ESTABLISHING SHOT; THE HOVERCRAFT TRAVELING. INT. HOVERCRAFT -- LOGAN, JESSICA, REM - DAY
LOGAN is driving, JESSICA beside him, REM in back. JESSICA points to something. We see (LS) the craft approaching the extensive ruins of what was once a large shopping center. Many of the individual storefronts still stand; others have long since collapsed. The rubble of other buildings (housing, etc.) is visible in the distance.
INT. HOVERCRAFT -- ANGLE ON LOGAN - DAY as LOGAN stops in the midst of the "parking lot" ruin.
JESSICA: What is it?
REM: I should think the more precise question is, what _was_ it?
LOGAN: (removing his flamegun) There's only one way to find out. Let's take a look.
EXT. RUINS - DAY -- We see the broken remains of a large sign, upon which the words "SHOP" and the letters "SQUAR" are still visible. LOGAN, JESSICA and REM emerge from the craft, and the three approach a yawning cavity in the wall of the nearest building.
INT. DEPARTMENT STORE - DAY -- Light filters in from a partially fallen ceiling. Slow pan of the inside as they enter. There are mannequins (some standing, some fallen over) by the score, wearing frayed and ragged clothing, many with limbs or heads missing: a row of rusting washers and dryers partially obscured by the debris of the collapsed ceiling. What was once a display shelf of small appliances (with more shelves vanishing off into the shadows). Most of the items have fallen to the floor, but a few remain on the sagging shelves, covered with webs of grey dust. We move on to yet another row of hollow-eyed mannequins, racks and racks of rotting clothes behind them. (MS) LOGAN, JESSICA and REM.
LOGAN: It looks like some kind of . . . supply area.
JESSICA: Something like Arcade back in the City?
LOGAN: (nods) Let's take a closer look.
REM: Logan . . . a word of caution, if I may. (He indicates the ceiling above.) You will note the deteriorating condition of the roof.
LOGAN looks up. We see the sagging beams overhead, and a gaping hole that makes visible a large patch of blue sky.
REM: (continuing) There are indications that it has continued to collapse . . . recently. Most likely a geological instability in the area.
JESSICA: You mean an earthquake?
LOGAN: We'll be careful then. Come on.
TRAVELING SHOT--LOGAN AND JESSICA - DAY - They move past more collapsing shelves, ruined displays, broken bottles of cosmetics, scattered paper boxes, etc. They pause again beside a shattered glass counter covered with the cob-webbed ruin of a jewelry display. JESSICA'S interest is captured by the upper half of a mannequin propped on the counter with its head and hands draped with necklace chains and rings, bracelets and pins. JESSICA reaches out for one of the hands, but the instant she touches it, the plaster wrist crumbles and breaks off, spilling dusty treasures to the counter with a loud clatter. LOGAN laughs at JESSICA'S startled reaction to this. JESSICA scowls at him as they move on.
CROSS-FADE: INT. STORE--LOGAN, JESSICA, REM - DAY -- Our people are in another part of the store, later. They have come to an area where another entire wall has fallen away, revealing the shopping mall that lies beyond. They move out into the sunlight again and begin picking their way through the rubble toward some of the other buildings. (MS) LOGAN suddenly stops.
LOGAN: What was that?
JESSICA looks at him, questioning.
LOGAN: (continuing) I thought I heard something.
REM: There was a sound . . . from over there.
REM points to the ruined facade of what was once a restaurant. We can see tables and chairs through the broken glass. We can also hear a faint scratching sound coming from inside.
LOGAN: (to REM) You and JESSICA wait here.
JESSICA: (objecting) Logan...
He motions for her to be quiet, and moves toward the storefront, gun in hand.
INT. RESTAURANT--LOGAN'S POV - DAY -- Panning shot of overturned chairs, broken tables, littered broken bottles and other trash on the floor, and finally the lunch counter, where there are shards of broken dishes and scattered junk. The kitchen equipment behind the counter is blackened as if by fire. We hear the scratching noise again. LOGAN starts, swinging to face the end of the counter . . . where a scrawny rat is perched atop a rusty cakestand, munching on a feast of very old doughnuts. LOGAN looks chagrined, lowers his weapon, and goes back to the door, motioning for JESSICA and REM to come in. When they have done so, he points out the rat, which continues its meal, oblivious to them.
LOGAN: There's our noise-maker.
JESSICA: (makes a face) Whatever it is.
REM: A rodent. The specific genus is unknown to me, but it was commonly known as a rat.
JESSICA: (unimpressed) Wonderful.
REM: Well, I wouldn't suggest getting close to it. They were known to carry such unpleasant afflictions as hydrophobia and bubonic plague.
LOGAN and JESSICA both look at him blankly, so he clarifies.
REM: (continuing) Diseases.
JESSICA: (shudders) Logan, can we please get out of here? This whole place is making my flesh crawl.
JESSICA and REM move back out into the mall, and LOGAN is about to follow when we hear the unmistakable sound of a door closing from behind him. He spins in time to see the rat scurry off the counter.
EXT. MALL--JESSICA, REM - DAY -- JESSICA and REM have proceeded a short distance down the mall when she turns back, aware that LOGAN has not come after them.
JESSICA: Logan? LOGAN!
She starts back. REM hesitates, then begins to come as well, but they are several yards apart now. INT. RESTAURANT--LOGAN - DAY
LOGAN has his gun level and is going back to find that door .
ANGLE--JESSICA - She approaches the storefront, REM some distance behind her.
ANGLE--LOGAN - He moves into a hall at the back of the restaurant.
ANGLE--JESSICA - She stops outside and calls LOGAN'S name.
ANGLE--LOGAN -- He reacts to her voice . . . and the momentary distraction is almost his undoing. He has looked back over his shoulder to answer JESSICA when a figure in Sandman uniform appears suddenly in the hall, gun ready. Caught off guard, LOGAN drops quickly to the floor and the lethal charge streaks over him to shatter what is left of the plate-glass window.
ANGLE - -JESSICA -- She also falls away from the flying glass. REM is hurrying toward her.
ANGLE--LOGAN --He returns fire from the floor and freezes the Sandman.
ANGLE--JESSICA AND REM -- REM is helping JESSICA up, inspecting the minor scratches she has received, when LOGAN reappears in the doorway.
JESSICA: Logan! What...?
LOGAN: (moving them off) Don't talk. Move. There are Sandmen...
FULL ANGLE -- The words aren't out of his mouth before another flamegun charge strikes the wall beside them1 showering debris. LOGAN returns fire, though he can't see what he's shooting at.
INT. DEPARTMENT STORE - DAY - JESSICA runs back into the department store building, heading for the Hovercraft. LOGAN follows, with REM bringing up the rear. Another blast narrowly misses REM. And two Sandmen come out of hiding to pursue them into the buildings.
EXT. RUINS - DAY -- JESSICA breaks into the open only to see that the Sandman's mazecar blocks her path to the Hovercraft... and FRANCIS stands beside it. She doesn't stop, but instead bolts in another direction, off into the brush. FRANCIS sees her, but makes no attempt to fire at her. He is more interested in the sounds of pursuit inside the building.
