"LOGAN'S RUN" Screenplay by David Zelag Goodman Please note the crystal will be used in the left hand of all characters. FADE IN: BEFORE AND DURING TITLES EXT. SKY NIGHT The moon and stars are visible, but as CAMERA looks down, the SCREEN fills with dark, billowing clouds. CAMERA moves into the clouds and just as they blank out the SCREEN, a distant shimmer of light becomes visible. Moving toward it, the shimmer becomes EXT. DOME OF GLASS - NIGHT A glowing but not transparent structure stretching off into the clouds that press it. CAMERA continues to move in until the detailed structural webbing of the dome fills the SCREEN and then CAMERA MOVES THROUGH IT and we see EXT. THE CITY - DAY Shining below the dome (which we now see as a series of dome- like structures standing off without end) -- a marvelous crystalline city of great openness, building clusters, green plazas, fountains... multi-leveled but human scale, crisscrossed by the flickering clear tubes of the MAZE-CARS. CLOSER ANGLE - ROOFTOPS As a MAZE-CAR slides softly to a stop. ROOFTOP - THE RUNNER The hatch opens and a MAN in a hurry leaves the maze-car and runs swiftly along the rooftop and disappears into an open elevator which instantly starts to descend. INT. RESIDENCE PLAZA - THE ELEVATOR From a busy courtyard below we watch the elevator slide down from a great height. As it reaches the courtyard the RUNNER darts out, pushes into the crowd. WITH THE RUNNER As he reappears around a corner, skirts a brimming pool and makes for a kind of broad corridor which seems to lead out of the courtyard. He is moving even faster now, glancing back as if he fears pursuit. ANOTHER ANGLE - CORRIDOR Above, at the railing of an oval light well, dressed in black and silver, a figure holding an odd looking weapon lazily in one hand -- and watching. It is FRANCIS. WITH THE RUNNER Moving rapidly down the corridor, he suddenly stops as if feeling the presence above. He looks up, sees the SANDMAN and his face breaks in terror. He wheels, frantic, screaming, runs back into the hall. THE SANDMAN (FRANCIS) Vaulting the rail, dropping lightly to ground level, weapon poised. POV The crowd melting, parting to reveal the Runner backed against the pool. People are YELLING, shaking their fists, terribly excited and fearful. THE SANDMAN Emotionless. Aims. Fires. THE RUNNER - CLOSE Seeming to burst aflame in the LENS, then slipping BELOW FRAME to reveal Francis sauntering forward, holstering his weapon. The crowd closing in behind him, applauding, congratulating him. THE SANDMAN Arriving at the pool where the body lies, half immersed. He leans over, lifts the right hand from the water, revealing a palm with a black flower-crystal shape in it. He lets the hand fall back now as the crowd CHEERS and APPLAUDS him. EXTREME CLOSEUP - HAND - IN THE WATER - (INSERT) Closing in until the crystal fills the SCREEN. TITLES END MATCH DISSOLVE TO: CLOSEUP - CRYSTAL - (INSERT) Clear, sparkling, flower-like. CAMERA PULLS BACK to reveal... INT. NURSERY CORRIDOR The crystal is in the hand of a sleeping INFANT who is behind glass in one of many cubicles. Standing outside, looking in, LOGAN, dimly lit in the soft glow of the cubicle where the sleeping infant lies, swaddled and coccooned in the rosy auto-tender which caters to the baby's every need. Faint MUSIC bubbles like distant laughter. LOGAN Logan is twenty-five, strong, virile (yet sensitive) with a kind of austere grace. He is somewhat manic... proud... as he peers through the nursery window into a kind of foam cocoon which cradles THREE SLEEPING INFANTS. Logan is KNOCKING on the soundless glass. LOGAN Wake up... come on, Logan-6. FRANCIS Entering. FRANCIS (shaking his head in mild, mocking disbelief) You are here. I couldn't believe it when they told me. What are you doing? LOGAN (still knocking on the soundless glass) Turn this way. (as one of the infants stirs, smiles, bubbles) No, no... not you... YOU! Francis tries to pull Logan away from the window, but Logan is intent on waking one of the infants. FRANCIS You should've seen me take my last Runner... perfect. (Logan continues to pound the soundless glass) I backed him up against a residence pool and when he terminated... his hand... (breaks off as Logan is paying no attention) So now you've seen him... what's the difference awake or asleep? LOGAN (to infant) Open your eyes once, idiot. (to Francis) It's not every day that a Sandman son is born. I'm telling you, Francis -- that's him! FRANCIS Maybe, maybe not. What's the difference? Come on, Logan, let's get out of here before everybody finds out. But Logan isn't moving. Francis gets an idea. FRANCIS Okay... you really want to wake him up? Francis starts to pry at the Panel... knowing it will sound an ALARM. LOGAN Hey, cut that out! Too late: There is a SOUND OF ALARM CHIMES. The area in which they stand is bathed in a violet glow. Logan grabs Francis firmly and stops him from prying at the panel: LOGAN Now you've done it... The CHIMES STOP... but the glow continues, a metallic VOICE is heard: VOICE Break-in scanners report intrusion, identify. LOGAN Logan-5... Francis-7, authorized duty quadrant. Intrusion accidental. VOICE Clear Logan-5 and Francis-7. The violet light goes off. FRANCIS (with affection: to Logan) Had enough? LOGAN (looking at the infant) Even the alarm didn't wake him. As Francis starts out: LOGAN (one last look; joining Francis) All right, Francis... I'm with you. They move off down the corridor... the lights behind them DIMMING as they pass cubicles suffused with soft pink light, CHILDREN automatically tended. CHIMES... soft. A lullaby and a soothing impersonal VOICE. VOICE Sleep time... go to sleep. Sleeping time, little ones. As they exit Nursery... Logan stops and takes one final look backward. FRANCIS You need a lift. Let's go to Arcade and celebrate... (teasing tone) your alert successor... Logan-6. LOGAN Has anyone ever broken in to where the babies are? FRANCIS (putting a card key into a door which opens soundlessly) Not in my time... They move through the door which closes. EXT. MAZE STATION - NIGHT They are now on a kind of enclosed platform with widely spaced doorways, each glowing faintly. They pause, waiting. FRANCIS (peering at Logan curiously) Why? LOGAN Just wondered... what happens? FRANCIS (shrugs) Dunno... flameout maybe. Whatever happens, you can bet it's final. But who would want to find out? One of the doorways brightens and the word "ARCADE" appears on it. The two men move to the spot as a maze-car stops. They enter it through the doorway which dims behind them as the maze-car WHOOSHES softly off into a kind of twilight. INT. MAZE-CAR - LOGAN AND FRANCIS The door slides shut. They sink into seat forms which yield to them. They move