the maze-car sighsaway into the distance. JESSICA I've never been in this quadrant. (looks off) Is that Arcade off there? There are standing on the maze-car platform -- a high overlook likean "elevated" station. 121X2 POV - THE CITY BEYOND THE WALLS OF CATHEDRALArcade shining like distant fireworks.122 EXT. - MAZE-CAR M PLATFORM - CATHEDRALBelow them a narrow, sharply angled concrete canyon, buttressedwalls rising featureless. The look of an old fortress, blank, dimand cool. Still visible over an opening the chiseled legend"Cathedral Plaza--2025 A.D.--Skidmore, Rosenfelt, Hennesyarchitects."Jessica shivers, looking around her. Logan takes her arm and theydescend into the canyon, move toward the wall. Their footsteps theonly SOUND. LOGAN Let me go first. Sometimes they're waiting just inside there--to rush you when it opens... LOGAN Quickly now--He helps her through the narrow opening--the portal's walls are verythick.. They turn abruptly and see:123 INT. - WALL - DAZZLE CHAMBERA room of angled, reflecting surfaces. At one end a jagged corridor,also mirrored, leads away. The zigzag, angled effect creates anabsolute confusion of images. but Logan leads her unhesitatinglyacross the chamber to the corridor. Jessica hangs back, momentarilycertain 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--afun 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: 124 ANOTHER ANGLE As they approach the end of the corridor, a small FIGURE in atattered garment approaches them. She stops SINGING as she seesLogan and Jessica. JESSICA (gently) Don't be afraid.We see that it is a little GIRL of seven. Her face is grimy and hairis tangled. JESSICA What's your name? MARY I'm Mary 2. JESSICA Where do you live, Mary? MARY Here. JESSICA Why aren't you in Nursery? MARY I'm very smart. JESSICA When do you go up? MARY I never go upstairs. You're a nice old lady.As soon as she finishes her last sentence, Mary grabs at Jessica'sclothing...tearing a pin (piece of Jewelry) off...and running awayswiftly.As Jessica instinctively starts after her...Logan... holds her back. LOGAN (shaking his head) Not here. Might be a decoy.Cautiously, Logan and Jessica exit from the wall, stepping out into-125 EXT. - CATHEDRAL ITSELFAn area of rubble and dilapidated buildings.Logan crouches, holding the transceiver and fanning the area,listening...SOUND: a soft beeping which abruptly grows louder and holds steady.Logan gestures to Jessica to follow him, and moves carefully in thedirection of the BEEPING, quartering occasionally like a huntingdog. Coming up to an angle of wall, he stops, flicks the sound off,puts the machine back onto his belt. He gestures to Jessica to standstill then he straightens, steps out, calls: LOGAN Runner!Silence. Jessica involuntarily moves to him and as she does, theRunner moves from behind an upright and stands.- The figure isshadowed, the arms out, palms facing in a kind of gesture ofsurrender. In the Runner's left hand, the tiny red crystal pulses onand off. The Runner is a woman!There is an instant of frozen confrontation and then suddenlyJessica gasps, grasping at him. As Logan whirls: 125X1 ANOTHER ANGLE Suddenly, from everywhere out of the shadows, a pack of snarlingCubs materializes--moving with blinding speed. At their appearancethe Runner whirls and races off into the dark shadows. Logan makes afutile gesture after her, then turns to face the Cubs.A strutting, feral-faced fourteen or fifteen year old heads thepack, dressed in fierce-looking tatters and hung with rip-offtrophies. He gestures to one of his followers to stand still. BILLY (speaking of the Runner) Don't worry about her. We'll have that one later. Right now I think we've got a Runner and his pairup. And what a Runner!The CAMERA PANS the other Cubs...mean, filthy. A VOICE We're going to have ourselves a time, we are. Right, Billy?!There is a chilling laughter of agreement from the rest. LOGAN I'm a Sandman! BILLY I cut up a Sandman yesterday. They said I'd never get him...but I cut him up good, I did. LOGAN (firm tone) I feel sorry for you, boy!Some murmuring as the pack watches their leader. BILLY For me? Better feel sorry for your- self, Sandman! LOGAN No, for you! How old are you, Billy?Billy is silent. LOGAN Fourteen? Fifteen? Your days are running out. How long can you last? A year. Six months? (he points to the yellow flower in Billy's palm) What happens when you're sixteen and you go green? BILLY (lashing out) Nothing will happen! I make the rules as I go!! Cubs do what I say! Always have! Always will! I got Cathedral and I'll never let go! 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 ablow..he is grabbed and slammed against the wall of an abandonedbuilding. 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 inhalethe "Muscle." At once their movements become blurringly rapid. Theytake menacing positions - some leaping overhead. A VOICE Give him some Muscle!! Like lightning they change positions and flash around Logan andJessica 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 theground 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 facingLogan 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 onAfter a beat, Billy turns and runs away.Logan comforts the shivering Jessica for a moment then takes out thesmall 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 abandonedbuildings.We HEAR A SCREAM...and HEAR the Cubs who've only obviously found andattacked someone. The SOUND is coming from a different directionthan 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.The BEEPING is now very loud.Logan homes in on an abandoned building, enters, crosses swiftly toa door inside and kicks it down.We SEE the Runner. The WOMAN cringing, expecting death.129 FULL SHOT - LOGAN AND THE WOMAN frozen for a moment. In f.g. a figure stirs, moves and we see it isFrancis. His weapon is drawn and aimed, but as he watches, he lowersthe barrel and smiles. The is Logan's job.130 CLOSE ON - JESSICA watching131 LOGAN AND THE WOMAN WOMAN (nearing hysteria) There's been a terrible error! My Lifeclock must have broken in some way! (rising tone) I'm nowhere near thirty...look at me...I'm twenty-two. I should be green! Did you hear me? (shouting) Green! LOGAN (quietly) Don't be afraid-- Before Logan can continue...the Woman...who is now wild-eyed andhysterical lunges at Logan...and starts grappling with him. WOMAN I'll kill you!! I'll kill you!!After Logan pushes her away...and she falls down: LOGAN (breathing hard) I'm not going to hurt you.Slowly, she rises.Logan takes out the ankh. LOGAN Sanctuary? Anything?Logan reaches into his pocket and takes out a small roundobject...the size of a large marble. LOGAN If they find you throw this hard enough to break it. Then hold your breath till you get away...It's blind gas.Her reaction is blank, then, with desperate ferocity she attacksLogan again.During the course of the struggle, Logan subdues her again.Jessica enters, bends over the near-crazed Runner as Logan holdsher. Eyeing him, the woman stands and takes the small roundobject...she appears somewhat bewildered as Logan and Jessica moveoff. 132 EXT. - THE OTHER SIDE OF THE ABANDONED BUILDING - MED. ANGLE - FRANCIS WATCHINGHe is shocked, unbelieving. 133 CLOSE ON FRANCISStunned and uncertain, Francis aims his gun toward Logan andJessica...but he wavers...watching them disappear into the rubble... 134 ANOTHER ANGLE - FRANCISshivering 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 topplesto the floor;134X1 MAZE-CAR PLATFORM - THE MEN hearing the unmistakable SCREAMING sound of the kill, they exchangea 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 andpulls her away.136 FRANCIS After a long, long hesitation, takes out his small plastic box andstarts 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 ontothe maze-car platform. We can tell from the way the two men look atone another that they believe Logan has fired the shot they haveheard.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-carplatform.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 - FRANCISDistracted...ignoring the greetings of Sandmen who are monitoringthe city.139X2 ANOTHER ANGLE - FRANCISWalking 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 intothe groove.Now he takes out the items of the dead woman Runner and places themon the scanning table.An ALARM SOUNDS and the word: REJECTflashes 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....140 EXT. - NEW YOU #483 - TWO SHOT - LOGAN AND JESSICA as they enter NEW YOU #483 they are being watched by:141 MED. ANGLE - THE SECOND AND THIRD MENA safe distance behind.142 INT. - NEW YOU #483The waiting room has many mirrors...where customers ...male andfemale...are checking their faces (and bodies).There are also various photographs on the walls... suggestions forchanges to foreheads, eyes, cheeks, lips, etcetera. The chattyinformality is very much like people in a beauty parlor or barbershop.There is a RECEPTIONIST seated behind a desk in a corner.Logan and Jessica walk up to the desk.The receptionist looks at Logan...ignoring Jessica. RECEPTIONIST Hello, Sandman. LOGAN Hello. RECEPTIONIST Do you want to see Doc?Logan nods, impatient - he knows someone's watching. RECEPTIONIST We don't get many Sandmen. I think we've only had one other since I've been here. 