TOMORROW NEVER DIES (1997)

TOMORROW NEVER DIES

Directed by Roger Spottiswoode.  Written by Bruce Fierstein.
Starring Pierce Brosnan, Joanthan Pryce, Michelle Yeoh, Teri Hatcher, Joe Don Baker, Judi Dench
1997, 119 minutes, Color, Rated PG-13, Panavision 2.35:1

Commentary:

SPOILERS BELOW!!!

Coming quickly after GOLDENEYE, TOMORROW NEVER DIES is not one of my favorite Bond films.  It does have some redeeming qualities, but by and large, I consider this a misfire.  It is tempting to chalk this up to miscasting, as the villain and one of the leading ladies are woefully ineffective in their roles.  However, I think the film's screenplay is more to blame.  Bruce Fierstein, one of the two credited writers on GOLDENEYE, was brought back to do the sole honors on this film, though one gets the sense that the film was constructed by committee, so maybe it's not fair to lay the blame on him.  The film's production seems to have been more chaotic than usual for a Bond film, and this more than anything else probably resulted in the final film's shortcomings. 

We know right off the bat that something is amiss, as the pre-credit sequence is rote, lifeless and utterly lacking in tension.  Bond's superhuman ability to avoiding bullets is possibly at its worst in TOMORROW, and it is on full display in the opening.  Whereas GOLDENEYE spent some time building character arcs, TOMORROW just throws action at the screen hoping that no one notices that there is not much story to be had.  Once we are shown that the film will largely be a paint by numbers affair, it has to work all the much harder to try and surprise us.

I am aware that everything I've said so far could be leveled at MOONRAKER, another chaotic production with a surfeit of character development and an overabundance of mindless action, which I've previously called an enjoyable Bond film.  The difference--for me anyway--is in the details.  MOONRAKER has a majestic John Barry score, quality widescreen photography, and is edited for maximum impact.  TOMORROW looks decidedly cheap in comparison.

Jonathan Pryce is surprisingly ineffective as the villain in TOMORROW, partially because of how he plays him--breathless and impatient--but mostly because his plan makes little sense.  With a nonsensical plan it becomes pointless watching him try to achieve it.

Terry Hatcher is likewise ineffectual, and this is one hundred percent due to the writing.  Playing a past love of Bond's, there is not enough screen time spent building their history.  We are supposed to be moved by her story, not because the film has done anything to support that, but because the film tells us we are supposed to.  This is essentially the film's greatest flaw--it takes for granted that we will be invested in the story.

For me, the film finally starts to work when Michelle Yeoh becomes a co-lead.  It is only during the scenes she shares with Brosnan that film finally generates the tension that has been lacking up to that point.  This is because she is decidedly NOT rote and uninteresting. She is presented as very much the equal of James Bond, and the chemistry between her and Brosnan show up how poor the chemistry was between Hatcher and Brosnon.  How disappointing that the film ultimately relegates her character as needing to be saved by Bond.

For me, TOMORROW NEVER DIES was a crushing disappointment after GOLDENEYE, which while not perfect, was a lot of fun.  This film is only sporadically fun.

Stuff To Like:

• Michelle Yeoh!
• Motorcycle chase is well done, apart from the ridiculous helicopter shenanigans.
• Brosnan is adept at the role, but an aloofness has crept into his performance.  To a large degree, this prevents much of

Stuff to Dislike:

• Bond is seemingly always confronted by bad guys who can't aim well.  How lucky for him.
• The story tries to parlay a manufactured history into meaningful emotional story points.  It didn't work in LICENSE TO KILL with Bond and Leiter's best buddy routine, and it doesn't work here.
• Jonathan Pryce is a good actor, but I don't like his breathy delivery in this role.  It also doesn't help that the character is pretty one dimensional.

Notes:

GOLDENEYE (1995)

GOLDENEYE

Directed by Martin Cambell.  Written by Jeffrey Caine & Bruce Fierstein.
Starring Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen, Joe Don Baker, Judi Dench, Robbie Coltrane
1995, 130 minutes, Color, Rated PG-13, Panavision 2.35:1

Commentary:
There was a six year gap between LICENSE TO KILL (1989) and GOLDENEYE (1995).  The reason for this began all the way back in the 1960's.  Producer Kevin McClory worked with Ian Fleming in the late 1950's on a proposed James Bond movie that was not based on any of the books.  When the movie didn't materialize, Fleming used the plot in the 1960 novel THUNDERBALL, without acknowledging (or paying) McClory.  This led to a lawsuit that resulted in EON Productions (the owners of all the other stories except for Casino Royale) and McClory joining forces on the 1965 THUNDERBALL film.  Additionally, McClory retained the rights to the story and certain elements that were introduced in it, notably Blofeld and S.P.E.C.T.R.E.