off. EXT. MAZE-CAR Moving through the city at terrific speed. Giving us glimpses of the city as it goes. slowing finally as we see: THE CITY - FEATURING ARCADE Brightly lit, garish. We get only a glimpse as the maze-car disappears into a tunnel. MAZE-CAR STATION - ARCADE As the maze-car stops, opens and Logan and Francis exit into a gathering CROWD. FULL SHOT - ARCADE Glittering, crowded. Throngs of people moving on many levels, some walking, some on moving platforms. It's The Great White Way, Luna Park -- you name it. Gaudy booths and entrances, featuring every delight -- too much to take in at a glance. WITH LOGAN AND FRANCIS As they thread their way through a crowd which admires them when it notices them, across halls and up moving platforms, the good-natured argument continuing... LOGAN But you don't know, you just say what everyone says. "One for one. One for one." FRANCIS Well, why not!? That's exactly how everything works. How else could the city stay in balance -- You have a better idea? LOGAN (laughs) No, but at least I wonder sometimes -- instead of doing that "one for one" song of yours. You sound like a sleepteacher with a stuck tape. FRANCIS Well the minute you get a better idea you can stop wondering. (beat) You know, Logan -- you wonder a lot. Too much for a Sandman. They are passing the facade of a Relive Shop. The signs urging people to: "RELIVE YOUR MOST PRECIOUS MEMORIES. DO IT AGAIN AND AGAIN! REFRESH AND RENEW ANYTIME!!" As they cross the entrance, two men come out, grinning broadly, falling into step just ahead of Logan and Francis. Then one of the men stops abruptly, almost colliding with them. He mumbles an apology and starts back to RELIVE. As he disappears into the RELIVE SHOP, his friend shrugs cheerfully to Logan and Francis and moves on. ARCADE - ANOTHER ANGLE - NEW YOU They are moving past a shop called NEW YOU #483 when a man comes cannonading out, thrilled and excited. He rushes over to a pretty young woman who has been eying Logan and Francis, plants himself in front of her with his hands framing his face. MAN Well? How do you like it? WOMAN (critically) I don't know. The cheeks maybe... look a little -- MAN Cheeks? Cheeks? Right. Too much, you think? WOMAN Too little. MAN Too little? (gestures) Too little. Okay, wait for me. And he darts back into NEW YOU #483. The woman shrugs, glances around, smiles and goes off with a passer-by. ARCADE - ANOTHER ANGLE - LOVE SHOP Signs promising "LOVE, FULFILLMENT, RARE DELIGHTS". People streaming in and out. A woman comes out looking gazed, breathing "yes... yes..." As she passes CAMERA Logan and Francis emerge from the crowd and CAMERA moves with them. LOGAN Did you ever see Francis-8? FRANCIS (shaking his head) I never even visited Nursery before tonight. (beat) When you wonder, it slows you up -- you know? They are now passing the facade of HALLUCIMILL where the signs promise: "LIFT OFF, CRAZY LIFT, SUPER LIFT"... here the people going in are simply excited but the ones coming out are clearly stoned out of their minds... FRANCIS I don't know what makes you so curious. You have any idea who his seed-mother was? LOGAN (quickly) Of course not! I'm curious, not sick. (laughs) The crowd is growing denser, funneling into a kind of passageway. Logan and Francis are swallowed up in the group. FULL SHOT - ARCADE GREAT HALL An immense room into which the streams of people coming from the entertainment area are mingling. There is a general air of anticipation stirring the crowd as CAMERA singles out Logan and Francis entering, waving to friends. CAMERA closes in on them just as they reach a beautiful woman who is obviously pleased to see Francis. They embrace, and as they break: FRANCIS And that's my friend, Logan. (as she acknowledges the introduction) We're celebrating his next in line. Carousel -- Arcade -- who knows? Want to come along? WOMAN (smiles, shakes her head) Only if I make it to the top of Carousel. (she holds up her hand) Thirty -- and the big spin. In her palm the crystal blinks, red, black. Francis nods, gives her a half-squeeze. FRANCIS You're thirty -- already? I always thought I was older than you -- (beat) Well, give it a good try. WOMAN (pleasantly) You know I always have. Another beautiful WOMAN joins them. 2ND WOMAN (to the first) Sorry I won't be at Carousel tonight. It's my Love-Shop turn. WOMAN That's all right. Happy turn. 2ND WOMAN You'll renew. I've got a feeling. WOMAN (smiles) So do I... but if I don't at least I'll have the ultimate thrill. I'd almost rather have that than renew. 2ND WOMAN I feel the same way. Sometimes I think I'm not even going to try and renew when my time comes. But -- that's three years away. So long. The 2nd Woman walks away. FRANCIS (after a beat; to first Woman) It's been nice. WOMAN Um-huh. They look briefly and then she turns away. Francis takes Logan's arm and they move off. FRANCIS I guess you never had her? Logan shakes his head. FRANCIS You missed something special. LOGAN Well... you can't have them all. LOGAN AND FRANCIS (together, it's an old joke) But you can try. They laugh, but the laughter is broken as a trio of youngsters, moving with erratic speed of lightning, smashes between them, almost knocking Francis over. He reels, Logan catches him and they recover in time to see the trio rip wildly through the crowd, knocking people down, screaming with shrill joy as they disappear. FRANCIS The damned Yellows are getting out of hand. Those three ought to be in Cathedral. No business scrambling in Arcade... LOGAN (laughs cuffs Francis' arm) What an old, old man you're getting to be, Francis. Weren't you ever a Yellow? I bet you were even wilder than -- (he breaks off as the lights in the Great Hall dim) come on, Sandman. The two of them start to move to the far end of the Great Hall. FULL SHOT - GREAT HALL As everyone begins to move to the far end, where great curtains have parted to reveal ARCADE GREAT HALL - CAROUSEL ENTRANCE At the far end of the hall, where the throng is a huge crystal design ornaments an entrance The crystal is red and pulsing rhythmically to the accompaniment of a deep and thrilling TONE. As we move toward it with Logan and Francis, the TONE deepens, the great pulse takes on a hypnotic quality... WITH LOGAN AND FRANCIS In the crowd they overtake a fellow Sandman, DANIEL, and fall in step with him. When they speak now, their voices are hushed. LOGAN You should have been with us in Nursery, Daniel. I'm positive I recognized him -- FRANCIS (hustling Logan) Come on. I don't want to miss the filing-in. There'll be some I know tonight, I think... DANIEL (glances at his own red crystal, nods) Yes. Me, too. You know we're both on Monitor tonight. FRANCIS Damn! That's right. Just when I feel like an ALL OUT BLAST in