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 andsit 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. Logan and Jessica stand. They follow Holly into a large, shining,stainless steel room where we see: 143 MED. ANGLE - DOCwho looks about twenty-one years old, exchanges a pointed look withJessica. DOC It's a real privilege, Sandman. LOGAN Thanks. (slightest beat) I thought you'd be older. I ex- pected a Red. DOC (showing his palm; the flower crystal is Red) I am. LOGAN Your own work? DOC (with pride) And I did it myself right on there.144 FULL - ANGLE - THE SURGICAL APPARATUSAesculaptor Mark III -- the latest in servo-surgical designs.Completely self-contained -- tilt-bed, cryojector services embeddedin the platform. The Mark III's laser heads are integrated into thewhole cocoon, swiveled and gimbaled so as to be able to focus any ofthe surgical beams in microscopic delicacy or wide-bladed scraping.The machine vaguely resembles an enormously complicated x-ray tableon an angle -- the great slotted laser heads overhanging it andIntegral with it. From the cryonic receptor base there is a steadyexhalation of cold -- the vapor seeping steadily downwards, blurringthe endlessly looped and tangled tubes and wires and containersWhich join in solid state circuitry so that any random orinvoluntary twitch of a patient will be instantly compensated by anequivalent move of the laser head -- keeping the focus precise.At one end -- where the halves of the Mark III join, is n console ofswitches and dials -- lights nod servo-recorders which control the operation from the first injection of cold to the final healingvacuum drafts and scar burnishing. With the air of a magiciandemonstrating, Doc goes to the console and flips switches. Instantlythe table responds -- the platform tilting, the crab-like laser armsdescending flexing -- small vapor jets oozing as the beams slashharmlessly across the table. Beaming, Doc turns it off and the wholeapparatus subsides. 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 Docwho speaks to her with soft urgency). DOC You shouldn't have brought him here. JESSICA; I didn't bring him -- what's the difference. He's blinking. He wants to run. DOC Run!? He's a Sandman. JESSICA I tell you he's running. I know. DOC Maybe...Maybe. But I wish he'd gone somewhere else. (a beat, a shrug) All right. He gets a face. 144X1 THE SURGICAL TABLE - LOGAN AND HOLLYLogan lies down.The Table ripples...accepting his weight prisoning and positioninghim. 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. Doc presses buttons on the control board. Jessica, who is standingnext to Doc, is slightly startled as the Table begins to HUM...as apair of laser beams separate themselves from the overhead clusterand extend toward Logan, forming inner cones as they approach.CryoJector needles start to close in on them, nearing their facesand shoulders slowly...the visible cold streaming off the points.A vibrobeam begins to KEEN.SOUND: An insistent chiming.Doc hears the sound and turns with the martyred air of a man who'sbeen called to the phone too many times. He turns to a phone-likeapparatus nearby, shifting the table into neutral as he turns. Thetable and the laser heads stop moving. DOC (as if speaking on a phone) Hello (listening) Yes (listening) Yes, they are. (listening; his expression changing) Done.Doc turns back to the console, pausing to stare intently at Logan,then up at the brightly smiling Holly. Something in his lookregisters, and Holly's smile fades. Now Doc engages the machineagain... DOC Pay attention, Sandman. I'm proud of this machine.As he speaks he presses and an arm sweeps downward and into positionnear Logan's face. It pauses as DOC With this one there's no waiting for scar burnishing. It's all in one...watch now...The laser arm sweeps across Logan's forehead and cheeks, leaving abright trail of blood as DOC But here's the improvement. Instant healing---before you feel a thing. Watch now...Doc pushes a special button and the arm sweeps back along the track,spraying healing fluid. Magically the blood vanishes and the skin ismoist and whole.144X2 THE SURGICAL TABLE - LOGAN His face tense--he knows something's wrong. Over him Holly's brightface with its rapt look. She's not sure, but she enjoys whatever'shappening.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--aseam 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 intoLogan's new wound. Again the blood disappears. Suddenly Doc's look is ferocious. He turns off the healing switchand punches buttons fiercely. The laser arms begin to move wildlyand 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!Machine begins to WHINE LOUDLY.Jessica tries to turn the machine off...Doc starts to wrestle withher as:145-145X4 INTERCUT: CLOSE ANGLES - THE CLUSTER ABOVE LOGAN Moving.HOLLYWatching two stun beams lower.Doc knocks Jessica down. She is groggy on the floor asThe stun beams lance into Logan's cheeks.The Table holds him, biting into his right leg below the knee.146-148 QUICK CUTS OF DOC AND HOLLY Watching intently as: 149-150 CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIMAs surgical beams slit his shirt from the shoulder to the waistleaving two threads of blood. A vacu-head dips to suck the bloodaway neatly.151 ANOTHER ANGLE - LOGANAs Logan desperately sucks in his belly....trying to flatten himselfinto the Table.152-153 CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIMAs laser blades cut into his face....followed by a spray of healingliquid on the cuts. 154 CLOSE - ON HOLLYExcited....flushed....as:155 CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIMAs two wide blades of light sweep downward....and hover three inchesabove his neck....and keep lowering ....HUMMING loudly....and oneinadvertently frees Logan's right arm.156 CLOSE ON - DOCShocked 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....andbreaks 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 looksdown at it....we see it lying on the floor completely frozen.Slowly, Doc moves toward Logan the short smoke-colored stickmenacing 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 chestand Doc falls back onto the Table.157X1 CLOSE ON - HOLLYSCREAMING, as Doc is slashed by the machine amid showers of sparksand gouts of steam as the metal twists and wires short out andvarious fluids boil and spill onto hot surfaces. Holly tries tofight her way into the mess to help Doc, but Jessica, recovering,pulls her down and the two struggle.157X2 CLOSE ON - DOCIn terror as the laser beams begin to slash him to ribbons.157X3 LOGANMaking an effort to stop the machine, pulling levers and pushingbuttons in vain. He sees what's happening, pulls Jessica away fromHolly and, grabbing up his gun and tunic, heads for the entrance.Crossing the waiting room they are stopped by the sight of:158-162XI OUT163 FRANCISEntering...gun in hand.164 REVERSE ANGLE - LOGAN AND JESSICAAs they face Francis.165 FULL ANGLE - FRANCIS LOGAN AND JESSICA FRANCIS (frowning) What's going on, Logan?! LOGAN It has nothing to do with you. FRANCIS (choking but still loyal) What are you talking about?! I saw you let a Runner go? (up a notch) I saw you, Logan?? Tell me!!Suddenly the machine behind them erupts into a great burst of smokeand noise, momentarily drawing Francis' attention. Instantly Loganjumps him, grabs and throws him sprawling. Without a look back, heand Jessica run out.166 OUT166X1 FRANCISEnraged, finds his gun on the floor and, before rising, gets off ashot at them as they disappear. Then leaping to his feet, dashingoff in pursuit.167 ARCADE TRACKING Logan and Jessica running through Arcade. 