Flash forward to 1990, where MGM/UA was sold and the new owners decided to put the rights to the Bond franchise up for sale.  This began a series of legal battles over who had the rights (due to both issues with CASINO ROYALE and THUNDERBALL) that were resolved when MGM/UA was again sold and the new owners decided to keep the franchise.  Work began on the next Bond film finally began in earnest in 1994, at which time Timothy Dalton announced that he was stepping away from the role.  A search for a new Bond was started and the role was ultimately offered to Pierce Brosnan, who accepted it.*

GOLDENEYE represented something of a new beginning for the series since many of the faces behind the scenes were different.  Richard Maibaum, who had a hand in writing 13 of the Bond films up to that point, died in 1991.  Martin Campbell ware hired to direct meaning the 5 film streak by John Glen was ended.  Campbell brought an entirely new energy to the series, straddling the line between escapism and realism better than most directors tasked with helming a Bond film.  John Barry was either unavailable or not asked so the music chores were handled by Michael Serra, who brought a decidedly 90's sensibility to the score.  The script was handled by two new writers, Jeffrey Caine and Bruce Fierstein, and they concocted a tale that contains equal parts realism and escapist fun.

GOLDENEYE has an exceptional cast.  Brosnan excels as Bond, bringing a truckload of charisma and presence to the role.  He's more reminiscent of Sean Connery's physicality than any of the other three actors who had played the role up to that point.  He could not quite pull off the physical presence that Connery had, but he brought a real swagger back to the role and is always believable in the fight scenes**.  He also is shown frequently doing many of the stunts.   Sean Bean makes for a different kind of Bond villain, and the backstory between he and Bond works well for the film.  The film also features two attractive female leads in Izabella Scorupco and Famke Janssen.  Janssen especially is a memorable villain and brings real panache as Xenia Onatopp.  Lastly, this was the film that introduced Judi Dench as 'M'.  She would go on to appear in the next six Bond films.

With the "Goldeneye" killer laser satellite, the plot brought a global threat back to the series for the first time since OCTOPUSSY and it was a welcome return.  The visual effects, incorporating both miniature work by Derek Meddings and some early CGI helped sell the story immeasurably.  (The CGI effects have dated far worse than Meddings' work, which I think is outstanding.  Of course, I am partial to such miniature work so your mileage may vary.)

Also welcome is GOLDENEYE's humor, which is somewhat more sophisticated than had been seen in the most recent Bond films. Bond's interactions with Onatopp are especially humorous.  Played down are the pithy one-liners that Moore made famous (and that Dalton could never quite bring off), with most of the humor being decidedly situational in nature.  It's a welcome change, although this too would change as the Brosnan years progressed.

All in all, GOLDENEYE seemed to hint at greater things to come.  Unfortunately, the Brosnan films (for me) never quite live up to the potential on display here.

GOLDENEYE was a late-era special edition laserdisc that featured a number of extra features that would be used on subsequent DVD and Blu-ray releases, including the "World of 007" television special with Elizabeth Hurley, a commentary track with director Martin Campbell and Michael G. Wilson.  Up until the 4k digital versions, every release used the same video master.  The Blu-Ray tweaked it somewhat but it still showed its age.  The 4k version is noticeably better.

Stuff To Like:

• Great special effects add immeasurable scope to the proceedings.  This would prove to be Derek Meddings final film, and he went out on a high note.
• Brosnan brings an entirely different energy to the part than Timothy Dalton.  Dalton was never cool, but Brosnan is.
• Action scenes are well handled.  Especially the tank chase.
• Famke Janssen steals every scene she is in, in a good way.
• Humor veers away from the puerile.  

Stuff to Dislike:

• Bond is seemingly always confronted by bad guys who can't aim well.  While not as bad as the subsequent Brosnan films, GOLDENEYE nevertheless set the path towards the increasingly laughable action scenes for Brosnan in the role.  The escape from the Russian prison is ALMOST too much...almost.
• CGI really dates the film to the mid-1990s.
• Eh, not really a fan of Serra's music score.