Arcade. LOGAN Want me to take your shift? I'm feeling restless anyway. Francis glances at him, exchanges a look with Daniel. They vanish into the throng passing under the great crystal, turn the corner and we see FULL SHOT - CAROUSEL Framed in a huge corridor we see a steep-sided arena dropping down to a shadowy center, which even now pulsates and flickers in changing dimensions, but always maintaining the jewel- flower shape. There is one entrance into the center -- a kind of ramp from below the seats, leading directly into the mysterious bowl -- Just now the seat's are filling, and the sense of expectation builds People sit and immediately crane their necks, waiting... ANOTHER ANGLE Featuring Logan and Francis as they find places in the arena. Like the others, they crane upward. As they do, Logan gestures at a number 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. PANNING THE CROWD As the seats fill, the excitement builds. Suddenly the lights begin to dim and dim... SOUND: A kind of collective sigh, breathing in unison... ANGLE THE TIER BELOW THE SEATS Suddenly visible, the LASTDAY GROUP. Their arms are upraised and in each palm the crystal blinks red-black, red-black. THE CROWD Transfixed, gripped with a religious fervor. LASTDAY GROUP Hands still raised, filing slowly into the mysterious well of Carousel. CROWD Tense, beginning nervous APPLAUSE here and there. CAROUSEL As the last one enters, beginning to glow and, as it does, the bowl slowly puts out leaves like some great plant, enfolding and hiding the people within a series of translucent petals. As the last one enfolds them the Light intensifies, the exterior surfaces seeming to shift as if a kind of motion was beginning inside it... CROWD Visible in the growing Light from Carousel -- gripped with passion and excitement, applauding, gesturing as they see CAROUSEL Moving, bands of light seeming to spiral upward Like a contained aurora as the Carousel picks up speed. LOGAN Caught up in it like the rest. CAROUSEL Beginning to blur with its own speed. Through the shifting, spiraling curtain of light we see bodies moving in a kind of weightlessness, always struggling to move higher. Follow a shadowy form as it moves, twists through other writhing shadows -- upward, upward. Suddenly the form is spread-eagled, and in a moment it is sharply outlined against the swirling canopy and then -- a searing flash. And it is gone. SOUND: Crowd in a frenzy -- SCREAMING. FULL ANGLE - THE BLEACHER CROWD - FAVORING LOGAN Standing. SCREAMING their cheers as: FULL SHOT - UP AT CAROUSEL High, reaching downward out of the shadows beneath the dome, fringing, intersecting rainbow bands appear, looping the swirling upper Carousel like Saturn's rings. Now we see figures reaching outward toward them... reaching and missing and falling -- downward against the curtain and the flash of extinction. MEDIUM ANGLE - A MAN At the highest level... straining for the rainbow... SWEEPING PAN SHOT - THE BLEACHER CROWD Hysterical... starting to chant... CROWD Renew! The man continues to strain: CROWD Renew! CLOSE ANGLE - THE MAN Almost a blur... but still straining: CROWD'S CHANT Renew! CLOSE ON - LOGAN AND FRANCIS LOGAN AND FRANCIS (chanting with the rest) Renew! CLOSE ANGLE - THE MAN The blur... but still there... straining with all his might for the rainbow... CROWD'S CHANT Re... Suddenly, the man... topples into the whirling blackness below... where he is instantly incinerated. WIDE ANGLE - THE CAROUSEL Whirling -- whirling -- the rainbows shining. WIDE ANGLE - THE BLEACHERS Orgiastic pleasure -- a Spanish crowd at a perfect killing -- SCREAMING, fulfilled. FULL ANGLE - THE CAROUSEL Other figures move to the topmost level... straining for the rainbow bands. CLOSE ON - LOGAN AND FRANCIS As the SCREAMING goes on in the b.g. of the SHOT... we hear a BUZZING noise. Logan reaches into a pocket and takes out a small, dark plastic box. Logan looks at the box. On it we see: "MAN: RELIVE STORE" LOGAN (to Francis) Looks like I'm working. Francis stands. LOGAN Who invited you? FRANCIS I'm in my party mood. Logan smiles... and the CAMERA PANS them rushing out of the bleachers. They make their way into the hall. Logan takes out the small plastic box. We can tell from his face that he is disappointed... until a faint BEEPING SOUND emanates from the box. Francis watches as Logan wheels in one direction... the beeping stops. 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 BEEPING GROWS LOUDER... AND LOUDER... until Logan and Francis see: WIDE ANGLE - A MAN Running. CHASE INTERCUT between Logan and Francis following the running man in the great hall... empty. We can HEAR the CROWD SCREAMING in Carousel offstage. A. Logan and Francis separate... to encircle the running man. B. The running man turns a corner and for a moment Logan cannot see him. C. As Logan turns the corner... Francis is on the other side and FIRES at the running man... JUST MISSING HIM. D. Francis winks at Logan as he pursues the running man up a ramp and 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 various levels and areas. G. Both barrels (of Logan and Francis' respective guns) glow again as they FIRE... with both just missing the running man once more. H. The man's face is crazed... and sweating... the house is going berserk as he has been chased to a high level. I. He stands frozen, petrified, driven to the edge of a high balcony by the shots -- teetering now. He is in full sight of Logan, Francis is across the hall. J. The Runner's face. He looks at death twenty feet away -- Logan aims. 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 where he teeters again, throws his hands in front of his face and plunges. The SCREAMING in Carousel reaches a peak. WITH LOGAN As he arrives at the dead body of the Runner, bends over him, turns the man's left hand up. We see the flower crystal. Black. Logan takes out his transceiver. INSERT TRANSCEIVER A man's face visible. Logan checks it against the face of the dead man. They are not the same. ANOTHER ANGLE As Francis comes up, waits. Logan moves the transceiver to the dead man's face, rests it on his forehead. INSERT TRANSCEIVER READOUT: The words appear: "IDENT. AFFIRM... NEW YOU #483 ALTERATION" LOGAN Scowls for a moment, then shrugs. He takes out a small flat pouch and methodically strips from the body its few personal things, stuffs them into the pouch. Then his eye is caught by the man's right hand, clenched. Logan opens it. A metal ankh on a bit of chain. It means nothing to Logan who stuffs it into the pouch and closes it. Now again he fiddles with the transceiver, speaks into it softly. 