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 OUT174 EXT. - HALLUCIMILL - TWO SHOT - LOGAN AND JESSICAExiting from the other side...and running through the crowd towardand into a Love Shop...followed by Francis coming out of theHallucimill, 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 withsexuality. In it, the darkness breaks at Irregular intervals -- whenbooths and cubicles flare into brilliance, each time revealing anorgiastic tableau. The Love Shop is multi-leveled and the randomflashes may appear from any direction at any time, blinding andstunning the viewer. Logan and Jessica pause to get their bearingsand as they do, a beautiful WANTON grabs Logan, pulling andlaughing: WANTON I have an empty one, SandmanLogan tries to pull away, looks around for Jessica just in time tosee a man almost carrying her off. Then the light is gone again andJessica with it.176 LOGAN AND THE WANTON As she tears at his clothing, wrapping herself around him, trying topull him down. Then, as the light flares again she suddenly lets goand grabs another man...Logan is, freed, starts looking for Jessica.177-179 SERIES OF SHOTSLogan hunting through the Love Shop, fighting them off.INTERCUT SHOTS of the suddenly-illuminated tableaus. Sex, manifoldand multiform -- everybody doing it.180 ANOTHER ANGLE - FRANCISEntering, starting to look around -- grabbed by one of the laughingWantons.181-182 LOGAN, JESSICABrief glimpses of them looking for each other.183 FRANCISHunting both.184 WITH LOGANAs he suddenly collides with a woman -- shoves her away and seesit's Jessica. Now together they make for an archway where multiplemirrors enclose them.Suddenly they are in darkness. Then a heavy door slides open andJessica leads Logan through the opening. Behind them the door slidesshut again. 185 FRANCISDesperately trying to get rid of a woman, sees a flash of Logan andJessica far across the room -sees them leave. Then he's pulled downagain as the orgy continues.186-186X1 OUT186X2 INT. - AN IMMENSE METAL STAIRWAY After a moment, Jessica takes Logan's hand and they start down inthe darkness. The SOUNDS of Love Shop still heard from behind thewall. LOGAN Are you taking me to them? JESSICA Yes. (beat) I don't know what else to do -- with him following us. (she hesitates) Why do you keep running from your-- LOGAN Because he's my friend - (a beat) and I don't want to be killed by him - or anyone. JESSICA He's good, isn't he? LOGAN Will he find us and kill us? Yes...or one of the others. (a beat) You know there's only one place to go now... JESSICA (hopelessly) They won't believe us. LOGAN (beat) I'd rather take my chances with them...than with Francis. JESSICA They won¹t listen. 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 sheturns 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. Theycontinue down into the darkness. Behind them the SOUNDS of Love Shop die away and only theirfootsteps are heard.187 OUT 187X1 FRANCIS At the mirrored archway, looking around carefully, testing. He knowsthey went through somehow. Hands claw at him - he brushes them awayas he searches.188-200 OUT200X1 WITH LOGAN AND JESSICA They have come to the foot of the stair. Here the flooring shineswetly in the darkness. JESSICA (softly) Exactly four steps now. Let me lead you. (they walk) Now to the right. It's narrow here, you'll have to get behind me. LOGAN (whispering) How will they know we're coming? JESSICA (whispering) They're watching us now. They'll let us in when they're sure. 200X2 CLOSE-UP - LOGAN'S HAND (INSERT) As he fumbles the transceiver switches at his belt, punching out asignal.200X3 INT. - SANDMAN H.Q. READY ROOMAs the Sandmen monitoring SEE THE SIGNAL FLASH and move smoothlyinto action.200X4 LOGAN AND JESSICA Close together, he behind, waiting--alert as a VOICE is suddenlyheard: VOICE (scratchy, filtered) Sandman, put your hands on your head. (he does) Clasp your fingers together. Now turn your hands over. Palms up. (beat) In a moment a light will shine in your eyes. Walk into it--Jessica first, then you, Sandman. You will have to stoop--but don't unclasp your hands. Do you agree?Logan nods.Jessica glances back at him but their faces are unreadable in thedark. Then suddenly--in front of her--a blindingly bright, narrowrectangle of light illuminating them fiercely. Jessica movesforward. Even she has to stoop. Logan is close behind. As he bendsawkwardly into the opening, the light goes out.201 LOGAN, JESSICA -- SANCTUARY HQAs he pushes her through the opening then moves instantly to theside, pulling her with him.. The move fails. Both are pinnedhelplessly in the blinding glare of the spotlight and the suddenappearance of glass-silver spear points pressed against them. Loganis unable to draw his gun. VOICE Hold still, Sandman, or die where you are. 2ND VOICE Is she the one? OTHER VOICES (like angry stage whispers) She betrayed us. Kill him. Kill them both. Jessica you sold us. Sandman butcher. Sandman murderer.Logan and Jessica stand rigid against the spear points, only theirheads turning to the echoing sibilants.. The spotlight goes off.202-204 OUT205 INT. - SANCTUARY HQ. - LOGAN, JESSICA - CLOSE In the darkness we see the glass-silver spear points are glowing allaround them, the long shafts falling away into darkness, the points,steaming gently when they touch--making an instant, wincing burn.Logan moves--a spear point presses--he flinches. LOGAN I'm a runner. She brought me here because I begged her to help me.He turns his palm. The red crystal blinks impressively in thedarkness.At the sight, a BABBLE of SOUNDS. Argument. VOICE He's lying. No Sandman ever ran. 2ND VOICE You don't run. You kill runners. You have killed runners all your life. - LOGAN Yes I have. (beat) Now it's my turn. And I want to live.Another angry murmur of VOICES. Over it Jessica suddenly: JESSICA (shouting) What's the matter with you. He's a runner-- he's blinking. We must help anyone who asks...we must-or we're the same as they are--deciding who lives and dies.One of the points lifts and touches Jessica's cheek. A quick, fierceburn. She shrieks--a tiny sound--and is silent.206 LOGAN Reacts fiercely, spinning against the spear points, he is Jabbed andpierced in a dozen places as he manages to get Jessica closer,shielding her with his body. But the spear points are too much. Hesubsides, as VOICES rise angrily "Kill him now".Suddenly a RINGING ALARM. All sound stops at once and we hear aCLATTER of FOOTSTEPS down the iron stair and across the outer floor.The spotlight bursts on again and a figure staggers into thechamber, straightening into the light, hair dishevelled, hands infront against the glare. It's Holly. HOLLY Holly. Holly, New You 483... He's dead. Doc's dead and the Sandmen came... VOICE (gentle) Holly--Holly. Remember the code. The code, please Holly... HOLLY (hysteria) They smashed everything and I barely got away. (beat) Holly. Station 12, Sanctuary 7. Holly. Holly...She lowers her hands and we see her, tattered, frightened--thebright smile strange. She comes to herself a bit, looks to the sideand sees Logan and Jessica, pinned against the wall.She reacts with fear at the sight. HOLLY It's him! The first Sandman. He killed...Doc. JESSICA No, Holly--wait! He's running. Tell them the rest! HOLLY (suddenly exhausted) He's the one. You too. I remember. He was in a hurry. Just a face job. Dark hair, I said. Then he killed Doc and you grabbed me--and the machine blew up and I ran...I ran JESSICA Holly. Holly! Please...The other Sandman. Remember the one who came after--Holly suddenly remembers and the shock makes her lucid. HOLLY (pouring it out) That's right. The other one came after. The older one. Smashing, killing, burning! JESSICA (coaching desperately) ...and he was hunting the first one, this one. Wasn't he? Wasn't he? This one was running, the other one was hunting him... HOLLY (remembers) Yes. Oh yes. (to Logan) He was after you. I remember. You're running!207-208 OUT208X1 ANOTHER ANGLE 1The spear points are withdrawn. Logan and Jessica relieved butshaken, wary. LOGAN May we move?A long beat. Then-- VOICE I saw we pass them through. Somebody help Holly. Other VOICES mumble agreement. Holly moves off into the dark room,hands reaching out to help her. VOICE You two. Just go straight ahead. Follow the corridors with the pipes overhead to the end. Then use the key.As the voice speaks the spotlight finally goes off and by a dim glowaround the perimeter, we see we're in some kind of large undergroundchamber--some part of the vast undercellars of the city. The lightis enough to reveal that there are perhaps twenty people in theroom, 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'sobviously the way they are to go. Logan and Jessica move off. Loganpauses. 