ANGLE--LOGAN -- LOGAN has reached the opening and sees FRANCIS in time to weave out of the flamegun's path. But FRANCIS' charge strikes a support beam and brings the roof crashing down on top of the Sandman in pursuit of LOGAN. There is no sign of REM as yet.
ANOTHER ANGLE - LOGAN has taken JESSICA'S path off into the brush, and doggedly, FRANCIS moves to follow them both.
FULL SHOT -- JESSICA has traversed a wide, cement-littered drainage ditch and is scrambling up the other side. LOGAN reaches the first bank and is about to start down when a bolt from FRANCIS' gun strikes a rock at his feet. LOGAN loses his footing and falls down the embankment.
JESSICA'S POV - She turns back to see LOGAN at the bottom of the trench, rising. There is a cut on his head, and though his gun lies only a few feet away, he can't seem to reach it. FULL ANGLE -- JESSICA forgets caution and comes back down the bank toward LOGAN.
JESSICA: (reaching LOGAN) Logan! Logan, are you all right?
She tries to help him up, but LOGAN is resisting the effort.
LOGAN:(weakly) No... Francis...
He is still trying to reach for the gun, and a moment later he collapses, unconscious.
JESSICA: Logan... Logan!
She hears a footfall from somewhere above, and swiftly retrieves LOGAN'S weapon from the floor of the trench. But she is too late.
ANGLE--FRANCIS -- He stands at the lip of the embankment, his gun trained on her.
FRANCIS: Put it down.
TWO SHOT -- Defiantly, JESSICA raises LOGAN'S gun to aim it at FRANCIS. He is momentarily taken aback by this, but his bravado returns quickly, and he laughs at her.
FRANCIS: (continuing) Don't be an idiot, Jessica 6.
He realigns his own weapon to point at the unconscious LOGAN.
FRANCIS: (continuing) I can give him a lot worse than a bump on the head before you could pull the trigger. Now throw it away, over there. (motions to the side)
JESSICA doesn't move for several seconds, then, furious with herself, she hurls the gun away. DISSOLVE TO -- EXT. "PARKING LOT" - DAY- JESSICA stands watching helplessly as the Sandman LOGAN froze earlier emerges from the ruins with REM in front of his gun. He "guards" them both while FRANCIS and the other Sandman deposit a still-unconscious Logan in the Hovercraft. FRANCIS comes back to JESSICA.
ANGLE--JESSICA, FRANCIS AND REM
FRANCIS: All right. It's time to go home. (He motions to the craft with his gun.) Into the car.
REM: Jessica, I think it would be best if you did as he requests. (pause) Logan may need your help.
JESSICA: (to FRANCIS) What kind of a Sandman are you? Why take us back? Why haven't you done what Sandmen are supposed to do with Runners?
FRANCIS: Get in the car, Jessica 6.
JESSICA: I want to know why.' Why don't you just terminate us, right here?
REM: (cautioning) Jessica, you...
FRANCIS: (interrupts) You know your mechanical friend here gives very good advice. You should listen to it. (FRANCIS grabs JESSICA'S arm.) Now get in the--
FULL ANGLE - JESSICA pulls FRANCIS off balance and kicks him, hard. While he struggles to subdue her, REM attempts to take the gun from the Sandman beside him, but they are outnumbered. A blue beam from the other Sandman's gun strikes REM and he "freezes." JESSICA stops struggling against FRANCIS' hold on her, puzzled. FRANCIS adjusts his weapon to its lethal setting and aims it at REM.
ANGLE--JESSICA AND FRANCIS
FRANCIS: I'm going to get rid of this menace once and for all.
JESSICA: (grabs at the gun) No!
The Sandmen are laughing at her (OS).
JESSICA: (continuing) What harm can he do you now?
ANGLE--THE TWO SANDMEN
SANDMAN #1: Shall we see how many little piles of junk we can make of it?
SANDMAN #2: Naw. Why don't we just leave him there like that? I've always wondered what happens to robots who get left out in the rain.
FRANCIS: (chiding) You didn't even know what rain was until a few months ago.
FULL ANGLE -- FRANCIS changes his mind, puts his gun away, and herds JESSICA back toward the Hovercraft.
FRANCIS: (continuing) All right. Leave him there. Let's go.
JESSICA tries to resist being loaded into the car, but to no avail. FRANCIS gets into the back with her, while SANDMAN #1 takes the controls. SANDMAN #2 pilots the mazecar. Both cars pull away from the ruins, leaving the motionless REM behind.
INT. HOVERCRAFT -- THREE SHOT - DAY - JESSICA is at LOGAN'S side. He is beginning to stir. FRANCIS has settled into the corner, gun in hand. JESSICA glares at him.
CLOSE ON REM -- As the sound of the engines dies away, REM'S eyes move in the direction they have gone. When REM is certain they are completely out of sight, he "unfreezes," and stands there looking after them with a worried expression.
FADE IN: EXT. COUNTRYSIDE - ANGLE ON HOVERCRAFT - DAY -- It is moving with the mazecar following behind. INT. HOVERCRAFT - LOGAN - DAY -- He stirs and opens his eyes. HIS POV-- A hazy image of JESSICA is coming slowly into focus, as does FRANCIS just behind her.
FRANCIS: Hello, Logan.
ANGLE ON LOGAN -- He looks around the car.
LOGAN: (to JESSICA) Where's REM?
ANGLE ON FRANCIS - He speaks before JESSICA can answer.
FRANCIS: I'm afraid he had to be left behind. I should have made scrap metal of him when I had the chance. But then . . . I doubt if he'll be much of a threat to us, on foot.
CUT TO: EXT. SHOPPING MALL -- REM - DAY - He stands in front of what was once, according to the weathered sign, "YOUNG'S AUTO SUPPLY." In its wide entryway, now devoid of glass, stands the rust-eaten shape of an ancient sports car with a tattered banner overhead that reads: "YOUNG'S $500,000 GIVE-AWAY. GRAND PRIZE: THE 1994 MARALEE SPORTS COUPE." CLOSE ON PASSENGER SEAT - A smiling blonde mannequin sits there sporting a bikini and a large button that reads simply "MARALEE." ANGLE ON REM - With a faintly disdainful look on his face, REM approaches the car and after a cursory inspection, lifts the hood. It emits a wrenching squeal, and he makes another unpleasant face at the sight of the engine.
REM: (distastefully) Fuel-burning, energy-wasting, inefficient propulsion . . . It's positively primitive! (He props the hood up and starts to examine the engine more closely.) (muttering) Still, one must sometimes make do with the materials at hand.
DISSOLVE to: FULL SHOT -- SHOPPING CENTER RUINS - NIGHT -- EXT. SHOPPING CENTER RUINS - DAYBREAK -- The sun is just coming up over the mountains in the distance. CUT TO: INT. AUTO SHOP - REM He is laboring over the car now, and is surrounded by a clutter of manuals, tools and boxes of material he has acquisitioned from the shelves to aid in restoring the antiquated motor. "MARALEE" sits unconcerned in the car seat, grinning stupidly. Oblivious to her, REM moves to the driver's side and reaches in. He has attached wires to the ignition system, which he now touches together. There is a dull "clunk" from the engine. REM frowns, goes back to the front of the car and sets to work again. CUT TO: FULL SHOT -- The cars traveling along countryside. THEN: INT. HOVERCRAFT -- THREE SHOT
LOGAN: (to FRANCIS) Why do you keep coming after us?