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 the hall, passing CAMERA. ANOTHER ANGLE We see in the distance, a pair of Stickmen descending into the hall, riding through the air on their odd vehicles, passing overhead then descending. One hovers not far away as the other comes down, hangs a few feet over the body. 1ST STICKMAN AND BODY The driver makes sure he's in position, then presses a button on one of the arms of the vehicle. There is a broad spray of vapor from the bottom which covers the corpse. CORPSE (INSERT) It turns to crystals which sag away from the human form, as a sand sculpture erodes when it's dry. 1ST STICKMAN CLOSE ON HEAP OF CRYSTALS Satisfied, he revs his machine and it rises smoothly out of the SHOT. As it leaves, the second machine moves down and into its place. 2ND STICKMAN Glances at the crystals, maneuvers into position, presses his buttons. CLOSER ANGLE - THE CRYSTALS, STICKMAN Sucked up into the machine as it hovers. As the floor is once again bare, the 2nd Stickman revs slightly and his machine pulls up and away. ANOTHER ANGLE As the Stickmen move up and out, we see the exhilarated crowd beginning to pour out of Carousel. LOGAN AND FRANCIS - ARCADE Descending from the top level -- not much of a crowd. Francis is gesturing toward the Hallucimill. FRANCIS ...Well I think you're getting stale. You need old Lucey -- Go on. Gee the whole burn -- try the new psycho- lift-they tell me it turns you inside out... He shoves Logan in that direction and continues on down. FRANCIS (calling after him) I'll look for you here when I'm off -- And he is gone. LOGAN Waves, smiling, then turns to the Hallucimill. POV - EXT. HALLUCIMILL Crazy, man. BACK TO LOGAN Hesitates, as a COUPLE push past him gleefully on their way. He looks and we see: POV - ARCADE, UPPER LEVELS The people from Carousel starting to pour in, loud, happy, ready for more fun. LOGAN Not with it. He turns and starts making his way downwards towards the exit. LOGAN'S APARTMENT As he enters. Idle, restless. He crosses to a sideboard -- makes himself a drink, sips, doesn't like it. Gets rid of it, makes another. He fiddles with things, a game -- sits, gets up. Now he is beginning to feel the drink. Takes another belt, smiles. Now he goes over to a tall wall recess flanked by a console with many dials. AT THE WALL RECESS As Logan dials, blurred and smoky images appear in the recess -- a slow protoplasmic eddying in many colors. He tunes it in and the figure of a smiling young man appears -- bejeweled, lustrous, willing. LOGAN AT THE CONSOLE Bored as Mastroianni turns the dial again and the young man dissolves. He dials again and now a beautiful young woman takes shape. It is Jessica. JESSICA AND LOGAN Still in the recess, she makes no gesture of interest, no smile. Around her neck, from a collar, a dangling ankh. It catches Logan's eye. He smiles, clicks another dial and she becomes real. He reaches out a hand and leads her out into the room. LOGAN AND JESSICA As 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 crystal embedded and centered in his right palm. It is exactly the same shape 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 an admiring sexual way... from her toes to her head... briefly noticing (in the process) that she is wearing an identical piece of jewelry that 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 to know you can do that, too. Suddenly Francis and two dishevel led young WOMEN burst in and come laughing toward Logan and Jessica. Stoned, hilarious, they crowd around Logan one of them embracing him. In the wild hilarity, Jessica slips away and Logan, seeing her go, makes a vain effort after her. Francis notices, laughs. Amid the noise he shouts to Logan: 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 an atomizer and hurls it at the ceiling where it shatters and a great pink cloud settles over them all. EXT. SAND MAN H.Q. A frowning structure of dark stone and mirrored copper, fronted by broad steps. Logan and Francis are climbing the steps as a SANDMAN is 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. 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. INT. SANDMAN H.Q. - READY ROOM As Logan and Francis cross the room, Logan nods to other Sandmen, who are monitoring areas of the Megalopolis on video consoles. One of 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 Francis continue to: INT. SANDMAN H.Q. - DEBRIEFING AREA Black door opens revealing Logan and Francis who now enter a mammoth room. As they walk... they pass FOUR GIANT LIFECLOCKS... WHITE, YELLOW GREEN AND RED. Each LIFECLOCK pulses out the moments of every person alive in the city, governing everyone's crystal changes automatically shifting to the 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 of a palm crystal on one part of the circular table. Francis takes out the plastic bag which contains the contents of the dead Runner's pockets and starts putting the contents on the table. (These contents are the ones from the Runner Francis has killed at the beginning of the film.) The moment the first item touches the table... it activates a scanner on the overhang above. Francis stands alongside the table... his attitude is very matter-of-fact. He has been through this procedure many, many times. He touches his head... (the hangover)... and Logan smiles. Moments later... the scanner stops... the word: "IDENTIFY" appears on a SCREEN. Francis places his palm into the groove... and the words: "CLEAR FRANCIS-7" appear on the SCREEN. FRANCIS See you in the hydrotoner! Logan nods. Francis exits as Logan places the contents of a plastic bag with the items he has taken off the Runner who jumped to his death. Among them is the odd-shaped piece of jewelry. Logan is standing nonchalantly... as the scanner moves over the items... waiting to be quickly identified and cleared as Francis was earlier. The scanner continues scanning. Logan starts becoming impatient... but the scanning goes on and on and on. Now... Logan is clearly puzzled... it has never... ever taken anything remotely resembling this length of time. Suddenly, directly before him... on the SCREEN... the word: "PROBABILITY" blinks on and off... on and off... catching Logan's attention. As Logan turns toward the SCREEN... the scanner stops moving. The word "PROBABILITY" blinks off and is replaced by the word: "APPROACH" We 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 a stellar groove (that we have seen on the table) the shape of a palm crystal... glowing on an arm of the chair. The word on the SCREEN is now: "IDENTIFY" Logan places his right palm with the flower crystal into the groove. We hear a HUMMING NOISE... then: The piece of jade jewelry appears on the SCREEN and below the piece of jewelry the following words appear on the SCREEN: "OBJECT OCCURS IN NON-RANDOM 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 