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 I 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. Hewheels, pulling her with him. LOGAN Come on then--they'll be here any minute!Uncomprehending, she starts to run with him. Too late. An EXPLOSIONshakes 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 wreckageof the room.209 OUT209X1 LOGAN AND JESSICA As the brief, one-sided battle rages, echoing SHOTS and SCREAMS inthe dust filled room, Logan pulls her down out of the way. Theywatch, helplessly. Suddenly the figure of a Sandman looms beforethem. He stares at Logan, unsure. Logan reacts, draws, fires. TheSandman is smashed away, burning.209X2 LOGAN Suddenly aware that he has killed a Sandman. Jessica pulls him downagain into the shadow. Neither realizes chat the soft pulsing of hiscrystal can be seen from the room.210 ANOTHER ANGLEFrancis, quartering the room like a hound, searching, searching,stopping as he sees211 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...After the slightest beat, Logan FIRES and Francis falls, a greatchunk of the cave roof falling between him and Logan -- all visionobscured while EXPLOSIONS and SCREAMS continue.212 LOGAN AND JESSICAAs he pulls her shakily to her feet. She nods, she's okay. He leadsher off down the tunnel.213 WITH LOGAN AND JESSICA - TUNNELfollowing the tracks. The way leads down, curves, recurves, butalways down.214 ANOTHER ANGLE - INCLUDING LOCK As Logan and Jessica rush toward it. The corridor has widened into akind of chamber which ends in a great metal door like an immensesubmarine hatch.The tracks run straight to it and beneath it. The base of the door tands in a couple of inches of water. With great urgency, Logan and Jessica examine the huge door. Logangives the wheel a tug...nothing.SOUND: A WHIRRING like clockwork...A METALLIC BELL SOUND and then aRECORDED VOICE. VOICE Runner, this is the last gate. Use your key now. When the Bell sounds again...use your key. Good luck, Runner. May you find Sanctuary.SILENCE. Then the BELL CHIME SOUND and a light illumines the centerof the wheel where there's a kind of keyhole. The WHIRRING continuesfor 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 lightand shadow -- the SOUND of RUNNING215-216 CLOSE ON - LOGAN AND JESSICAAs 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 thedark 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 theRunner's ankh.Logan finds it just as the WHIRRING SOUND has STOPPED again...andthe light has gone out again in the center of the wheel.As Logan and Jessica wait for the sound, etcetera to repeat againanother TREMENDOUS EXPLOSION is heard rocking everything. In thedistance, Jessica can see the shadow of a FIGURE approaching.As the SOUND, etcetera, repeat-s once more...Logan pushes the ankhinto the lighted center of the wheel. The ankh fuses and the lightedcenter 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.As the shadowed FIGURE looms LARGER: JESSICA There's no turning back, is there?Logan turns and pushes Jessica through the door... following her...as the door closes and they are:217 ON THE OTHER SIDE now, they can still hear the SOUND, etcetera for the last time.Beyond the lock is the ruins of a vast undersea complex in whichfood was raised and harvested. What we see is an endless shadowylabyrinth of breeding pens which stretch off into the green darkness-- a kind of mammoth aquarium with catwalks and ramps intersectingthe huge tanks. The levels are multiple and everything is slimed,rusted, rotted and wet.In the tanks themselves are shoals of fish, gardens of seaweed, etc.The machinery for harvesting and winnowing has long since gone torust -- and visible in the great tanks are the wrecks of vessels andgear -- the kind of stuff Cousteau and Co. are using now.Footing is dangerous -- a slip from any catwalk means a plunge intowater and some of the walkways are well under water anyhow. From aninvisible ceiling comes a steady dripping and everything is crustedand smells of salt and decay and life in the darkness.217X1 WITH FRANCIS As he arrives at the door, the ankh glowing as before.But Francis has a light. He examines the door with it, and as itlights the pool of water on the ground, it picks out Jessica's ankh.FRANCIS stoops, gets it and looks from it to the one glowing 128 LOGAN AND JESSICA Bewildered -- uncertain, as their eyes adjust to the dim light.Finally, Logan gestures ''this way" and sets out.(NOTE: The action of the sequence is the action of people gropingthrough a labyrinth. They go along, gripping a rail where possible,sometimes sinking deep into water, sometimes rising above it. Theyrun into blind endings and retrace to the last junction -- alwaystrying for what looks driest and seems to stretch farthest along thegreat wall...)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 inwhile 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 halfturn -- great rusty net-combs start to winnow the water.E. Helping Jessica, Logan slips...falls into darkness. Jessica'sfear 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.They speculate. JESSICA What do you suppose this was...? LOGAN Some kind of breeding pens...I suppose...They say people used to breed animal s, fish, anything (at her disbelieving look) To eat, of course. JESSICA Ycch. (shudders) To kill things and then eat them. It must have been a savage world. Logan shrugs, but the idea makes him queasy, too. G. They stop, tired. Peer through at the wreckage of a smallinspection vessel and suddenly hear:SOUND: FOOTSTEPS, coming, halting, WATER sloshing. Steps again.225 POV - THROUGH THE MAZE OF TANKS - A LIGHT moving, hunting. LOGAN (alert) Stay here, while I see what it is. Jessica nods, frightened. Logan slips off into the darkness. In amoment he's back. His face - is grim. JESSICA It's Francis, isn't it?He nods.226 LOGAN AND JESSICATrying to move faster now, Logan makes a wrong turning and they mustgo back. But as they do so, Francis is ever closer -- a giganticdistorted SHAPE now visible through the eerie glass -then suddenlyseeming small and distant.As they emerge from the blind alley once again close to the wall,suddenly:227 FRANCISlooming huge, gun drawn, apparently only a few feet away.228 LOGAN AND JESSICA Logan desperately claws at machinery, succeeds in starting motion,somewhere what sounds like a GENERATOR begins laboring, ancientmachinery GROANS. They turn and run as they HEAR: FRANCIS (distorted; echo; etcetera) LOGAN N N N. 229 POV - FRANCIS' LIGHTis splashing the walls ahead and in it they suddenly see:THE DOOR -- a waterlock with a wheel. As the light passes, Loganheaves desperately on it. It starts to give as the light comes backand they are revealed.230 CLOSE - ON FRANCISaiming at Logan...then slowly moving his hand until Jessica is inhis sights.231 LOGAN - JESSICA - FRANCIS Francis FIRES -- tremendous SOUND, ECHOING and RESOUNDING. One ofthe great tanks buckles and a cascade of water erupts overeverything. Through it, Logan manages to get the door open andpushes a half-drowning Jessica through.232 INT. - THE SHAFT A sort of ancient freight elevator which commences to move groaningwhen the waterlock door closes. Logan slumps to the floor.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 whitecolor. They lie slumped, motionless. Finally it stops. The dooropens 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 movesclose to him. Logan puts his arm around her and they rise. Slowly,tentatively, he leads her out into the dark chamber where they standfor a moment trying to find themselves. What little light there isseems to come from the left. Arm around Jessica, Logan starts tomove. 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 lastminutes he has done strange things.234-236 OUT 236x1 INT. - ICE CAVERNSuddenly they are blinded by a brilliant light coming from the sideand revealing for the first time where they are.236x2 ANGLEBefore them a vase, dim, ice-shrouded storage area, row upon endlessrow of frozen lockers trailing away into darkness, their legends andcontents unreadable in the thick covering of ice and frost. To theside, a bright light. 236x3 LOGAN AND JESSICAWalk toward the light.236x4 WITH LOGAN AND JESSICAWe see a huge, high-domed cavern ringed and ornamented withextraordinary ice sculptures-They are everywhere: Otters, fish, atusked walrus---overhead a flight of birds.236x5 ANOTHER ANGLEAs they look in wonder: VOICE Overwhelming, isn't it?Logan and Jessica turn and see:237-238 OUT239 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. hislegs 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... LOGAN (after a beat) We're hungry do you have anything to eat? BOX Anything to eat?Box starts to laugh...He is roaring with laughter as: JESSICA (quietly) We're human and we're hungry. BOX (still laughing) I know...I know. LOGAN This place is a link to Sanctuary, isn't it?Box looks totally confused. LOGAN (angrily) How do you think we got here??!! BOX You walked in. I saw you. Don't you remember?Logan contains his anger. LOGAN (beginning again; quietly) Where do you think we came from? BOX From? From? From? LOGAN We were sent here and you know it. Others have been sent here. Where are they? Hiding? Box looks around the cavern: BOX (mischievously) Hiding? Yes! Hiding, hiding. LOGAN Where do we go?! (up a notch) Where do we go from here??!!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 toBox...their arms are enveloping one another...with strong feelings. BOX'S VOICE Superb! 