FRANCIS: (after a moment) Why did you run? (LOGAN doesn't answer.) You were a Sandman. We were two of the best. But you betrayed us. You forsook everything you ever believed in.
LOGAN: Everything we ever believed in was a lie. Carousel... renewal... we've been lied to all our lives.
JESSICA: (after a long silence) You didn't follow us all this way, all these months, just so you could take us back with you. There's got to be another reason. What?
LOGAN: (when FRANCIS doesn't respond) Oh, there's a reason. Maybe it's that the Sandmen need a public example... A Runner whose mind they can re-arrange with the Computer... someone who can publically denounce the resistance movement, like I almost did voluntarily once before. Who better to accomplish that purpose than the prime example... the only Sandman ever to become a Runner.
FRANCIS: What's done with you won't be my decision to make. Right now, all I care about is doing my job.
JESSICA: And your job is to take us back... to be programmed, like automatons.
FRANCIS: That's your speculation. If it were up to me, you'd both go on Carousel. At least then, you'd have a chance to renew.
LOGAN: Renew! People don't renew on Carousel: they die. And I think you know that.
FRANCIS: You're wrong, Logan. There is renewal for some of us.
Both LOGAN and JESSICA look bewildered at that. CUT TO: INT. AUTO SHOP -- REM -- He is rummaging through a pile of battered old metal cans in one corner. Most of them appear to be empty, but he finally finds one with something in it. REM lifts this one, removes the cap and cautiously sniffs at it. Then, with a facial shrug, he carries it back to the car and opens the flap to the gas tank. DISSOLVE TO: ANGLE REM - He is sitting in the driver's seat now, once again trying to start the car. This time we hear a sick, grinding cough, and the motor sputters to life. A thick cloud of black smoke shoots from the exhaust pipe with a bang, and the engine starts missing, making loud, intermittent chuffing noises. In spite of all that, REM is delighted with his success. CUT TO: EXT. PARKING LOT -- REM - DAY-- He has pushed the sports car out into the open now where the other cars were earlier. The engine of the sports car is still running, and REM is making yet another adjustment under the hood.
REM: (to no one in particular) Just one more... (turns a wrench) ...minor adjustment. (straightening) There!
REM closes the hood, then for some reason his attention is caught by something just inside the broken wall of the department store. Leaving the car running, he goes to investigate, and finds the Sandman who had been pursuing LOGAN pinned beneath a fallen beam. REM kneels, touches the man's throat, and looks briefly disheartened (obviously the Sandman is dead). REM picks up the Sandman's flamegun and carries it back to the car with him.
REM: (again to no one in particular, examining the gun) I suppose this could be very useful in what I hope to accomplish. Unfortunately, to use it would be in violation of my programming. (long pause) I am loath to admit it, but for the first time in the whole of my existence, I could almost wish I were human.
REM tosses the gun away and gets into the car. The engine's sick sputter sounds even worse when he depresses the accelerator. The car shudders, but doesn't move. Scowling, REM locates the gearshift, moves it, and the car jerks abruptly forward. FULL SHOT -- The sports car rumbles unsteadily away from the shopping center and disappears into the distance, following more than 24 hours in the wake of FRANCIS, LOGAN and JESSICA. CUT TO:
INT. HOVERCRAFT - NIGHT -- JESSICA has fallen asleep, LOGAN is drowsy. Even FRANCIS is showing the strain of two nights without sleep, but he is awake, and his gun is still in his hand. The car slows to a stop. LOGAN looks up and rouses JESSICA. The City of Domes is visible now ahead of them. The Sandman at the controls turns to FRANCIS.
SANDMAN #1: We're at the designated entry point, Francis.
FRANCIS: (to LOGAN and JESSICA) All right . . . everybody out. We walk from here.
EXT. HOVERCRAFT - NIGHT -- The occupants of the craft emerge. The maze car pulls up alongside, and FRANCIS approaches it while Sandman #1 keeps his gun on LOGAN and JESSICA. TWO SHOT.
FRANCIS: (to Sandman #2) Take the maze car on and report in. We'll leave the unauthorized vehicle here. Have maintenance assign a crew to come out and dismantle it for parts salvage.
SANDMAN #2: Right. You want a back-up unit?
FRANCIS: No. We'll handle it from here. (FRANCIS waves the car on, then returns to the other three.) All right. Let's go. (The party begins walking.)
CLOSE ON LOGAN AND JESSICA -- LOGAN looks surprised when JESSICA reaches out and clasps his hand, and he turns to look at her, but JESSICA's gaze is fixed on the domes, which are quite close now. CUT TO: CLOSE ON REM IN SPORTS CAR -- REM sits in the sports car next to Maralee. She has toppled over in the seat and now rests her head on the door. The car is shaking and backfiring fiercely, and the one operational headlight is insufficient to aid in navigating the uneven terrain after dark, but REM is undaunted by all of this. The car stalls momentarily when he hits a particularly large bump, and when, after several minutes, he gets it started again, the wheels spin--and the car won't move forward. Sighing, REM gets out and sets about pushing it out of the rut. CUT TO: INT. CITY OF DOMES/EXT. SANDMAN HEADQUARTERS. FRANCIS, JESSICA, LOGAN and SANDMAN #1 have paused at the base of the long flight of steps. LOGAN is looking up at the building with an expression that is not lost on FRANCIS.
FRANCIS: Like coming home again, Logan?
LOGAN gives him a mildly annoyed glance, then starts up the steps. The others follow. Two Sandmen come out the door and hesitate on their way down the steps to stare. (Either they recognize LOGAN or the sight of one Sandman under another's gun intrigues them.) Ignoring this attention, the party continues inside.
INT. SANDMAN HEADQUARTERS -- The party is moving down a corridor when they are approached by ERIC 8 (another Sandman whom we will later learn was once a close friend to both FRANCIS and LOGAN).
ERIC: (calling as he nears) Francis! (He pauses, recognizing LOGAN, and stops short several feet away)
FRANCIS: What is it, Eric?
ERIC: (he and LOGAN have locked gazes and he breaks the moment awkwardly) You . . . your mobile-unit checked in half an hour ago, and the Computer's been asking for you ever since. On Priority.
FRANCIS: (scowls, looks at LOGAN and JESSICA, then puts his gun into ERIC's hand) Here. The two of you see that these Runners are delivered to the detention area. (He hands ERIC another, smaller object) This is the clearance and cell designation.
ERIC does not look overjoyed at this assignment, but gives no argument. FRANCIS watches them continue down the corridor, then goes in another direction.
CUT TO: INT. MASTER COMPUTER ROOM (AS IT WAS IN THE FILM) FRANCIS enters and is alone in the massive room. The predominant sound is a pulsating, mechanical hum, and as he approaches, the voice of the Computer sounds, coupled with its screen print-out.
COMPUTER: Francis 7 . . . you were assigned live recovery of two Runners by special decree of Council. Has this assignment been accomplished?