PREMILLENNIAL 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 and his hand is immobile. Logan stares at the back of his hand as if it wasn't his. His forehead shines with sweat. Now the entire area, including the chair and the screen begins to glow bright red. The glowing becomes so bright that Logan is forced to close his eyes. As the glow subsides... Logan looks at his right hand. The red flower crystal 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 to say something more but he changes his mind, turns away. Now Logan walks over to the table and removes the ankh. Almost automatically, he starts moving his hand toward the groove... but the SCREEN already has the words: "CLEAR LOGAN-5" Logan looks at it -- then: The CAMERA PANS Logan out of the mammoth room... past the GIANT LIFECLOCKS... where he pauses... glances at his BLINKING CRYSTAL... and continues out into: INT. HYDROTONER - DAY Spectacularly 23rd century. Logan enters. He looks around and spots Francis... in a whirlpool bath... trying to recover from has incredible hangover. In the b.g. of the SHOT we can see some Sandmen doing calisthenics. Logan walks over to Francis... hiding his blinking crystal by holding 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 FRANCIS for a moment then FOLLOW Logan out to: EXT. SANDMAN BUILDING Logan is on the steps, irresolute. He looks at his blinking crystal... moves as if to reenter, changes his mind. Now takes out the black box, dials. LOGAN (into box) Location... female Green Six... name Jessica... living in Quad K. INT. LOGAN'S APARTMENT Logan opens the door to see Jessica. Behind her a YOUNG SANDMAN who has 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 smile widens, 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.. EXT. A SLEEK, OUTDOOR RESTAURANT - NIGHT There are three men and a woman seated at a table. Jessica reaches the table and sits down. CLOSE ON - LOGAN A distance away... watching. EXT. RESTAURANT - FULL ANGLE - THE THREE MEN, WOMAN AND JESSICA Eating without enthusiasm... obviously more interested in their conversation. SECOND MAN He's blinking... so what? Sandmen get old, too. FIRST MAN But what if he's telling the truth? THIRD MAN I say no. It's not worth the risk. WOMAN I absolutely agree. He's killed Runners for a decade. He has no feelings. JESSICA He was born a Sandman. He had no choice. WOMAN Neither do we. 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. EXT. RESTAURANT - THREE MEN A WOMAN AND JESSICA Leaning together talking in an undertone SECOND MAN (urgently) If he believes you, he'll come. JESSICA Why Arcade Station? SECOND MAN (impatiently) Why? It's our only chance -- kill him and get away in the crowd heading for the evening slaughter -- JESSICA Right at the station itself? MAN No -- just there -- on the first level. (beat) Don't look for us. We'll see you. WOMAN (cutting in) You don't seem quite sure, Jessica. (beat) Can you do it? Will you? Slowly, Jessica nods. THIRD MAN Tonight? JESSICA (stalling) Y-yes... if I can find him. WOMAN I think you can. Don't you? Jessica faces her squarely, nods. The woman looks deeply into her eyes, relaxes. WOMAN I'm sorry. We all are. But he has heard about Sanctuary -- and that makes him dangerous to all of us. After murmurs of agreement: SECOND MAN (staring at Jessica) We're counting on you. Jessica exits. They look at each other in dismay. After a moment, one of the men follows her. They don't trust her. READY ROOM - FRANCIS Obviously enjoying the work, watching -- tracking a Runner's progress, the assignment of a Sandman, the kill. WITH JESSICA Making her way through the strolling crowd, her face thoughtful. ANOTHER ANGLE The man from the restaurant, following. GALLERY - SANDMAN RESIDENCE - JESSICA Walking 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 to him as the door closes. DISSOLVE TO: WITH LOGAN AND JESSICA Walking 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 think 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 each other anyhow. They commence walking again. ANOTHER ANGLE The followers, ahead now, watching, trying to make up their minds as to whether Jessica is bringing Logan to the ambush. As they argue, Logan and Jessica approach. 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? CLOSE ANGLE As they pass, Jessica looks full in the face of one of the followers, looks away. Logan does not notice. The followers are partly reassured. One of the men is now holding a garrote made from his necklace. The man who first followed gestures and the others go off purposefully. He continues after Logan and Jessica as they exit round a corner. READY ROOM As 1st Sandman returns, still cheerfully chewing. Francis is reluctant to give up his place and when he does, he remains standing there, watching. He loves the work -- they all do. ARCADE - LOWER LEVEL Logan and Jessica entering. Logan is aware of Jessica's increasing tension. He pretends unconcern, but he is wary. ANOTHER ANGLE Behind them, visible through the crowd -- two of the men we saw before. The Follower and the man with the garrote. They are moving so as to intersect with Logan and Jessica where the crowd is thickest, streams coming together to move to a higher level. FEATURING JESSICA As they move, fearful -- torn between her promise and her feeling for Logan. Catching a glimpse of the followers, she makes a small sound, hesitates, pretends to have stumbled. THE AMBUSHERS Closer now, closing in -- the wire garrote gleaming between the man's hands. 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 his hands. One more step... Logan senses something, half-turns just as we hear a familiar urgent SOUND -- the sound of his transceiver. Behind him the man hesitates, drops his hands. Logan takes the transceiver from his belt and moves out of the crowd to the side, Jessica with him. Now he bends to read the message and Jessica cranes her head to see too. READY ROOM - FRANCIS AND SANDMEN As the Runner alarm pulses and the readout flashes its message: "RUNNER FEMALE: CATHEDRAL Q-2... LOGAN-5" The 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 others ad lib interest -- "watch out in there -- they can cut you before you see them" etc. ARCADE STATION - THE AMBUSH The two watching, muscles taut - wondering. ARCADE - TWO SHOT - LOGAN AND JESSICA As he speaks he leads her into the maze-car station and punches out his destination on the car caller. LOGAN A Runner... Cathedral. A woman. 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 men in ambush come forward and read the destination. They ring for another car which pulls in immediately. ANOTHER ANGLE As the two jam into the maze-car which rockets off in pursuit... 