242 ANOTHER ANGLE - INCLUDING BOXAs his metal hand begins to BUZZ...he brings it to the base of thehuge column supporting the cavern.As he works furiously...at Incredible speed:243 LOGAN AND JESSICA...oblivious to Box...their feelings intensifying as they continueto hold one another.244-245 OUT246 CLOSE - ON BOX BOX (stepping back) Done...behold...!247 REVERSE ANGLE - LOGAN AND JESSICABefore they turn to view the sculpture they kiss long andpassionately.Their mood is broken by: BOX'S VOICE Done...Done...Done...Logan and Jessica break. They turn and see:248 FULL ANGLE - THE ICE SCULPTUREBox has captured them perfectly...shimmering with life...filled withemotion.249 WIDE ANGLE - INCLUDING LOGAN, JESSICA AND BOXThere 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.Box mumbles as he leads Logan and Jessica toward the rear of the IceCavern.250 INT. - ICE ROOMAs Box enters followed by Logan and Jessica.This room has a fairly low ceiling and it is not too wide.It stretches back as far as the eye can see.The ice along the left wall is frosted...but the ice along the rightwall is perfectly clear.And embedded in the ice along the perfectly clear right wall are:251 WIDE ANGLE - MEN AND WOMENStanding in erect positions.At first it appears that they might be more of Box's perfect worksof sculpture.But as Logan and Jessica examine them closely through the clearice...it is soon apparent that they are real people...who have beenfrozen.252 CLOSE ON LOGAN AND JESSICAHorrified as they move slowly along the wall.253 ANOTHER ANGLE - INCLUDING THE MEN AND WOMEN FROZEN IN THE WALLWe can see that each of them has a black crystal flower in the palmof their right hands. Logan walks to the end of this wall. Each frozen body has a numberabove it. The final body's number is 1056...That number which thevoice in Sandman's headquarters revealed as the number of missingRunners.The CAMERA PANS Logan back to Box.254 ANOTHER ANGLE - INCLUDING BOXAs 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 seaLogan pulls out his gun. LOGAN Tell us how to get out...or I¹ll 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 ofhis body away from Logan and starts advancing toward him and Jessicawho 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 JESSICARetreating...as Logan FIRES again and again...to no avail.As Logan and Jessica retreat further and further toward the rear ofthis room and:256 REVERSE ANGLE - BOXAdvancingWe 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 JESSICAFinally reaching the rear wall of this room as:258 REVERSE ANGLE - BOXRelentlessly moving toward them.259 TWO SHOT - LOGAN AND JESSICASeemingly pinned back against the rear wall.Logan is FIRING his gun futilely with his right hand...while movinghis empty hand against the rear wall...trying to find a knob orbutton which might open it.The entire time he never takes his eyes off:260 REVERSE ANGLE - BOXGetting 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 JESSICAAgainst the rear wall...We can SEE...but they cannot...that abovethem...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 hisWHIRRING saw hand Logan pushes Jessica to the floor and drops downalongside her.Box cannot stop his forward thrust and cuts a sizable chunk of iceout of the rear wall as:Logan SHOOTS at Box from the floor Level...upwards ...trying topenetrate some part of his seemingly impregnable body. He misses buthits 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 caverncontaining his sculptures. BOX (still screaming) All my work!' All my work!! As Logan and Jessica stand:263-270 OUT 270x1 ANGLE - THE REFRIGERANT COILSBursting open, discharging great streams of gases.270x2 LOGANSeeing the effect, shooting again and again at the ceiling andwalls.270x3 ANOTHER ANGLE Coils bursting everywhere, vapor billowing into the cavern. 270x4 ANOTHER ANGLE Huge slabs of ice instantly loosening, crashing over. 270x5 FULL SHOT AS the effect multiplies--Ln the hissing vapor-sculptures crashingover and enormous chunks of ice loosened and crashing.270x6 BOXCareening around wildly in the growing ruin, as the lights dim andflicker out.270X7 ANGLEThe ceiling full of birds loosening, crashing down upon Box. Againand again like great spears and wedges 270X8 BOX Buried in his work, still feebly moving, then still as the roaringice crashes down, in the terrible darkness. 270X9 LOGAN AND JESSICA Cowering in the crashing maelstrom of ice blocks--saved only byBeing in an angle of the cave.270X10 FULL SHOT The SCREEN blotted out by the cave-in, going out of focus. Silence.Then:SOUND: Ice melting, water running.270X11 LOGAN AND JESSICAStir in the dimness, amazed to be alive.SOUND: A heavy crash and splash as another huge ice block falls intothe water.As it falls, the cave is suddenly illuminated again. They look andsee the light is coming from a great fissure in the wall--opened bythe last ice fall. Water rains across the opening.Logan and Jessica make their way to it, step out.271-272 OUT273 EXT. - HIGH LEDGEWater is pouring down in a waterfall from the icemelt.They are blinded by:274 SUNSHINE: A HUGE RISING SUN As Logan and Jessica shield their eyes...then realizing that thedazzling 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 JESSICAclambering 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 theyset out again.275-276 OUT276X1 INT. - CAVE - CLOSE ON FRANCISPicking his way through the ruined cave, puzzled.277-287X1 OUT288 EXT . - FOREST AREAAs Logan and Jessica reach it.They are startled by the SOUND of BIRDS SINGING for a moment...thencontinue through some high grass and thorned bushes being scratched,etcetera.A swarm of insects attack...Logan and Jessica fight them off: JESSICA (starting to panic) I hate outside! I hate it! LOGAN (holding her; comforting tone) We'll be all right... (a beat) We will...The sun is starting to go down...as they see a rabbit dart away inthe grass...startling them for a moment. 288XA1 FRANCISComing out through the fissure in the rock, squinting at theunexpected light from the sky, then setting out as Logan and Jessicadid. 288XB1 WITH LOGAN AND JESSICA - A BUSHY AREAThey come upon bushes of berries. Logan picks a few, looks at themand smells them. As he is about to put them in his mouth...Jesslcagrabs hold of his hand. JESSICA Don't! LOGAN Sooner or later, we'll have to try somethingLogan eats the berries...as Jessica watches intently.After a beat LOGAN They're good.Logan and Jessica pick berries and eat. When they are finished: JESSICA It's getting dark and cold. I'm tired. LOGAN Why don't we rest here? We know we can eat these.They sit on the ground.LAP DISSOLVE TO:288X1 TWO SHOT - LOGAN AND JESSICA - NIGHT Sitting on the ground.Jessica is shivering. Logan has his arms around her trying to keepher warm. JESSICA Where do you think that heat-ball went?Logan shrugs. JESSICA Do you think everything's going to turn to ice? LOGAN I doubt it. JESSICA Don't ever let go. LOGAN I won't. After a long beat: LOGAN It all seemed to make sense until Box. JESSICA Do you think he was telling the Truth?Logan shrugs. JESSICA (trying to convince herself) Maybe we're the first ones to get through... (hopeful tone) Maybe Sanctuary is near, now... another protected place. It couldn't be outside. LOGAN (grunts) How would anyone know? Even if we find it -- we can never go back.At her stricken look...Logan touches her in a caring way. LOGAN You're right...it must be near now. We'll find it. JESSICA (yawning; closing her eyes; resting on his shoulder) Thirty thousand years didn't last very long, did they? 288X2 EXT. - BARREN TERRAIN - NIGHT - FRANCIS Looking frightened as he looks up at the moon and the stars his gundrawn.Suddenly, a rabbit darts by.Francis jumps up in great fear and starts FIRING his gun...blastingthe rabbit to smithereens.He is breathing hard (fear)...and looking around...gun in hand.288X3 EXT. - FOREST AREA - DAY - LOGAN AND JESSICAwalking in the hot sun...grimy...thirsty.288X4 EXT. - FOREST AREA - FRANCISHis face still betrays a wild, frightened look as he moves verycautiously.He reaches the bushes of berries and sees some of them on theground.He picks a few off the bush...is ravenous...but finally...toofrightened that they might be some kind of poison to eat any.As he angrily crushes the berries in his hand... then wipes his handon his trousers:288X5 EXT. - FOREST AREA - LOGAN AND JESSICASeeing shimmering in the distance. They walk toward it.288X6-288X8 TRACKING SHOTS WITH LOGAN AND JESSICAReaching...289 FULL ANGLE - A BROOKThey rush to it...drink...then undress...swim...and as they embracein the water: JESSICA Logan!!!Look!! (Logan turns around) No...your palm...look!!! Logan looks at his palm...the blinking crystal is clear.He grabs Jessica's hand and looks at her palm... the same. JESSICA (quietly) What does it mean? LOGAN (trying to assimilate its meaning himself) The Lifeclocks have no power outside. Jessica takes Logan's palm and kisses it. JESSICA (with laughter) You can have any woman in the city. What do you really want? LOGAN (straight) You know, Jessica. JESSICA. (a beat) ...But I still have the choice...? LOGAN Of course. JESSICA Then the answer's Yes...They embrace there in the water... 