Notes:
*Brosnan had been offered the role in 1986 but NBC refused to release him from his Remington Steele television contract.  This was a dick move since NBC had previously announced that the series had been canceled.  However, when Brosnan star heated up due to the Bond talk they un-canceled the series and held him to his contract.  In hindsight, this was probably a good thing as he may have been too young for the role in 1986.  Nine years later he was aged both in years and personal tragedy, and both worked well for him in the role.

**This is notable because Brosnan is not a muscular guy.  There is the odd shot in GOLDENEYE where you see how slight a build he really has.

LOGAN'S RUN (1976) - Part 2

Directed by Michael Anderson. Written by David Zelag Goodman
Starring Michael York, Louis Jourdan, Jenny Agutter, Peter Ustinov
1976, 119 minutes, Color, Rated PG, 2.35:1
Warner Home Video, released 2016

 Deleted Scenes

Most movies film more scenes that are used in the film.  The process to determine which scenes should stay and which should go can depend on several factors.  Generally, scenes are removed in the process of tightening a story or to keep the running time down.   Sometimes the scenes that are removed can drastically alter the original intent of the film, and it is not always clear in the thick of things what should stay or go.  After the fact, it is often hard for the audience member to know what was shot.  Screenplays exist, but without access to shooting logs, it is hard to know what may or may not have been actually shot.

LOGAN'S RUN was previewed several times and fortunately, someone made audio recordings during one of the previews, so we have a very good idea of what was actually shot.  By comparing the audio recordings to the final film we also have good insight into what was removed. 

Most of what was removed seems to have been removed to make the film shorter.  There are two notable exceptions to this which I will discuss in a bit.  For the material removed for time, the film is largely better for it.  Much of the material is early in the film, and while there is some interesting detail in the deleted material, it makes sense to get the story going as quickly as possible.

A note on the script excerpts used below:  The screenplay is dated 1975 and is credited to David Zelag Goodman.  I am using a version found on the internet.  It matches the printed copy of the script that I have.  I am reasonably certain that this is the same version that I shared on the internet back around 1995 or so.  That version I scanned in manually and proofread.

Scenes:

In the opening moments of the film, we see a maze car traveling through the city.  This is the maze car mentioned above.  While not specified in the script I am referencing below, the sandman is Francis.  The crystal that fills the screen at the end fades into the crystal of the infant in the nursery.  This scene was probably removed due to its similarity with the runner chase after Carrousel, but it's too bad it was removed because it shows the crowd cheering after Francis kills the runner.  This is something not otherwise hinted at in the finished film.  Brief snippets of this scene can be glimpsed in the film's trailer.

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.

Some dialogue was also removed during the sequence where Logan and Francis walk to Carrousel.  If you look closely you can see that they are talking.  This dialogue is interesting as it gives more context for a society where everyone knows that they are going to die at thirty.  Again, because the film explains so little any extra bit of context helps.

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.

Logan befriends Jessica because he thinks she can help him get to Sanctuary.  There were two scenes between Jessica and her friends where they decide to kill Logan because they can't risk that he's still working for the system...which he is, so their instincts were spot on.  Likely this material was deleted because it helped set up additional conflict that doesn't pay off.  Jessica's friends ultimately have no bearing on what Logan ends up doing and are dropped after the Arcade sequence.

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.

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.

Later, a brief conversation between Logan and Jessica was removed while they travel in a maze car to Arcade.  Again, regrettable because it gives a little more context for their society, as well as insight into Jessica.

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.

The scene with the cubs in Arcade was shortened.  Material in bold was deleted from the final film.

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.

After they escape Doc at the New You, Jessica leads him into the Loveshop.  This scene exists in the final film and features a remarkable amount of nudity for PG-rated film.  Originally, however, it was supposed to show more.  William F. Nolan, one of the authors of the book was on set when it was filmed and had this to say:

"The biggest disappointment...was the near-total loss of the Love Shop sequence.  I was in Dallas as this was begin shot; it required four full working days, complete with erotic ballet movements, black lighting, fiery nude-body paints and incredible color effects set dressing.  It was meant to shock and arouse the senses and Saul David imported ballet master Stephen Wenta from Europe just to choreograph it.  Only a few muted fragments remain in the final print, but the blame is not MGM's.  Saul David fought bitterly to save the footage, but the powers that be, in charge of the ratings, refused to grant a GP [PG] to the film unless the sequence was removed."1

Unfortunately, the original footage appears to be lost.  There was a rumor that MGM Home video tried to find it for their laserdisc release in the 1990's, but failed to do so.