FRANCIS: The Runners Logan 5 and Jessica 6 are in Detention Area Cell 7179.
COMPUTER: (after a series of hums and clicks) Confirmed. (Pause) Francis 7, you are ordered to report to Council Chambers for further instruction.
CUT TO: INT. DETENTION AREA - The party enters. ERIC 8 hands the designation card to the Sandman at the desk, who gives LOGAN a long, cold look before shoving the card into a slot on the desk. A door comes open and they proceed through it. INT. CELL BLOCK -- LOGAN and JESSICA enter one of the cells and Sandman #1 activates the detaining force field while ERIC clips FRANCIS' gun to his belt. ERIC stands staring into the cell.
SANDMAN #1: (to ERIC) You coming?
ERIC: In a minute.
SANDMAN #1 goes away. ERIC looks uncomfortable, as though he wanted to say something, but can't get it out. CLOSE ON ERIC AND LOGAN
ERIC: Logan... (LOGAN is looking back at him through the blue ripple distortion of the force field.) I'm not sure I know how to say this.
LOGAN: (not sure what to expect) I wouldn't stand there too long if I were you, Eric. You could be suspected of some sort of sinister collusion with Runners.
ERIC: (he is visibly rattled by this remark) No . . . I . . . well, I wish things could be different for both of you is all . . . I wish none of this had happened. That isn't exactly what I wanted to say, but...
FULL SHOT -- The outer door comes open at this point and another Sandman enters with a prisoner. ERIC 8 makes a nervous exit.
JESSICA: Now what do you suppose that was all about?
LOGAN: I'm not sure.
JESSICA: Was he a friend of yours?
LOGAN: (still staring into the corridor) And Francis'. We were all good friends, once.
CUT TO: INT. COUNCIL CHAMBERS -- FRANCIS stands before the Elders.
MORGAN: First of all, allow us to congratulate you on the success of your mission, Francis 7. You were most efficient. (FRANCIS nods an acknowledgment.) We have called you here to ask... an indulgence... before you are given the right you were promised. (Pause) You are aware of the master Computer's recommendation regarding your prisoners?
FRANCIS: Yes, of course. The Computer advocates reprogramming of both Runners and public denouncement of the resistance to discourage any further rebellion.
MORGAN: That is true. And this Council has long been agreed that an example is necessary. However, it is also this Council, and not the Computer, which will decide precisely how the example is to be made. That decision may involve you.
FRANCIS: I don't understand.
MORGAN: You will.
CLOSE ON FRANCIS AND MORGAN
MORGAN: (becomes suddenly more formal) Francis 7, you will deliver the prisoners Logan 5 and Jessica 6 to this chamber in four hours' time. By then, this Council will have reached its final decision.
FRANCIS: (surprised) I'm to deliver them here?
MORGAN: That is correct. Do you have any further questions?
FRANCIS does but won't say so.
FRANCIS: No, sir.
DISSOLVE TO: FAR SHOT OF LANDSCAPE - The sunrise is coming over the mountains. CLOSE ON REM AND SPORTS CAR. The sports car has stopped, its engine is quiet. REM opens the hood of the car and is met with a jet spray of steam from an overheated radiator.
REM: (muttering at it) If I didn't know better, I'd swear this fuel-guzzling collection of antiquated gears was possessed of an ominous intelligence. (REM looks over the hood at Maralee and "speaks" to her for the first time.) As I understand it, the remedy for this particular malfunction is two-fold; first, time for the device in question--a radiator--to cool, and second, the insertion of additional water. I'm afraid I have no more of either.
Maralee, who still has plaster in her nylon hair and a large chip in her nose, naturally gives no answer. REM looks off into the distance, where the City of Domes is visible now, and as another spray of steam shoots from the radiator, he gives the whole thing a "brush-off" motion with both hands, and turns his back on it to begin walking.
CUT TO: INT. CELL BLOCK -- LOGAN and JESSICA are sitting down now.
JESSICA: Logan... (LOGAN looks over at her waiting.) What are they going to do with us?
LOGAN: (dully) Whatever the Master Computer tells them to do.
JESSICA: You mean, reprogram us . . . to say whatever it wants us to say? (angrily) I'd rather be dead! (louder and more deliberately) I'd rather be TERMINATED!
Their cell is monitored, and they both know it.
JESSICA: I want them to hear. I don't care anymore!
They both react to the sound of the door opening, and FRANCIS appears outside the cell. He deactivates the force field. FULL SHOT
FRANCIS: (lifting his gun) Come with me.
FRANCIS: Don't ask questions. Just move.
DISSOLVE TO: FULL ANGLE - FRANCIS, LOGAN and JESSICA materializing at the Council Chambers entryway. They are all bathed in bright red light. LOGAN and JESSICA are both mystified by all of this, even more so when the red light fades and the seated Elders all become visible to them. CLOSE SHOT - LOGAN and JESSICA displaying their shocked reaction. ANOTHER ANGLE.
MORGAN: You are the Runners Logan 5 and Jessica 6.
LOGAN: (So stunned he can hardly get his words out.) Who are you?
MORGAN: We are the Council of Elders . . . the true governors of the City. I am Morgan 3, head of the Council.
JESSICA (staring, open-mouthed) They . . . they're old!
MORGAN: (with a patronizing smile) For all of its efficiency in other matters, the Master Computer is not truly capable of governing the City. That it does so is only an appearance, by our design. We find this system most effective.
LOGAN: (suspicious of this) Why tell us? Why would you reveal yourselves to us if all you intend to do is repro--
LOGAN stops mid-word, beginning to see and not liking it.
MORGAN: (detached) It is the decision of this Council that the Computer recommendation in this matter be disregarded.
FRANCIS: (doesn't like this either) Disregarded? But why? Their testimony and its effect on potential Runners would be-
MORGAN: (interrupts him) That course of action is decidedly dangerous. The Runners gain in number every day. Many are still within the City. They have allies in places you've not yet begun to uncover. Even reprogrammed, these two would not be sufficient to discourage the movement. They would only arouse anger and suspicion among the others. They would be useless to us.
FRANCIS: Then why not reprogram them to behave as Runners--to seek out the others and report them to us?
MORGAN: (considers that) This kind of ruse would be quickly discovered. The result would most likely be the same.
FRANCIS gives LOGAN a frustrated glance. MORGAN assumes his formal tone again.
MORGAN: (continuing) Francis 7, we have appointed you to carry out an example before the citizens of this City. In the opinion of the Council, these individuals, by their continuing existence, constitute a threat to this society which cannot be condoned. It is the judgment of this Council, therefore, that in the tenth hour of this day in the year of the City 2319, in the area called Arcade before the onset of Carousel, you and the Sandmen shall make known our example--by the public termination of the Runners Logan 5 and Jessica 6.
CLOSE ON LOGAN AND JESSICA reacting to what they have just heard. FADE OUT.
FULL SHOT -- JESSICA takes an angry step toward MORGAN 3.
JESSICA: (furiously) Who are you people?.' What gives you the right to pass judgment on anyone?!
LOGAN: (this isn't helping) Jessica...
JESSICA: You're nothing but an ancient collection of hypocrites!