290 OUT291 HIGH ANGLE - SHOOTING DOWN - LOGAN AND JESSICAComing out of the forest...climbing up a green hilly area...reachingthe top and seeing:292-301 OUT301X1 ESTABLISHING SHOT - WASHINGTON, D.C. - MATTE COMPOSITEThe monument rising up out of a tangle of forest -- other buildingsgleaming, half hidden. In the foreground Logan and Jessica walktoward monument.301X2 WITH LOGAN AND JESSICA Walking toward CAMERA to edge of swamp they stop and look at:301X3 LINCOLN MEMORIAL - LONG SHOT - (MATTE PAINTING)301X4 WITH LOGAN AND JESSICAExiting CAMERA RIGHT toward Memorial301X5 EXT. - MEMORIAL - LOGAN AND JESSICA - (MATTE COMPOSITE)Climbing steps of memorial toward statue.301X6 EXT. - MEMORIAL STEPS - HIGH REVERSE ANGLE - (MATTE COMPOSITE) Logan and Jessica walking up steps toward CAMERA. They pass betweentwo columns and EXIT CAMERA right.301X7 INT. - LINCOLN MEMORIAL (MATTE COMPOSITE) Logan and Jessica walk toward statue L-R. They stop and look up.301X8 CLOSEUP - LOGAN AND JESSICA Looking up at statue.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.301X11 INT. - MEMORIAL - HIGH ANGLE OVER STATUE'S BACK (MATTE COMPOSITE)Logan and Jessica EXITING.301X12 LOGAN AND JESSICA 301X13 OVER LOGAN AND JESSICA - WASHINGTON MONUMENT AND CAPITOL IN B.G. (MATTE COMPOSITE)They walk through pond toward capitol.301X14 CEMETERY - CAPITOL IN B.G. (MATTE COMPOSITE) 301X14 (LOT 2)Logan and Jessica walking past gravestones. 301X15 LOGAN AND JESSICA'S POV - GRAVESTONES 301X15301X16 CLOSEUP - LOGAN AND JESSICA As they pass the stones, Logan glances at them. LOGAN They all have names and numbers on them. I wonder what they are? JESSICA "Beloved Husband". "Beloved Wife". What can all that mean? Just then their attention is focused by a distant SOUND as ofSHOUTING -- a man's voice. Jessica stops. JESSICA Francis? Logan shakes his head. They EXIT cemetery toward capitol. 301X17 LONG SHOT - CAPITOL (MATTE COMPOSITE)Logan and Jessica walking up steps toward building.301X18 TWO SHOT - LOGAN AND JESSICAWalking up the steps...many of which are cracked.They are proceeding with great caution...as they enter the CapitolBuilding.301X19 INT. - CAPITOL ROTUNDA - LONG SHOT - (MATTE COMPOSITE) Logan and Jessica enter the ancient room. They stop and look around.301X20 CLOSEUP - LOGAN AND JESSICA SOUND: HAMMERING NOISE -- irregular. It stops after a bit.They walk to the door and open it cautiously.They EXIT right.301X21 INT. - CORRIDOR OUTSIDE SENATE Logan and Jessica walking down corridor, left to right. The SOUND continues. 301X22 INT. - SENATE CHAMBERLogan and Jessica as Logan opens the aged door.301X22A CLOSEUP - A CAT SQUALLING OUT INTO CAMERA301X23 CLOSEUP - LOGAN AND JESSICA React, then they enter Senate and stop and look.301X24 INT. - SENATE - OVER LOGAN AND JESSICA'S BACK - A WHITE HAIRED MAN OF S SIXTY-PLUS There are HUNDREDS OF CATS...and THOUSANDS OF BOOKS all over theplace. JESSICA (frowning; whispering) Look at his face...and his hair... (grimacing) Is that what it is to grow old? LOGAN (still stunned) It could be...There are a COUPLE OF CATS on the man's lap as he turns and facesLogan and Jessica...when he HEARS them move closer.The man is stroking the cats calmly...unperturbed by the appearanceof Logan and Jessica. LOGAN How old are you? MAN As old as I am I suppose...who knows ? LOGAN Your hair is white. MAN It wasn't always. I remember when it wasn't. But it wasn't your color either. (looking at Jessica) ...or yours. I have my color somewhere. JESSICA Those cracks in your face...do they hurt? MAN Oh, no... JESSICA Could I touch them? MAN Oh, my...please try.Jessica walks up to the man and touches his face. JESSICA What's your name? MAN I've forgotten. It's been so long since I've used it. Logan and Jessica exchange a quick glance...feeling they have comeupon a nutsy, fruitsy cupcake. MAN But all of my cats have names. LOGAN Is that what they're called-- cats? OLD MAN Yes, cats, of course. What else could they be? Cats. Of course each one has his own name too. JESSICA But there are so many of them. Do you know each one separately. OLD MAN Yes indeed, everyone. Actually, they all have three. (reciting) "The naming of cats is a difficult matter. It isn't just one of your holiday games. You may think at first I'm mad as a hatter when I tell you a cat must have THREE DIFFERENT NAMES." (a beat) An ordinary name and a fancy name. That's two. Do you want to guess what the third one is? Logan and Jessica are silent. OLD MAN (reciting again) "But above and beyond there's still one name left over, And that is the name that you never will guess; The name that no human research can discover -- - But THE CAT HIMSELF KNOWS, and will never confess." (reaching down and stroking another cat) Will you, my pet? One of the cats jumps off his lap. OLD MAN (reciting) "Why did you go little fourpaws? You forgot to shut your big eyes." (the man closes his eyes for a moment; then:) "I have a Gumble Cat in mind!" As the man opens his eyes: LOGAN How long have you been living here? OLD MAN For as long as I can remember. LOGAN What kind of place is this? OLD MAN Just a place, I suppose...who knows?The man looks puzzled. LOGAN How did you get here? OLD MAN I have always been here... LOGAN Are there any other humans? OLD MAN Gracious...no. LOGAN Have any other people ever passed through?The man shakes his head...then: OLD MAN But there may be a few around somewhere. LOGAN What makes you think so? OLD MAN My parents thought so. Mother and Father. You know? LOGAN (astonished) Mother and -- ? You knew your mother and father?The man nods. JESSICA And...and how were you grown? Inside your mother? OLD MAN Yes... JESSICA Are you sure? OLD MAN Mother and Father said so... you know? LOGAN Where are they? OLD MAN Dead...they're dead...and buried. JESSICA (not knowing what it is) Buried???Logan wheels...as he HEARS THE NOISE OF A DOOR SQUEAKINGSLIGHTLY...as it opens a bit wider:302 CLOSE ON A CATComing through the opening - did he push it?303 CLOSE ON THE MAN OLD MAN (pleased; reciting) "Gus is the cat at the theatre door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus."306 WIDER ANGLE - INCLUDING LOGAN AND JESSICA OLD MAN May I see your hand again?Logan and Jessica extend their left hands. The Old Man takes them,looks from one to another with delight. OLD MAN They're beautiful. May I have one too please? LOGAN No--I'm sorry. It's not possible. OLD MAN (offended) It isn't fair. I'll give you one of my favorite cats...a Jellicle cat. (reciting) "Jellicle cats have cheerful faces, Jellicle cats have bright black eyes; They like to practice their airs and graces And wait for the Jellicle Moon to rise." LOGAN I'm sorry but I don't have anything to give you. As the man continues to look petulant: JESSICA (simply; sincerely) That's the truth.Jessica takes off a ring and hands it to the man. JESSICA Here you can have this.The man seems pleased. OLD MAN What kind of jewel is this? JESSICA I don't know. OLD MAN You're both full of secrets like Macavity. (looking at the ring) Did you steal this? JESSICA No. OLD MAN (reciting) "Macavity, Macavity, there's no one like Macavity, There never was a cat of such deceitfulness and suavity." LOGAN What's beyond this place - do you know? OLD MAN No, no, no LOGAN Did your Mother or Father ever mention another place? OLD MAN Never, never, ever. Nothing.After a pause: LOGAN May we stay here for a while? We'd like to rest. OLD MAN Of course you can stay. This belongs to the people. JESSICA What belongs to the people? OLD MAN All this. All of it. JESSICA What people? OLD MAN I don't know...but it does.The man stands...and starts walking toward a door to an adjoiningroom. OLD MAN I'll be right back. (stopping) Oh, yes...about the cats... one rule is true: (reciting) "Don't speak till you are spoken to." The man smiles and leaves. 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 MANThe 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 ofhimself in his twenties. He sort of brushes the hair...which is richauburn. 