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.

The next deleted material take place as Logan and Jessica are trying to elude Francis under the city.  It's a minor point, but helps to explain a continuity error in the final film.  Logan and Jessica are moving quietly amongst the giant fish tanks several levels beneath Francis.  In the script Logan slips and falls into one of the tanks.  This was apparently changed to Jessica falling during shooting, presumably because she would look better wet.  It's not really a bad error as there is falling water and it could reasonably be assumed that she got wet from that.

E. Helping Jessica, Logan slips... falls into darkness. Jessica's fear until he emerges, hand over slimy hand. The water is cold.

And then we get to Box.  In one of the few points of action lifted reasonably whole from the book, the Box sequence was originally supposed to include a sequence where Box sculpts a nude Logan and Jessica in an embrace.  This can again be glimpsed in film's trailer, and was again removed to secure a PG rating.  Because this sequence was removed there is a jarring continuity jump where Box all of a sudden has different hands.  The script reads differently here.  The action was changed either in a later version of the script, or during filming.

These images show the continuity error in the released film.

These are stills from the deleted scenes.

LOGAN

You know about Sanctuary! I know you do! You have to help us! You don't have a choice! It isn't your decision!! Tell us.

 

BOX

Never a pair. I have never had a pair.

 

LOGAN

Where do you send them?

 

BOX

You're a beautiful pair.

 

JESSICA

Please.

 

BOX

I've never seen humans whom I thought worthy of being here...

(a beat)

I'd like to sculpt you.

(looking around)

Where would I put you?

(smiling)

I know... you'd be the base of the column. You'd hold up my world!

 

LOGAN

(exasperated)

Answer the question!

 

BOX

Do you know how long all this will last? Not thirty years... or thirty thousand years... but thirty thousand years... and you'll be part of it. Ages will roll... Ages. And you'll be here... the two of you... eternally frozen... frozen... beautiful.

 

LOGAN

(to Jessica)

There must be somebody else up here. I can't believe that he's --

 

BOX

(interrupting; his voice tone changing; very lucid)

Let me sculpt you and I will show you where the others have gone.

 

LOGAN

That's better.

(slightest beat)

How do you want us?

 

BOX

Nude. Imagine, a pair.

 

LOGAN

(starting to take off his clothes; as Jessica hesitates, Logan smiles)

It'll be all right...

 

JESSICA

Undresses.

Box motions to a pedestal covered with deep white furs.

BOX

Up there.

Logan helps Jessica up to the pedestal. As they stand there:

LOGAN

How do you want us?

BOX

(beat)

Up there.

Logan looks at Jessica. Her beauty is glowing in the lamplight.

Logan takes Jessica into his arms.

BOX
Enchanting. Is that what humans do?

By this time, Logan and Jessica are no longer listening to Box... their arms are enveloping one another... with strong feelings.

BOX'S VOICE

Superb!

ANOTHER ANGLE - INCLUDING BOX

As his metal hand begins to BUZZ... he brings it to the base of the huge column supporting the cavern.

As he works furiously... at incredible speed:

LOGAN AND JESSICA

...oblivious to Box... their feelings intensifying as they continue to hold one another.

CLOSE - ON BOX

BOX

(stepping back)

Done... behold...!

REVERSE ANGLE - LOGAN AND JESSICA

Before they turn to view the sculpture they kiss long and passionately.

Their mood is broken by:

BOX'S VOICE

Done... Done... Done...

Logan and Jessica break. They turn and see:

FULL ANGLE - THE ICE SCULPTURE

Box has captured them perfectly... shimmering with life...filled with emotion.

WIDE ANGLE - INCLUDING LOGAN, JESSICA AND BOX

There are tears in Jessica's eyes as she reacts to the sculpture.

JESSICA

(squeezing Logan's 

hand)

It's glorious...

Logan helps Jessica off the pedestal and they both start to dress.

LOGAN

All right. Now you keep your bargain.

BOX

(rapt by his work)

Wait for the wind! Wait and hear the birds sing over you!

LOGAN

(only interested in getting out)

We're ready.