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-car slides to a stop. A warning light pulses on the car's console and a RECORDED VOICE speaks before the hatch opens. VOICE Attention passengers. Cathedral Station is a personal risk area. Persons with business are warned to be careful. 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 sighs away 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 like an "elevated" station. POV - THE CITY BEYOND THE WALLS OF CATHEDRAL Arcade shining like distant fireworks. EXT. MAZE-CAR M PLATFORM - CATHEDRAL Below them a narrow, sharply angled concrete canyon, buttressed walls rising featureless. The look of an old fortress, blank, dim and cool. Still visible over an opening the chiseled legend "Cathedral Plaza -- 2025 A.D. -- Skidmore, Rosenfelt, Hennesy architects." Jessica shivers, looking around her. Logan takes her arm and they descend into the canyon, move toward the wall. Their footsteps the only 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 very thick. They turn abruptly and see: INT. WALL - DAZZLE CHAMBER A room of angled, reflecting surfaces. At one end a jagged corridor, also mirrored, leads away. The zigzag, angled effect creates an absolute confusion of images, but Logan leads her unhesitatingly across the chamber to the corridor. Jessica hangs back, momentarily certain she's about to smash into something. LOGAN (guiding her) Just follow -- no matter how it seems... JESSICA (doing her best) But what is this -- why? LOGAN (as they enter the corridor) The Cubs. When they're flying on muscle there's no way to catch up. Without the dazzle, they'd just go past us -- (gesture) -- too fast JESSICA Muscle? I don't know that one. Logan is leading her down the zigzag corridor. It's stop and go -- a fun house in which you can get hurt. LOGAN It's unauthorized. No good for anyone 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: ANOTHER ANGLE As they approach the end of the corridor, a small FIGURE in a tattered garment approaches them. She stops SINGING as she sees Logan and Jessica. JESSICA (gently) Don't be afraid. We see that it is a little GIRL of seven. Her face is grimy and hair is 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's clothing... tearing a pin (piece of Jewelry) off... and running away swiftly. 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 -- EXT. CATHEDRAL ITSELF An 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 the direction of the BEEPING, quartering occasionally like a hunting dog. 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 stand still then he straightens, steps out, calls: LOGAN Runner! Silence. Jessica involuntarily moves to him and as she does, the Runner moves from behind an upright and stands. The figure is shadowed, the arms out, palms facing in a kind of gesture of surrender. In the Runner's left hand, the tiny red crystal pulses on and off. The Runner is a woman! There is an instant of frozen confrontation and then suddenly Jessica gasps, grasping at him. As Logan whirls: ANOTHER ANGLE Suddenly, from everywhere out of the shadows, a pack of snarling Cubs materializes -- moving with blinding speed. At their appearance the Runner whirls and races off into the dark shadows. Logan makes a futile gesture after her, then turns to face the Cubs. A strutting, feral-faced fourteen or fifteen year old heads the pack, dressed in fierce-looking tatters and hung with rip-off trophies. 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 yourself, 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 a blow... he is grabbed and slammed against the wall of an abandoned building. ANOTHER VOICE Let him suck Muscle! That'll shut his mouth! Let's watch him shake himself to death!! We see the Cubs take out drugpads. They squeeze the pads and inhale the "Muscle." At once their movements become blurringly rapid. They take menacing positions -- some leaping overhead. A VOICE Give him some Muscle!! Like lightning they change positions and flash around Logan and Jessica CLOSE ON - JESSICA Watching... terrified. CLOSE ON - LOGAN Being held against the wall by Cubs as: ANOTHER VOICE Shake him to death!! A VOICE Kill him! ANOTHER ANGLE - INCLUDING BILLY Moving a drugpad against Logan's face. Logan is holding his breath... desperately trying not to breathe the "Muscle" directly from the pad into his system. BILLY (chilling laugh) He's trying to hold his breath... As Billy presses the pad tighter against Logan's face: With all his might, Logan wrenches his arms loose... drops to the ground and pulls out his gun. He fires and fire girdles a pillar... and they start to back away. BILLY We can rush him... we can take can take him again, we can!! The pack hesitates... stops backing away. LOGAN (moving the gun slowly back and forth) All right! How many of you want this to be Lastday?! The pack moves back again... and disperses, leaving Billy facing Logan alone. LOGAN Come on, Billy... come on... you cut a Sandman, didn't you?! Logan tucks the gun back into his waist. LOGAN Come on, Billy... cut me... Come on. After a beat, Billy turns and runs away. Logan comforts the shivering Jessica for a moment then takes out the small box from his pocket and turns it... until it starts BEEPING. The CAMERA PANS Logan and Jessica... following the SOUND. They move over the rubble... and cautiously around abandoned buildings. We HEAR A SCREAM... and HEAR the Cubs who've only obviously found and attacked someone. The SOUND is coming from a different direction than where the beeping is coming from. LOGAN (shaking his head) They've got someone else! Why would anybody come here? Jessica shudders as the scream dies abruptly. The BEEPING is now very loud. Logan homes in on an abandoned building, enters, crosses swiftly to a door inside and kicks it down. We SEE the Runner. The WOMAN cringing, expecting death. FULL SHOT - LOGAN AND THE WOMAN Frozen for a moment. In f.g. a figure stirs, moves and we see it is Francis. His weapon is drawn and aimed, but as he watches, he lowers the barrel and smiles. The is Logan's job. CLOSE ON - JESSICA Watching 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 and hysterical 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 round object... 