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 thatthere is no Sanctuary has sunk in and taken hold.308 OUT308x1 THE CORNER - LOGAN AND THE OLD MANWe see portraits of Presidents of the United States.We can recognize all of them...with the exception of the dozen or sothat 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.309 INT - SENATE CHAMBER - CLOSE ON - JESSICA As Francis suddenly appears alongside her.Jessica is terrified...speechless. Francis glances across thechamber, sees Logan. When he speaks, it is softly but urgently. FRANCIS What did you do to him?Jessica is silent. Francis' tone becomes increasingly sexual. FRANCIS Why? Why you? (grabbing her) Do you know you ruined him? Do you know that? Can you tell me why? Why you? (a beat) And now you've killed him, you know...Francis starts to tear off her clothes...obviously to rape...but hisexpression remains cold and without passion. JESSICA (screaming) Logan!!!As she screams, Francis clamps a hand over her mouth and drags herO.S.310 OUT310x1 LOGANhears the scream, wheels -- sees nothing for a moment.311 INT. - SENATE CHAMBER FRANCIS' VOICE Here!!!!Logan looks up...and we see Francis crouched behind the railing ofthe 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 chink 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 - LOGANHolding up his right palm. LOGAN Look at your palm, Francis.... look! It's clear. Clear!313 REVERSE ANGLE - FRANCISLooking at his palm....shocked...dropping his gun. It falls on theCHAMBER 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 - CATSScattering in all directions as:315-319 CLOSE ACTION SHOTS - FRANCIS AND LOGANIn hand to hand combat punching...Kicking...wrestling320 INTERCUT WITH: JESSICA AND THE MAN REACTINGJessica deeply disturbed...The man enjoying himself as if Logan andFrancis were putting on a show for him.321-331 THE FIGHT- SERIES OF SHOTSA. Francis manages to pick up a chair and smashes it down on Logan.B. As Logan slumps to the floor and Francis cries to follow throughhis advantage by crushing Logan's face with his foot:C. Logan grabs Francis' foot and twists it...sending Francis reelingbackward.D. Standing, Logan grabs a table and hurls it at Francis...whoducks.E. Francis sees a steel flagpole (with an American flag that hassixty-one stars) and takes hold of it.F. Francis moves toward Logan...with the menacing steel flagpole infront of him.G. Logan is wary...watching every movement of the steel pole.H. Francis swings the steel pole twice...We can HEAR the WHISH-WHISHas it cuts through the air...with Logan avoiding the blows.I. On the third swing...Logan grabs hold of the steel pole andswings around on it...kicking Francis in the chest.J. Francis lets go of the steel pole as he staggers backward.Francis and Logan look at one another for a brief anguished momentas Logan crashes the steel pole (which he is now holding) down onFrancis' head.K. Francis crumbles to the floor. Feebly, he raises a hand towardLogan...Logan touches Francis' hand and Francis grasps his wrist, holdingdeath off with the strong grip. FRANCIS (delirious) That was the right shot--Look out there, he's trying to break free Watch it, Logan, steady, now!......His eyes focus briefly and he sees Logan's palm-the crystal shiningclear and white. Francis is suddenly radiant. FRANCIS Logan! You renewed!And he is dead. DIRECT CUT TO: 332 JESSICA AND THE MANThe man walks over to Francis and bends down. OLD MAN Oh, my...he died...333 CLOSE ON - LOGANRubbing his face with the palms of his hands...clearly upset.334 ANOTHER ANGLE - INCLUDING JESSICA AND THE MAN OLD MAN We¹ll have to bury him. JESSICA What¹s that? OLD MAN They¹re put into the ground so they can be visited by the living...Logan¹s eyes are glistening with tears. The man starts out. OLD MAN I¹ll make the arrangements. JESSICA (softly) At least it¹s over...Jessica¹s words don¹t help as Logan shakes his head...then: OLD MAN Are you ready to put him in? LOGAN Not yet. OLD MAN All right.The man sits down.Gently, Logan lifts Francis¹ body...trying to straighten him outfrom the slightly twisted position he assumed when he fell to thefloor.After resting Francis¹ body on the floor again. He cradles Francis¹head in his arms.DISSOLVE TO:335-338 OUT339 EXT. - HIGH ANGLE - CEMETERY - NIGHT - SHOOTING DOWN OLD MAN'S VOICE "Vigil wondrous and vigil sweet there in the fragrant silent night."339X1 CLOSER ANGLE - CEMETERYAs they look down at Francis' body...in the open grave.Jessica watches as Logan and the man start shoveling dirt into thegrave...starting to fill it.339X2 JESSICAquietly watching:DISSOLVE TO: 339X3 INT. - SENATE - NEXT MORNINGOn Logan sleeping - Jessica and Old Man in a spirited but softconversation in a far corner.As Logan wakes he hears: OLD MAN Of course...that's settled then. But just you remember your promise... JESSICA We'll remember. But that's a long time off...She sees Logan awake and listening, crosses to him, smiling. Loganrises to her. LOGAN What are we promising him? What can we possibly give him? JESSICA He asked if we would bury him when his time comes. LOGAN (beat) We can't. We're going back. JESSICA To what? LOGAN I'm going to try and tell people what we've seen and-- JESSICA (interrupting) You're lying! You'll never have the chance to tell anybody anything! You'll be killed the moment you're seen! LOGAN Do you expect me to let things go on without trying to change them?! JESSICA Things won't change...you know that! We can live here together, Logan... have a life as long as his... together! LOGAN (showing his palm) Things change! JESSICA You want to go back to kill, is that it?! Now, you'll want to kill your own!!! kill Sandmen!!! Killing's all you ever...!!!!Logan shakes Jessica who is becoming hysterical. LOGAN (softly) Jessica...listen to me...listen to me... (as she quiets down) The Lifeclocks made me kill Francis. They make people die or be killed every day. If I didn't try and destroy that...I couldn't live here or anywhere. Do you understand? JESSICA I want to be alive and with you, that's all I want.Logan puts his arms around her. LOGAN I know...I know...The Old Man comes to them, wondering. LOGAN We're leaving. OLD MAN What a pity. I was hoping you'd be here to bury me. JESSICA Come with us. OLD MAN Where are you going? LOGAN To a city with thousands and thousands of people. OLD MAN Alive?Logan nods. OLD MAN Thousands and thousands...as many as my cats? LOGAN More...many more. OLD MAN And all alive you say?Logan nods. OLD MAN Yes, I would like to see that. Is it a long journey?Again, Logan nods. OLD MAN (mumbling) Thousands and thousands alive... oh, my...340-349 OUT350 HIGH ANGLE - GREENBELT AREA - SHOOTING DOWN - DAYLogan, Jessica and the Old MAN are walking...with the CapitolBuilding blurred by overgrown foliage receding in the b.g. of theSHOT. 351-361 OUT361X1 EXT. - FOREST AREA - AFTERNOONThe Old Man has picked Some wild vegetables...and hands a piece toLogan and a piece to Jessica.As they hesitate...the Old Man bites into it... heartily. As Logan and Jessica start eating it, too: OLD MAN (marveling tone) Never see the sun or the moon... I hope we get there soon...361X1A NIGHT - WOODED AREA - CLOSE On Logan, Jessica and the Old Man as they emerge from a small groveof trees and stand looking O.S. past CAMERA Behind, a flicker offirelight. OLD MAN (weary but enthusiastic) Is that really it? It doesn't seem very far. Will we be there soon? LOGAN I promise. We '11 go on as soon as it's light. JESSICA (gently, turning O.M. away) But now I'm tired. Let's go back to the fire...They turn, the Old Man still marveling at the sight.P.O.V. WHAT THEY SEE (TO BE INTERCUT)NIGHT (Matte) view of the domed city seen through a fringe of trees and beyond distance hills.361X1B EXT. - WOODED AREA - NIGHTAs the three return to where a small fire is burning on the ground. OLD MAN That's better than gold when it's cold. LOGAN Thank you. (turning to Old Man) Tell me - what do those words mean? "Beloved husband²...²Beloved son"... "Beloved wife"'... OLD MAN My father was the husband and my mother was the wife. "Beloved" is a word they used - to stay together. LOGAN Stay? They lived together all their years? OLD MAN Oh, yes...I think... JESSICA (reading; moved) ³Beloved son²... (a beat) So people stayed together for that feeling of love... They would live and raise children together and be remembered. (another beat) I think I feel that way, Logan. Can we be that way? LOGAN (facing Jessica) Yes. You and I, Jessica. (a beat) JESSICA And Sanctuary? LOGAN Sanctuary is the right to live.... nothing more. But nothing less, either....There is a long beat...then Jessica snuggles up to Logan...she isready for sleep. JESSICA (whispering) Beloved husband... LOGAN (kissing her) Beloved wife...361X2 OUT361X3 EXT. - DAY - GREENBELT AREA - LOGAN, JESSICA AND THE OLD MAN Walking.361X4 OUT 361X5 EXT. - WOODED AREA - NIGHT - LOGAN, JESSICA AND THE OLD MAN As they walk the great glowing dome is visible in the distance.The Old Man marvels at what he sees...they walk on.362 LONG, LONG ANGLE - LOGAN JESSICA AND THE OLD MAN - DAYWalking up the beach toward the domed city. We get an idea of thescale. They appear as ants in front of redwood trees.363 OUT364 LOGAN, JESSICA AND THE OLD MANApproaching. The wave power inlet in f.g. TheyHEAR: THE ROAR OF THE WATERAs they approach cautiously...they see:365 WAVE POWER INLETWaves 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 STRANGESTEPPED CONSTRUCTION until they reach:366 FULL ANGLE - A POOL OF WATERAt the CENTER of this IMMENSE WATER FLOWING CONSTRUCTION OF STEPS.After a beat Jessica looks at the Old Man: LOGAN (softly) I know... (after a beat; to the Old Man) We're going to try and get in this way. I don't think you can make it. OLD MAN (sadly) Oh...I did so look forward to seeing all those people. LOGAN I'm sorry. OLD MAN Yes... LOGAN Can you make it back? OLD MAN Oh my...I'll try. JESSICA (kissing the Old Man) Goodbye. OLD MAN