Logan's Run Page #4

Synopsis: It's 2274 and on the surface, it all seems to be an idyllic society. Living in a city within an enclosed dome, there is little or no work for humans to perform and inhabitants are free to pursue all of the pleasures of life. There is one catch however: your life is limited and when you reach 30, it is terminated in a quasi-religious ceremony known as Carousel. Some, known as runners, do try to escape their fate when the time comes and it's the job of Sandmen to track them down and kill them. Logan is such a man and with several years before his own termination date, thinks nothing of the job he does. Soon after meeting a young woman, Jessica-6, he is ordered to become a runner himself and infiltrate a community outside the dome known as Sanctuary and to destroy it. Pursued by his friend Francis, also a Sandman, Logan and Jessica find their way to the outside. There they discover a beautiful, virtually uninhabited world. Logan realizes that he must return to the dome to tell them what h
Genre: Action, Sci-Fi
Director(s): Michael Anderson
Production: MGM
  Nominated for 2 Oscars. Another 7 wins & 2 nominations.
 
IMDB:
6.8
Metacritic:
53
Rotten Tomatoes:
68%
PG
Year:
1976
119 min
1,200 Views


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

63X7ANOTHER 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.

63X81ST 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.

63X9CORPSE (INSERT)

It turns to crystals which sag away from the human form, as a sand

sculpture erodes when it's dry.

63X101ST 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.

63X112ND STICKMAN

Glances at the crystals, maneuvers into position, presses his

buttons.

63X12CLOSER 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.

63X13ANOTHER ANGLE

As the Stickmen move up and out, we see the exhilarated crowd

beginning to pour out of Carousel.

63X14LOGAN 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.

63X15LOGAN

waves, smiling, then turns to the Hallucimill.

63X16POV - HALLUCIMILL EXT.

Crazy, man.

63X17BACK TO LOGAN

Hesitates, as a COUPLE push past him gleefully on their way. He

looks and we see:

63X18POV - ARCADE, UPPER LEVELS

The people from Carousel starting to pour in, loud, happy, ready for

more fun.

63X19LOGAN

Not with it. He turns and starts making his way downwards towards

the exit.

63X20LOGAN'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.

63X21AT 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.

63X22LOGAN 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.

63X23JESSICA 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.

64LOGAN 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) chat 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 co know you can do that,

too.

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David Zelag Goodman

David Zelag Goodman was a playwright and screenwriter for both TV and film. His most prolific period was from the 1960s to the early 1980s. He was nominated for an Academy Award for Lovers and Other Strangers, though he did not win. more…

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