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 attacks Logan again. During the course of the struggle, Logan subdues her again. Jessica enters, bends over the near-crazed Runner as Logan holds her. Eyeing him, the woman stands and takes the small round object... she appears somewhat bewildered as Logan and Jessica move off. EXT. THE OTHER SIDE OF THE ABANDONED BUILDING - MEDIUM ANGLE - FRANCIS WATCHING He is shocked, unbelieving. CLOSE ON FRANCIS Stunned and uncertain, Francis aims his gun toward Logan and Jessica... but he wavers... watching them disappear into the rubble... ANOTHER ANGLE - FRANCIS Shivering like a wet dog. He turns toward open window. FRANCIS (in a firm, cold tone) Runner! The woman turns, staring insanely. Her mouth opens like a fish as: Francis FIRES his gun. A moment later, as the burning body topples to the floor; MAZE-CAR PLATFORM - THE MEN Hearing the unmistakable SCREAMING sound of the kill, they exchange a look. LOGAN AND JESSICA At the flash of FIRE from Francis' gun, they turn. Logan and Francis' eyes meet. A beat, then Logan grabs Jessica and pulls her away. FRANCIS After a long, long hesitation, takes out his small plastic box and starts to speak into it: FRANCIS (quietly) Runner terminated at G.16 Ready for cleanup at Cathedral Quadrant 39. ANOTHER ANGLE - OVERLOOKING CATHEDRAL ENTRANCE The Second and Third Men... very close to the maze-car platform... peering into the darkness and seeing Logan and Jessica emerge onto the maze-car platform. We can tell from the way the two men look at one another that they believe Logan has fired the shot they have heard. They hide from the approaching Logan and Jessica. SECOND MAN I almost believed her. They move off soundlessly. Behind them, a maze-car has arrived. MEDIUM ANGLE - FRANCIS Gun in hand... running through Cathedral toward the maze-car platform. 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. INT. SANDMAN READY ROOM - FRANCIS Distracted... ignoring the greetings of Sandmen who are monitoring the city. ANOTHER ANGLE - FRANCIS Walking past the GIANT LIFECLOCKS into the debriefing area. The scanners begin moving. Moments later the scanner stops... the word: "IDENTIFY" appears on a SCREEN Francis pauses a moment and places his palm into the groove. Now he takes out the items of the dead woman Runner and places them on the scanning table. An ALARM SOUNDS and the word: "REJECT" flashes on and off on the SCREEN. Sandmen come running into the Area. SANDMAN What happened?! Francis hesitates... then... quickly, as if changing his mind, taking the items off the table: FRANCIS Can you beat it... I've got the damn wrong bag. SANDMAN You ought to put yourself on reliefcall, Francis. FRANCIS (starting out) Yeah... EXT. NEW YOU #483 - TWO SHOT - LOGAN AND JESSICA As they enter NEW YOU #483 they are being watched by: MEDIUM ANGLE - THE SECOND AND THIRD MEN A safe distance behind. INT. NEW YOU #483 The waiting room has many mirrors... where customers... male and female... are checking their faces (and bodies). There are also various photographs on the walls... suggestions for changes to foreheads, eyes, cheeks, lips, etcetera. The chatty informality is very much like people in a beauty parlor or barber shop. 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 and sit down next to an attractive WOMAN. WOMAN CUSTOMER Is this your first time? Logan and Jessica nod. WOMAN CUSTOMER (smiling) This is my third... (a beat) ...I did it when I turned yellow... and green. (showing her palm) I turned red yesterday. LOGAN (looking) Beautiful work. This man do them all? WOMAN CUSTOMER No. But I hear he's terrific. Have you seen any of his work? LOGAN Just one. HOLLY Doc's ready, Sandman. Logan and Jessica stand. They follow Holly into a large, shining, stainless steel room where we see: MEDIUM ANGLE - DOC Who looks about twenty-one years old, exchanges a pointed look with Jessica. DOC It's a real privilege, Sandman. LOGAN Thanks. (slightest beat) I thought you'd be older. I expected 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. FULL - ANGLE - THE SURGICAL APPARATUS Aesculaptor Mark III -- the latest in servo-surgical designs. Completely self-contained -- tilt-bed, cryojector services embedded in the platform. The Mark III's laser heads are integrated into the whole cocoon, swiveled and gimbaled so as to be able to focus any of the surgical beams in microscopic delicacy or wide-bladed scraping. The machine vaguely resembles an enormously complicated x- ray table on an angle -- the great slotted laser heads overhanging it and Integral with it. From the cryonic receptor base there is a steady exhalation of cold -- the vapor seeping steadily downwards, blurring the endlessly looped and tangled tubes and wires and containers which join in solid state circuitry so that any random or involuntary twitch of a patient will be instantly compensated by an equivalent move of the laser head -- keeping the focus precise. At one end -- where the halves of the Mark III join, is n console of switches and dials -- lights nod servo-recorders which control the operation from the first injection of cold to the final healing vacuum drafts and scar burnishing. With the air of a magician demonstrating, Doc goes to the console and flips switches. Instantly the table responds -- the platform tilting, the crab-like laser arms descending flexing -- small vapor jets oozing as the beams slash harmlessly across the table. Beaming, Doc turns it off and the whole apparatus 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 Doc who 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. THE SURGICAL TABLE - LOGAN AND HOLLY Logan lies down. The Table ripples... accepting his weight prisoning and positioning him. HOLLY (leaning -- close to Logan) I like dark hair. Have him give you dark hair. DOC'S VOICE All set? HOLLY Um huh. Would you take a picture of him, Doc? I'd like you to give his face to somebody else. DOC Why not? Doc pushes a button... there is a tiny FLASH. DOC Do you have anything special in mind? LOGAN I don't care... Just get it over with. DOC (smiling) Hurry... hurry... hurry. HOLLY (whispering) Dark hair. LOGAN Holly'd like dark hair. DOC Holly'd like a lot of things. (studying Logan's face) We can start by narrowing the cheekbones. Doc presses buttons on the control board. Jessica, who is standing next to Doc, is slightly startled as the table begins to HUM... as a pair of laser beams separate themselves from the overhead cluster and extend toward Logan, forming inner cones as they approach. CryoJector needles start to close in on them, nearing their faces and 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's been called to the phone too many times. He turns to a phone-like apparatus nearby, shifting the table into neutral as he turns. The table 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 look registers, and Holly's smile fades. Now Doc engages the machine again... DOC Pay attention, Sandman. I'm proud of this machine. As he speaks he presses and an arm sweeps downward and into position near 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 a bright 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 is moist and whole. THE SURGICAL TABLE - LOGAN His face tense -- he knows something's wrong. Over him Holly's bright face with