Oh, my...The Old Man watches Logan and Jessica dive into the POOL anddisappear.367 THE OLD MANhe bends and plays with the water in the POOL for a moment...like ayoung child at a pond or lake.368 INT. - POWER CENTER OF THE CITY - LOGAN AND JESSICA Emerging from the water.It is a labyrinth of humming turbines, automonitored cables andimpulse collectors.Logan leads her swiftly through the humming maze toward an exit.369-369Xl OUT369AX2 GREAT HALL - AT CAROUSEL ENTRANCEAs the CROWD is pouring in: LOGAN'S VOICE No!! Don't go in there !!The CROWD turns and looks up at:369X2 LOGANOn a high balcony in the Great Hall.Looking down at them. LOGAN You don't have to die!! No one has to die at thirty!!! You don't have to blink out on Lastday. There's no renewal on Carrousel! You can live longer and grow old... I've seen it. She's seen it!! Believe me!!There is an angry murmur in the CROWD as Logan continues: LOGAN (holding up his palm) See... it's' clear. The Lifeclocks are a lie - Carousel is a lie!!369X3 WIDEN ANGLE - INCLUDING SANDMENTrying to grab Logan. There is a struggle. Some Sandmen are knockedover the railing.But remaining Sandmen fire a gas tranquilizer which subdues Loganand Jessica.The CROWD cheers...and continues into Carousel as:370 INT. - SANDMAN DEBRIEFING AREAIt is the same area where Logan received the original assignment tofind and destroy Sanctuary.In the rear...with the panel open...the sign reading: PROBABILITY blinks on and off. Logan is dragged in by a number of SANDMEN.We see Jessica , too, still groggy, being held by SANDMEN in theb.g. of the SHOT.Logan is placed on the chair in which his CRYSTAL was altered.371 CLOSE ANGLE - LOGAN IN THE CHAIRA shaft of light glows on and he stiffens - bound by it.372 OUT372X1-372X3 FULL SHOT - LOGAN AND THE SCREENAs around him in the air, a series of spectral greenish HEADS appear-- one after the other -in response to questions. Each of theseheads is Logan. Each revolves slowly on its axis as it responds.As the real Logan (in the chair) is questioned, each of the headsanswers in turn. They are each a part of his persona and his brain.373-378 OUT378X1-378X18 INTERCUT WITH CLOSER SHOTS OF LOGAN HIMSELF WRITHING IN AGONY AS THE IMPASSIVE HEADS SPEAK.ANOTHER ANGLE - LOGAN AND HEADSA. FIRST HEAD SPEAKS (Logan's voice) A Jewelry store. B. Logan himself - twisting in pain.C. The word NEGATIVE appears on the SCREEN.D. A SECOND HEAD (Logan's voice) A creature called Box - all frozen, all frozen.E. Logan writhes in the chair. F. Again the word NEGATIVE appears on the SCREEN. G. A THIRD IDENTICAL HEAD (Logan's Voice) No...There is no Sanctuary.H. The SCREEN seems to shimmer. It blinks.I. A third time the word negative appears on the SCREEN.J. A FOURTH HEAD (Logan's voice) There is no SanctuaryK. The SCREEN'S glow increases...to an almost blinding light...starting to frighten the Sandmen present.L. At the same time, we see JESSICA coming out of her tranquilizeddaze...fearful...still in the Sandmen's custody.M. A FIFTH HEAD (Logan's voice) An old man without a crystal...But there is no Sanctuary.N. Now the SCREEN is starting to spark. Behind it we SEE theintermittent glow of overheated electronic components.O. And we see the word negative...once more on the SCREEN -- butbroken now.P. A SIXTH HEAD (Logan's voice) There is no Sanctuary.Q. Now the noise and the light from the SCREEN are peaking...and wecan see the increasing fear of the Sandmen.R. On the SCREEN the word negative is beginning to shake...as theSCREEN begins to shake.379 FULL ANGLE - THE SIX HEADS LOGAN'S VOICE (emanating from all of them) There is no Sanctuary. There is no Sanctuary.The sign PROBABILITY bursts...the SIX HEADS of Logan go out. The noise and the light coming out of the screen Increase, as itbegins to burst into showers of sparks and flame.380-410 OUT410X1 ANOTHER ANGLE - LOGANStraining twisting, as the light above him bursts, goes out in apuff of smoke -- releasing him. Logan staggers to his feet in timeto meet:410X2 SANDMENRushing in from the Ready Room to join the others who have closed inon Logan One holding Jessica.410X3 LOGAN AND SANDMEN Manages to get one of the Sandmen's guns, instantly blasting himwith it. In the noise and confusion, the fight becomes general. ASandman fires back at Logan, misses -- the shot hits one of theLifeclocks which flares electrically, ribboning out a great arc.Instantly Logan gets off a couple of shots at the other Lifeclockswhich similarly flare and burst into violent electrical fire anddischarges.410X4 THE BATTLEThe electrical discharges, smoke and noise making great confusion.Sandmen hampered by their own numbers and by trying to miss themachinery. Logan firing methodically at the Lifeclocks, moving.Stumbles over Jessica, prone in the smoke. Helps her to her feet.Crouched, they make for the exit.410X5 ANOTHER ANGLE - THE. SCREEN Sputtering its life out in strange predictive words....PROBABILITYflashing on and off.... EQUILIBRIUM...DESTRUCT...EQUIL...NOBALANCE...NO BALANCE...FAMINE... INACCEPTABLE ...NO BALANCE...etc.,flashing vainly through the eddying smoke and the fierce dischargeswhich fill the great room.410X6 SANDMENThe battle is lost -- the smoke and noise overwhelming. They pick uptheir wounded and get out as best they can.410X7 INT. SANDMAN H.Q. LOBBYSandmen rushing out through the gathering smoke and the flare offire behind them.410X8 EXT. SANDMAN H.Q.Sandmen pouting out through smoke and fire effects. Pushing throughpassers-by herding everyone away from the scene.People getting the hell out of there.Ad Libs: Get away from here. The whole thing's going.410X9 INT. LIFECLOCK ROOMThrough the smoke, etc. The Lifeclocks EXPLODE.410X10 EXT. SANDMAN H.Q.The building EXPLODES -- great geyser of flame shooting upward.410X11 GREAT HALLThe sound of the explosion creates panic. Lights begin to flicker.The great red crystal lights fitfully on and off. People arepanicking, running in different directions. Some pressing intoCarrousel for safety.410X12 CAROUSELAs people run in there, the red crystal glowing and sputtering, thepetals moving spasmodically. As people look, the white crystal comeson, begins spinning wildly, bursting into strange, lancing lights. Agreat roaring commences and the whole arena starts to rock with thecrystals. Now the white crystal explodes and the whole room iscrisscrossed with deadly arcing discharges. People flee the scene ofdestruction.410X13 GREAT HALLThe panic is-full, people getting the hell out of there.410X14 ARCADEPeople are stampeding like cattle, all heading down and for theexits, trampling each other in their fright.410X15-X21 PANIC MONTAGE SERIES OF CUTSA. EXT. The City under the dome -- fitfully lit as the dome itselfseems to be cracking strange electrical discharges emanating from itas from a gigantic line storm.B. The lights in Arcade flicker and go dim.C. The chandeliers in Arcade swaying, a couple falling onto thescreaming panicky people.D. Maze-Car Station. People fighting to cram into cars. Car lightsgo out. People turn and bolt in another direction.E. Love Shop -- pandemonium as the drugged bodies clamber over eachother in fear, struggling to get away.F. Great Hall emptying -- the signs of panic everywhere.G. The great crystal -- a wildly spluttering electrical firewrecking it.410X22 EXT. - DOMED CITY - FIRE FX AND CRACKING INTERCUT with above:410X23 LOGAN AND JESSICAMaking their way through Cathedral -- out the dazzle chamber,running O.S. past Maze Car Station.410X24 LOGAN AND JESSICA Running past Power Center.411 EXT. - CITY - FULL SHOTThe dome of the city torn. Lightning effects playing on the stunnedpeople...who look up and see the starry heavens, too, as theystumble forward into the darkness.A wind begins to blow...where air had never stirred anything. Thereis a sense of wonder. Hysteria is lessening...as the people findthemselves moving through the crack...as they discover the fact thatthe crystals have disappeared from their palms.Some are joyful...others frightened...others puzzled...as theyemerge from the crack in the dome at:412 FULL ANGLE - THE ACRES OF STRANGE STEPPED CONSTRUCTION We can still see the fires in the b.g. of the SHOT as Logan holds onto Jessica...(like Gable onto Jeanette MacDonald at the end of SANFRANCISCO)...full of happiness and hope for the future.AS people continue to mill all over the acres of strange steppedconstruction...we see the Old Man WALKING INTO THE SHOT.Logan and Jessica run to him. He looks around. People start togather...they have never seen a white-haired Old Man in their lives.As people continue to gather around the Old Man... who couldn't bemore delighted...Logan and Jessica are smiling...inviting people totouch him...and some do.Yes, he is an old man...Yes, they will all live again to be old menand old women...Yes, this is the world renewing itself once again.FADE OUT:THE END
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