MORGAN: (unflappable) Francis 7, you will remove the prisoners.
JESSICA bolts forward, grabbing the edge of the circular "bench," and MORGAN recoils almost as though he were, indeed, afraid of her.
JESSICA: (screaming at him) Did you hear me?! You're hypocrites! All of you!
LOGAN: (G rabs JESSICA'S hand, pulling her away.) Jessica. . . don't!
JESSICA snatches her hand away, pivots and stalks past LOGAN toward the exit. LOGAN follows her, and FRANCIS follows them both out. MORGAN, recovering from a profound embarrassment, stiffens and regains his composure. The other Council members are looking at him. CUT TO: EXT. CITY - DAY -- REM is watching a Sandman patrol car pass from a concealed position in some bushes. When the car is out of sight, REM rises and moves closer to the Domes. FAR SHOT -- REM enters a sloping, underground tunnel and proceeds down it. DISSOLVE TO: FULL SHOT INSIDE CITY -- REM dodges out of sight as a group of people pass by, then moves on down a passageway. CUT TO: INT. CELL BLOCK - LOGAN and JESSICA -- They sit in opposite corners. LOGAN has fallen asleep, but we can see that he is moving fitfully, dreaming. RIPPLE DISSOLVE TO: LOGAN'S DREAM. We see what has to be the memory of a past incident--LOGAN and FRANCIS are chasing a Runner through a dark, run-down section of the City. They fire at him, missing deliberately, laughing, making jokes with each other about being poor shots (similar to the film's opening). Several fast cuts of their faces: LOGAN and FRANCIS grinning, the Runner's terrified expression. Finally, we see LOGAN cornering the Runner, aiming the gun at him. The Runner's lips frame the word "No" . . . LOGAN fires. The Runner screams and falls away, but as he falls the ripple effect obscures him, and when the image clears again FRANCIS is helping the Runner to his feet . . . and handing him FRANCIS' flamegun. LOGAN is blinking, confused. LOGAN reaches for his own weapon and finds it gone. Both FRANCIS and the Runner are looking at him with undisguised hatred. The Runner raises the gun, aiming it at LOGAN. Close on the gun, then the Runner as he snarls a word at LOGAN and it echoes over and over . . . "Runner!" A frightened LOGAN begins backing away, shaking his head. FRANCIS is laughing. The Runner holds the gun at full arm's length. He shouts "Die, Runner!" . . . and fires the gun.
HARD CUT TO: INT. CELL - LOGAN and JESSICA -- LOGAN jerks upright, startled awake.
JESSICA: What is it? Logan, what's wrong?
LOGAN is perspiring and still quite shaken by the dream.
LOGAN: Nothing . . . a dream, that's all.
JESSICA: From here it looked more like a nightmare.
LOGAN pauses, looks at JESSICA, then looks at the floor.
LOGAN: There was a Runner once . . . I . . keep remembering...
FULL SHOT -- JESSICA is about to say something when they are distracted by the approach of FRANCIS and a couple of Sandmen. All have their weapons in hand. FRANCIS turns off the force field and stands looking in at them, without speaking. CUT TO: INT. COMPUTER ANNEX -- REM enters, glancing &round to be certain the room is deserted. He goes immediately to one of the panels and begins examining the controls. In a moment he has several small screens overhead operating, displaying areas of the City. He switches the views rapidly until one of them finally reveals the party of Sandmen moving LOGAN and JESSICA toward the central quad. All screens but this one go dark, and REM begins searching the board for something else. CUT TO: FULL SHOT - QUAD -- There is a large crowd gathered to enter Carousel, and many are watching with curious interest as the Sandmen enter the area. LOGAN and JESSICA are herded into position against a prominent outcropping of cement wall, which places them in plain view of most of the crowd. Just above their heads is a large, glowing red replica of the "Life Crystal," like that in the Council Chamber. One Sandman remains on either side of them. We see several individuals in the crowd as they recognize LOGAN and JESSICA, murmuring their names. The Computer's gong sounds. There is a lengthy silence, then:
COMPUTER: (voice over) These are the Runners Logan 5 and Jessica 6. Their absence from among you has engendered the false belief that they had escaped the City and found "Sanctuary." That belief is incorrect. Logan 5 and Jessica 6 have been held in detention for five City months. Throughout that time, a thorough psychological rehabilitation effort has failed to recondition...
JESSICA: (interrupting) That isn't true!
COMPUTER: (continuing) They are brought before you now so that truth may be demonstrated. There is no Sanctuary outside the City. There is no renewal for those who run.
Under all of this, ERIC 8, who has been standing in the crowd, gets a signal on his communications device, and leaves the gathering. CUT TO: INT. COMPUTER ANNEX -- REM has the front lower panel of the control board open and is reconnecting several wires in an attempt to create a cross-circuit. Loose wires trail out of the opening onto the floor. He stands immediately at the sound of the door coming open and ERIC 8 comes in, his gun ready. The initial reaction of ERIC's is shock at seeing REM, who looks older than anyone he's ever seen before.
ERIC 8: (After an initial shock at seeing REM, who looks older than anyone he's ever seen before.) Who are you? What are you doing in here? (REM does not reply, but instead, casts a nervous glance at the screen, where LOGAN and JESSICA can still be seen. ERIC now notices this too, and recognizes the scene.) Answer me. What were you doing?
REM: (HE NODS AT THE SCREEN) Actually, I was hoping to prevent what it seems is about to occur there.
TIGHT ON ERIC. HIS EXPRESSION SOFTENS AT THIS, AND HE LOWERS THE GUN. CUT TO: EXT. QUAD
COMPUTER: Renewal can be accomplished only by the rite of Carousel. For those who run, there is only - termination. (PAUSE) Proceed, Francis 7.
JESSICA: (SHOUTING) Lies! It's all lies--none of this is true!
LOGAN: We _have_ been outside!
JESSICA: Even your Computer is a lie. You're being ruled by men you don't even know. Old men!! (SPONTANEOUS LAUGHTER BREAKS OUT AT THIS REMARK. JESSICA HAS TO SCREAM TO BE HEARD OVER IT) You've got to listen--you have to believe us! We're telling you the truth! (SHE TRIES TO RUN FORWARD, BUT THE SANDMAN BESIDE HER PUSHES HER ROUGHLY BACK.)
WOMAN IN CROWD: (LAUGHING) Old men!
LOGAN: They exist. We've seen them!
MORE LAUGHTER. WE PAN A CROWD OF JEERING FACES--SEVERAL ARE CALLING "RUNNER" AT THEM CONTEMPTUOUSLY. MS OF A MAN IN THE CROWD NEAR LOGAN.
MAN: You're a traitor to your profession, sandman. Runner!
CU LOGAN, THEN FAST CUTS OF SEVERAL OTHER FACES, ALL CALLING "RUNNER". THERE IS A BRIEF FLASH OF THE IMAGE FROM LOGAN'S DREAM--THE RUNNER AIMING THE GUN AT HIM, SAYING THE SAME WORD. THE MOB SURROUNDING LOGAN & JESSICA HAS NEARLY MADE THE WORD A CHANT WHEN THE COMPUTER SOUNDS ITS GONG AGAIN, SILENCING THEM.