its rapt look. She's not sure, but she enjoys whatever's happening. BACK TO DOC Who is playing the console as he speaks. DOC Perfect depth adjustment on this one, Sandman. The beam will cut through that uniform and just exactly through the skin beneath -- absolute precision. Watch now... And the machine does its stuff, slashing through Logan's tunic -- a seam of blood following the rip. DOC Of course, it doesn't mend uniforms, Sandman, but otherwise it does everything, doesn't it? Just imagine what would happen to you if the healing stopped functioning. And the arm moves back again, spraying the healing fluid into Logan's new wound. Again the blood disappears. Suddenly Doc's look is ferocious. He turns off the healing switch and punches buttons fiercely. The laser arms begin to move wildly and the SOUNDS become shrill. Holly looks alarmed. HOLLY No! You're scrambling the table. He'll be cut to pieces, Doc. DOC Damn right! It was a trap. They know! LOGAN No -- I'm Running! Machine begins to WHINE LOUDLY. Jessica tries to turn the machine off... Doc starts to wrestle with her as: INTERCUT: CLOSE ANGLES - THE CLUSTER ABOVE LOGAN Moving. HOLLY Watching two stun beams lower. Doc knocks Jessica down. She is groggy on the floor as the stun beams lance into Logan's cheeks. The table holds him, biting into his right leg below the knee. QUICK CUTS OF DOC AND HOLLY Watching intently as: CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIM As surgical beams slit his shirt from the shoulder to the waist leaving two threads of blood. A vacu-head dips to suck the blood away neatly. ANOTHER ANGLE - LOGAN As Logan desperately sucks in his belly... trying to flatten himself into the Table. CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIM As laser blades cut into his face... followed by a spray of healing liquid on the cuts. CLOSE - ON HOLLY Excited... Flushed... As: CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM As two wide blades of light sweep downward... and hover three inches above his neck... and keep lowering... HUMMING loudly... and one inadvertently frees Logan's right arm. CLOSE ON - DOC Shocked as Logan reaches for his gun. CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM As dozens of laser beams slash toward Logan... he twists away... and breaks off... jumping off the table. Doc rushes Logan holding what appears to he a frozen police billy. In an instant he has knocked Logan's gun away... and as Logan looks down at it... we see it lying on the floor completely frozen. Slowly, Doc moves toward Logan the short smoke-colored stick menacing in his hand. LOGAN (out-of-breath) What I told you is the... Abruptly, Doc lunges toward Logan... missing him as Logan ducks away. As Doc turns to attack... Logan smashes his elbows into Doc's chest and Doc falls back onto the Table. CLOSE ON - HOLLY SCREAMING, as Doc is slashed by the machine amid showers of sparks and gouts of steam as the metal twists and wires short out and various fluids boil and spill onto hot surfaces. Holly tries to fight her way into the mess to help Doc, but Jessica, recovering, pulls her down and the two struggle. CLOSE ON - DOC In terror as the laser beams begin to slash him to ribbons. LOGAN Making an effort to stop the machine, pulling levers and pushing buttons in vain. He sees what's happening, pulls Jessica away from Holly and, grabbing up his gun and tunic, heads for the entrance. Crossing the waiting room they are stopped by the sight of: FRANCIS Entering... gun in hand. REVERSE ANGLE - LOGAN AND JESSICA As they face Francis. 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 smoke and noise, momentarily drawing Francis' attention. Instantly Logan jumps him, grabs and throws him sprawling. Without a look back, he and Jessica run out. FRANCIS Enraged, finds his gun on the floor and, before rising, gets off a shot at them as they disappear. Then leaping to his feet, dashing off in pursuit. ARCADE TRACKING Logan and Jessica running through Arcade. 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. EXT. HALLUCIMILL - TWO SHOT - LOGAN AND JESSICA Exiting from the other side... and running through the crowd toward and into a Love Shop... followed by Francis coming out of the Hallucimill, too... and running toward the Love Shop. INT. LOVE SHOP - LOGAN AND JESSICA As they enter the hot darkness. The Love Shop is throbbing with sexuality. In it, the darkness breaks at Irregular intervals -- when booths and cubicles flare into brilliance, each time revealing an orgiastic tableau. The Love Shop is multi-leveled and the random flashes may appear from any direction at any time, blinding and stunning the viewer. Logan and Jessica pause to get their bearings and as they do, a beautiful WANTON grabs Logan, pulling and laughing: WANTON I have an empty one, Sandman. Logan tries to pull away, looks around for Jessica just in time to see a man almost carrying her off. Then the light is gone again and Jessica with it. LOGAN AND THE WANTON As she tears at his clothing, wrapping herself around him, trying to pull him down. Then, as the light flares again she suddenly lets go and grabs another man... Logan is, freed, starts looking for Jessica. SERIES OF SHOTS Logan hunting through the Love Shop, fighting them off. INTERCUT SHOTS Of the suddenly-illuminated tableaus. Sex, manifold and multiform -- everybody doing it. ANOTHER ANGLE - FRANCIS Entering, starting to look around -- grabbed by one of the laughing Wantons. LOGAN & JESSICA Brief glimpses of them looking for each other. FRANCIS Hunting both. WITH LOGAN As he suddenly collides with a woman -- shoves her away and sees it's Jessica. Now together they make for an archway where multiple mirrors enclose them. Suddenly they are in darkness. Then a heavy door slides open and Jessica leads Logan through the opening. Behind them the door slides shut again. FRANCIS Desperately trying to get rid of a woman, sees a flash of Logan and Jessica far across the room -- sees them leave. Then he's pulled down again as the orgy continues. INT. AN IMMENSE METAL STAIRWAY After a moment, Jessica takes Logan's hand and they start down in the darkness. The SOUNDS of Love Shop still heard from behind the wall. LOGAN 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 won't 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 she turns his hand over. The crystal blinks red -- on, off. JESSICA Yes, Logan. (turning to him blindly) I'm glad they didn't change your face. Logan embraces her, but his look is strange and remote. They continue down into the darkness. Behind them the SOUNDS of Love Shop die away and only their footsteps are heard. FRANCIS At the mirrored archway, looking around carefully, testing. He knows they went through somehow. Hands