COMPUTER: Proceed, Francis 7.
THE PEOPLE GIVE WAY SLIGHTLY AS THE TWO SANDMEN LEAVE LOGAN AND JESSICA, MOVING INTO POSITION WITH FRANCIS. ONE OF THESE UNHOLSTERS HIS GUN, AS DOES FRANCIS, AND THEY LEVEL THE WEAPONS AT JESSICA & LOGAN... FADE OUT.
FADE IN AS BEFORE. FRANCIS IS AIMING AT LOGAN, THE OTHER SANDMAN AT JESSICA. CUT TO: INT. COMPUTER ANNEX. ERIC IS GONE. REM COMES QUICKLY OUT FROM UNDER THE CONTROL PANEL AND THROWS A SWITCH ON THE BOARD. CUT TO: QUAD. THE RED CRYSTAL ABOVE LOGAN AND JESSICA SHORTS OUT, EXPLODING INTO FLYING SPARKS OF LIGHT. LOGAN DUCKS JUST AS FRANCIS' GUN BURNS A CAVERNOUS HOLE IN THE WALL WHERE HE WAS STANDING. MASS CONFUSION BREAKS OUT. LOGAN AND JESSICA BOTH DART INTO THE CROWD OF MILLING, FRIGHTENED PEOPLE. MORE LIGHTS ARE SHORTING OUT, ALL AROUND THEM. FLASH CUTS: LOGAN & JESSICA MOVING THROUGH MASSES OF PEOPLE//FRANCIS PUSHING THROUGH THE CROWD AS WELL, HIS GUN RAISED HIGH, HIS FACE ANGRY//MORE ELECTRICAL SHORTS, LIGHTS DIMMING//THE PEOPLE BEGIN SCATTERING, CRYING OUT, RUNNING IN ALL DIRECTIONS//LOGAN & JESSICA STILL MOVING, HOLDING ONTO EACH OTHER, MOBS OF PEOPLE RUNNING PAST THEM//FRANCIS IN THE MIDST OF THE MELEE STANDING STILL NOW, WATCHING: THE HUNTER WHO KNOWS HIS PREY HASN'T GONE FAR. TWO OTHER SANDMEN JOIN HIM//LOGAN & JESSICA BREAK FREE OF THE CROWD AND HEAD DOWN A "STREET."
FS LOGAN & JESSICA RUNNING. THE STREET IS DESERTED UNTIL A FIGURE IN SANDMAN UNIFORM BREAKS INTO IT JUST AHEAD OF THEM. THEY STOP DEAD, START TO RUN IN ANOTHER DIRECTION WHEN SOMETHING MAKES LOGAN HESITATE. THE SANDMAN IS ERIC.
ERIC: (URGENTLY) Logan!! (HE MOVES CLOSER, AND JESSICA NOTES THAT HIS GUN IS NOT DRAWN, BUT CLIPPED TO HIS BELT.) Logan--come with me. (HE SEES A FLICKER OF DISTRUST IN LOGAN'S EYES) I can take you to your friend--to Rem!
VOICES SOUND NOT FAR BEHIND THEM. THERE IS NO TIME FOR QUESTIONS. LOGAN & JESSICA FOLLOW ERIC OFF ONTO A SIDE STREET JUST SECONDS BEFORE FRANCIS & CO. COME RUNNING ONTO THE NOW DESERTED THROUGHFARE. FS LOGAN, JESSICA & ERIC, IN A CORRIDOR NOW. ERIC STOPS BEFORE A DOOR MARKED "YAF 29 COMP-ANNEX."
ERIC: He's in here. (JESSICA STARTS THROUGH THE DOOR, BUT LOGAN DOESN'T MOVE. HE IS WATCHING ERIC GLANCE NERVOUSLY BEHIND THEM. HE THEN PULLS THE GUN FROM HIS BELT AND HANDS IT TO LOGAN.) You'd better take this. LOGAN: (DISMAYED AT THIS) Eric --
ERIC: Don't talk. Go! (HE ALL BUT PUSHES THEM THROUGH THE DOOR)
CUT TO INT. ANNEX AS LOGAN & JESSICA ENTER.
JESSICA: Rem! You are here! How did you--?
LOGAN: (ANXIOUSLY) Look, never mind that now. Is there a way outside from here?
REM: (HE INDICATES THE FAR WALL) Schematics indicate a concealed door in that wall panel. It leads to an access tunnel.
LOGAN: (EXAMINES THE WALL) Fine. Now how do we open it?
REM: (HEADS BACK TO HIS JURY-RIGGED CONTROL BOARD.) That is another matter. I didn't have a great deal of time to examine the tapes.
LOGAN CONTINUES SEARCHING FOR SOME SORT OF DEVICE IN THE WALL WHICH MIGHT OPEN THE DOOR, WHILE REM LOOKS FOR THE ANSWER ON THE COMPUTER'S SCREEN. CUT TO: CORRIDOR OUTSIDE. ERIC HAS BARELY MOVED AWAY FROM THE DOOR WHEN WE HEAR FOOTSTEPS. HE DELIBERATELY THROWS HIMSELF TO THE FLOOR, FEIGNING HAVING BEEN HIT ON THE HEAD AS FRANCIS AND THE SANDMEN COME DOWN THE HALL TO HIM. FRANCIS HELPS HIM UP.
FRANCIS: (IMPATIENTLY) Which way?
ERIC: (HOLDING HIS HEAD, HE POINTS DOWN AN ADJOINING CORRIDOR) Down there, I think. I... I'm not sure.
THE OTHER SANDMEN CHASE IMMEDIATELY OFF IN THE DIRECTION HE HAS INDICATED.
FRANCIS: You'd better report back to headquarters. Have that taken care of.
ERIC: Yeah. (HE MOVES OFF, AND FRANCIS WATCHES HIM GO. HE LOOKS AFTER HIS DEPARTED MEN, HESITATES INDECISIVELY, THEN TAKES A SUDDEN, SUSPICIOUS INTEREST IN THE COMPUTER ANNEX DOOR. INT. ANNEX: LOGAN HAS GIVEN UP SEARCHING THE WALL...
LOGAN: (TO REM) There's nothing here. Did you find anything?
REM: One moment. (PUSHING BUTTONS) I had to cross-circuit several of the controls, you understand. Otherwise, it wou1d be a simple matter of- (THE DOOR SLIDES OPEN FOR HIM THEN) --there.
THEY ARE ALL THREE AT THE OPENING WHEN FRANCIS WALKS THROUGH THE FRONT DOOR.
FRANCIS: That's far enough, Logan. (LOGAN, NEAREST TO HIM, TURNS BACK. HE HAS
ERIC'S GUN IN HAND, BUT FRANCIS HAS THE DROP ON THEM.
FRANCIS: Drop it.
RELUCTANTLY, LOGAN DOES. FRANCIS MOVES TO BETTER HIS POSITION, COMING FURTHER INTO THE ROOM. UNFORTUNATELY, HE IS WATCHING HIS CAPTIVES, AND NOT WHERE HE IS WALKING. HE IS MOVING DANGEROUSLY CLOSE TO ONE OF THE LOOSE WIRES TRAILING ONTO THE FLOOR FROM REM'S CROSS-CIRCUITED COMPUTER PANEL.
CU REM, WHO HAS NOTICED THIS. HE GLANCES AT LOGAN, STARTS TO SAY SOMETHING, THEN THINKS BETTER OF IT.
FRANCIS: Now we're taking a walk back to Arcade -- all 4 of us.
(INSERT CU OF REM, STILL WATCHING FRANCIS' FEET INTENTLY) Then we can finish what we--
FRANCIS STEPS ON THE WIRE. WE HEAR THE CRACKLE OF LIVE ELECTRICITY. THE GUN FLIES FROM HIS HAND AND HE FALLS TO A SITTING POSITION, HIS BACK TO THE PANEL. REM RUSHES TO THE CONTROLS, CUTTING OFF THE POWER AS LOGAN RETRIEVES FRANCIS' WEAPON AND JESSICA PICKS UP ERIC'S GUN.
LOGAN: (AS REM BENDS TO EXAMINE FRANCIS) Is he still alive?
REM: (RISING) Quite. The voltage was severe, but not lethal.
LOGAN: (COLDLY) I'm not so sure that's good news. (OBLIVIOUS TO JESSICA'S STUNNED EXPRESSION, HE MOVES TO THE FRONT DOOR, TRIPPING THE LOCK.)
JESSICA: What? (ON THE FLOOR, FRANCIS HAS OPENED HIS EYES.)
LOGAN: (IGNORING HER, HE POINTS THE GUN SQUARELY AT FRANCIS AND ADDRESSES HIM:) Maybe you can give me one good reason why I shouldn't pull this trigger, Francis. (HE GETS NO ANSWER, THOUGH FRANCIS IS LOOKING UP AT HIM.)
JESSICA: Logan, what are you doing?!
LOGAN: (EVENLY, WITHOUT LOOKING AT HER) Stay out of it.
JESSICA: (PERSISTS) Don't be stupid, Logan. Let's get out of here while we still can!
LOGAN: (NEVER TAKES HIS EYES OFF FRANCIS) You and Rem go on ahead. I'll catch up with you.
JESSICA: (SHE IS OPENLY HORRIFIED AT LOGAN'S APPARENT INTENT) Logan, you can't...
LOGAN: (SHARPLY) I said go on!
REM LIFTS A RESTRAINING HAND TO A DISTURBED JESSICA, AND USHERS HER ON THROUGH THE OPENING IN THE WALL. LOGAN, MEANWHILE, HASN'T MOVED, CONTINUES HOLDING HIS GUN ON FRANCIS.
LOGAN: I still haven't heard your reason.
FRANCIS: (AS WE HEAR THE SHOUTS OF OTHER SANDMEN OUTSIDE THE DOOR). If you really mean to use that, you'd better hurry. You're running out of time.
LOGAN: You would have killed us. Right now I can't think of any reason why I shouldn't 'terminate' you. At least then you wouldn't be coming after us.
FRANCIS: (LAUGHS AT HIM) If not me, another sandman. And another after him. You couldn't kill that many of us. We'll keep coming. And we'll get you, sooner or later.
LOGAN: (ANGRY) Why, Francis? You've never explained why! For that bunch of senile old men?? What do you owe them??!
FRANCIS: Logan, don't be such a fool. How do you think they got to be old men?
THERE IS SHOUTING AND POUNDING ON THE LOCKED DOOR NOW. LOGAN IS SLOWLY REALIZING WHAT FRANCIS HAS SAID, AND IT IS CHANGING HIS OUTLOOK ON THE SITUATION CONSIDERABLY. AFTER ALL, IF FRANCIS' SOLE MOTIVATION FOR PURSUING THEM IS A SEAT ON THE COUNCIL--THEREBY SURVIVAL PAST LASTDAY, THEN THEIR GOALS REALLY AREN'T THAT DIFFERENT. A SPARK FLIES INTO THE ROOM FROM A CRACK IN THE DOOR. THE SANDMEN ARE CUTTING THROUGH IT. LOGAN STILL STANDS STARING AT FRANCIS, BUT HE LOWERS THE GUN.
CUT TO: JESSICA & REM IN THE ACCESS TUNNEL. THEY STOP AND TURN WHEN THEY SEE LOGAN COMING TOWARD THEM. THEY MEET AND PROCEED FURTHER DOWN THE TUNNEL, STOPPING AT YET ANOTHER DOOR. THIS ONE JESSICA IS FAMILIAR WITH, AND OPENS IT WITH HER ANKH BY PRESSING THE SYMBOL TO A METAL PLATE ON ITS SURFACE. INT. ANNEX: THE SANDMEN BREAK INTO THE ROOM, RUSHING TO FRANCIS. HE WAVES THEM ON INTO THE OPEN ACCESS TUNNEL. EXT. DOMES: LOGAN, JESSICA & REM EMERGE INTO DAYLIGHT. THERE ARE NO PATROL CARS IN SIGHT AS YET.
LOGAN: (AFTER CHECKING THE SURROUNDINGS THOROUGHLY) Come on. The hovercraft is this way.
CUT TO: INT. ACCESS TUNNEL: THE SANDMEN HAVE PASSED THE POINT WHERE LOGAN, JESSICA & REM LEFT THE TUNNEL AND HAVE DOUBLED BACK, CONFUSED. THEY ARE EXAMINING THE "DOOR" WITH THE SPECIAL MAGNETIC PLATE, BUT THEY HAVE NO IDEA HOW TO OPEN IT. FRUSTRATED, THEY RETURN DOWN THE TUNNEL BACK THE WAY THEY CAME.
EXT. DOMES, DAY: LOGAN, JESSICA & REM ARE CONCEALED BEHIND SEVERAL LARGE ROCK FORMATIONS AND ARE WATCHING TWO SANDMEN WORKING ON AND AROUND THEIR HOVERCRAFT.
REM: (SOTTO VOCE) Most unfortunate. They appear to be dismantling it.
LOGAN: Yes, but they haven't gone far yet. If we could draw them away from it somehow...
REM: A distraction. (LOGAN NODS, RESETTING THE GUN TO THE FREEZE POSITION.
REM: (NODS.) Allow me. (HE RISES SLOWLY, AND WALKS OUT INTO THE OPEN, APPROACHING THE SANDMEN WITH A THIN LITTLE SMILE ON HIS FACE.) Excuse me. Uh, pardon me, but I seem to have lost my way, and I was wondering perhaps if you might--
UNDER THIS: BOTH LOGAN AND JESSICA HAVE TAKEN AIM AT THE SANDMEN, AND BEFORE THEY CAN DRAW ON REM, TWIN BEAMS OF LIGHT HAVE FROZEN BOTH OF THEM. REM HURRIES PAST THEIR GLOWING BLUE FIGURES AND IMMEDIATELY SETS ABOUT CHECKING OUT THE VEHICLE. LOGAN IS CLOSE BEHIND HIM.
LOGAN: How is it?
REM: The damage isn't irreversible, but I'm afraid it will require time to repair. Five, perhaps ten minutes.
JESSICA: Can we help?
REM: (WORKING ALREADY) No, thank you. I'll manage faster alone.
LOGAN: (NERVOUS) Then please make it as fast as you can. Francis isn't going to be far behind us.
JESSICA'S LOOK OF RELIEF AT THIS MENTION OF FRANCIS (STILL ALIVE) IS LOST ON LOGAN. HE IS ALREADY SEARCHING THE HORIZON FOR SIGNS OF PURSUIT. DISSOLVE TO: SAME SCENE MINUTES LATER: REM STARTS THE HOVERCRAFT'S ENGINES. LOGAN BOUNDS BACK TO THE DOOR OF THE CRAFT, LEAVING JESSICA ALONE BESIDE THE FROZEN SANDMEN.
LOGAN: Will it travel?
REM: With one more small reparation... it should.
JESSICA IS WATCHING THIS EXCHANGE FROM A FEW FEET AWAY, ERIC'S FLAMEGUN HELD CASUALLY AT HER SIDE. WE PULL BACK TO REVEAL THAT A SANDMAN, ON FOOT, HAS CREPT INTO POSITION OVER THE SAME ROCKS LOGAN & JESSICA FIRED FROM EARLIER, AND HIS GUN IS AIMED AT LOGAN'S BACK. CLOSE ON JESSICA. SOMETHING DISTRACTS HER ATTENTION -- AND SHE SEES THE SANDMAN.
JESSICA: (SCREAMS) Logan!!! (LOGAN SPINS IN TIME TO SEE JESSICA DROP TO THE GROUND AND FIRE THE GUN SHE HAS. HER BEAM HITS THE SANDMAN ONLY SECONDS BEFORE HE WOULD HAVE SHOT LOGAN.) LOGAN STARES, SHAKEN, AT THE FIGURE OF THE FROZEN SANDMAN WITH THE LETHAL GUN AIMED STRAIGHT AT HIM. REM COMES OUT OF THE HOVERCRAFT A MOMENT LATER TO SEE LOGAN HELPING JESSICA UP OFF THE GROUND.
LOGAN: (EMBARRASSED SLIGHTLY) He must have been part of the work crew.
REM: I hate to interrupt, but if the two of you are finished...?
LOGAN: (A SIDELONG GLANCE AT THE NEW SANDMAN) Let's get out of here. (THEY MOVE TO ENTER THE CRAFT.)
CUT TO: INT. COUNCIL CHAMBER. FRANCIS HAS BEEN BROUGHT BEFORE THE COUNCIL.
MORGAN: Francis 7, the escape of these prisoners was due solely to your personal incompetence. And you may expect to receive an official DS reprimand as a result! That, even so,
is insignificant by comparison to the decision of this Council that it must reconsider your nomination to these ranks. (LENGTHY PAUSE. FRANCIS LOOKS VERY UNCOMFORTABLE) You will be given new orders. Effective immediately, you will proceed outside the dome and relocate the runners Logan 5 and Jessica 6. And further, as these runners now present a double threat to our way of life, having knowledge of this Council, you are ordered to terminate both on sight. Word will be given at once to all city sources that these runners were terminated in Computer Annex YAF 29 as of this afternoon. And this Council will await your return with some physical evidence that they have, in fact, been eliminated. Then, and only then, will we reconsider your appointment to Council. Have we made ourselves clear?
NOT AT ALL PLEASED WITH THIS, FRANCIS NODS SLIGHTLY.
DISSOLVE TO: LS THE MOVING HOVERCRAFT, DUSK. -- INT. CRAFT: LOGAN IS DRIVING.
JESSICA: Do you think they're following us yet?
LOGAN: There's a slope just ahead. As soon as we're on top, we'll take a look.
LS HOVERCRAFT ON TOP OF THE RISE. IT PULLS UP ALONGSIDE REM'S ABANDONED SPORTS CAR AND "MARALEE." INT. CRAFT: LOGAN AND JESSICA ARE STARING OUT AT THE RUSTY RELIC AND ITS MUTE PASSENGER CUT TO: EXT. CRAFT.
JESSICA: (AS THEY GET OUT) Now what is _that?_
REM FOLLOWS HER TO THE SPORTS CAR AS LOGAN SEARCHES THE PLAIN BELOW THEM.
REM: (INDICATING THE MANNEQUIN) This "young woman's" name is Maralee. She was kind enough to aid me in coming after the two of you.
JESSICA: (INCREDULOUS) In _this??_
REM: Well, you didn't think that I'd come all that distance in such a short time on foot, did you?
JESSICA: I guess I never really had time to wonder.
REM: (JOKING NOW, PATTING MARALEE'S SHOULDER) She was most helpful. As a matter of fact, I think we were becoming rather close.
LOGAN: (FROM THE RIM) So are they. (JESSICA & REM COME TO STAND BESIDE LOGAN. WE SEE THE MAZECAR MOVING, FAR BELOW THEM.)
REM: Not much danger there. We have at the very least a two hour lead. Should be more than sufficient. There is, of course, also no point in standing here...
JESSICA: Rem... we should thank you for helping us back there.
REM: (SHRUGS) Merely a matter of some slightly unorthodox engineering. And of course, your friend Eric was most useful.
LOGAN: Eric might be the only thing that made all of this worthwhile. (THEY LOOK AT HIM, CURIOUS. LOGAN SMILES.) I can't swear to it... but I think, before long, I won't be the only sandman to run anymore...
THERE IS SILENCE FOR SEVERAL BEATS WHILE THEY WATCH THE TRACKLESS MAZECAR "INCHING" NEARER.
JESSICA: (MORE STATEMENT THAN QUESTION) It's Francis, isn't it.
LOGAN: Who else would it be?
JESSICA: Back in the Annex, for a moment there, I thought... (SHE HESITATES, LOOKING AT THE GUN STILL IN LOGAN'S HAND.) I'm glad you didn't do it.
LOGAN: (LOOKS AT BOTH OF THEM, THEN BACK AT THE MOVING MAZECAR) I wanted to. Isn't that just as bad?
REM: (AFTER A MOMENT) Quite the contrary, I should think. To spare an enemy who would certainly have done harm to you... I'm compelled to admit that mercy was a virtue I thought the human race had lost.
LOGAN: (STILL WATCHING THAT CAR) I'm afraid it was hardly that noble. I wou1d have killed him, I think. If it hadn't been for one thing.
JESSICA: What was that?
LOGAN: He doesn't know it -- but he's really only searching for the sane thing we are.
LOGAN: (AFTER A BEAT) The right to live.
HE HEADS BACK TO THE HOVERCRAFT, & A SOMEWHAT BAFFLED JESSICA AND REM COME AFTER, JESSICA WITH A LAST, HARD LOOK AT THE PLAIN BELOW. FS THE HOVERCRAFT PULLING AWAY, LEAVING THE ANCIENT SPORTS CAR ALONE ON THE RISE. MOVE IN ON THE MANNEQUIN, WITH WIND BLOWING IN HER HAIR, AND SLOWLY SHIFT FOCUS TO REVEAL THE DISTANT MAZECAR CRAWLING ACROSS THE EXPANSE OF DESERT TOWARD US...