Box mumbles as he leads Logan and Jessica toward the rear of the Ice Cavern.

INT. ICE ROOM

As Box enters followed by Logan and Jessica.

This room has a fairly low ceiling and it is not too wide.

It stretches back as far as the eye can see.

The ice along the left wall is frosted... but the ice along the right wall is perfectly clear.

And embedded in the ice along the perfectly clear right wall are:

WIDE ANGLE - MEN AND WOMEN

Standing in erect positions.

At first it appears that they might be more of Box's perfect works of sculpture.

But as Logan and Jessica examine them closely through the clear ice... it is soon apparent that they are real people...who have been frozen.

CLOSE ON LOGAN AND JESSICA

Horrified as they move slowly along the wall.

ANOTHER ANGLE - INCLUDING THE MEN AND WOMEN FROZEN IN THE WALL

We can see that each of them has a black crystal flower in the palm of their right hands.

Logan walks to the end of this wall. Each frozen body has a number above it. The final body's number is 1056... That number which the voice in Sandman's headquarters revealed as the number of missing Runners.

The CAMERA PANS Logan back to Box.

ANOTHER ANGLE - INCLUDING BOX

As Logan turns toward him.

LOGAN

(stupefied)

How did they get in here?

BOX

Regular storage procedure... the same as the other food... The other food stopped coming and they started.

LOGAN

What other food?

BOX

Fish and plankton, sea greens and protein from the sea.

(pointing to the frosted ice wall)

It's all here -- ready -- fresh as harvest day. Fish and plankton, sea greens and protein from the sea... And then it stopped coming and they...

(gesture)

...came instead. So I store them here. I'm ready. And you're ready. It's my Job -- protein, plankton, grass from the sea.

Logan pulls out his gun.

LOGAN

Tell us how to get out... or I'll destroy you... I'll kill you!

Box laughs... The same LOUD, ROARING LAUGH we HEARD earlier. Then:

BOX

(calmly)

Such a beautiful pair. I'll stand you facing one another.

Box starts his saw hand BUZZING. He turns all the flesh parts of his body away from Logan and starts advancing toward him and Jessica who is now standing behind Logan.

Box is now like an armed vehicle.

Logan FIRES... the fire reflecting harmlessly off Box's metal frame.

BOX

(advancing)

Resign yourself.

MEDIUM ANGLE - LOGAN AND JESSICA

Retreating... as Logan FIRES again and again... to no avail.

As Logan and Jessica retreat further and further toward the rear of this room and:

REVERSE ANGLE - BOX

Advancing We can SEE PERSON AFTER PERSON... embedded in the clear wall of ice. A strange mute audience to this to-the-death drama.

TWO SHOT - LOGAN AND JESSICA

Finally reaching the rear wall of this room as:

REVERSE ANGLE - BOX

Relentlessly moving toward them.

TWO SHOT - LOGAN AND JESSICA

Seemingly pinned back against the rear wall.

Logan is FIRING his gun futilely with his right hand... while moving his empty hand against the rear wall... trying to find a knob or button which might open it.

The entire time he never takes his eyes off:

REVERSE ANGLE - BOX

Getting closer. The saw is BUZZING LOUDLY.

BOX

(chilling tone)

I make such a small, quick incision... you can hardly feel it.

REVERSE ANGLE - LOGAN AND JESSICA

Against the rear wall... We can SEE... but they cannot... that above them... on the ceiling... there are a number of exposed cables.

FULL ANGLE - LOGAN, JESSICA AND BOX

Box is practically upon them. As he lunges forward with his WHIRRING saw hand Logan pushes Jessica to the floor and drops down alongside her.

Box cannot stop his forward thrust and cuts a sizable chunk of ice out of the rear wall as:

Logan SHOOTS at Box from the floor level... upwards... trying to penetrate some part of his seemingly impregnable body. He misses but hits the exposed cables on the ceiling.

There is an EXPLOSION.

BOX

(looking up; screaming)

No! The coils!

Box rushes past Logan and Jessica toward the huge ice cavern containing his sculptures.

BOX

(still screaming)

All my work!! All my work!!

As Logan and Jessica stand:

ANGLE - THE REFRIGERANT COILS

Bursting open, discharging great streams of gases.

LOGAN

Seeing the effect, shooting again and again at the ceiling and walls.

ANOTHER ANGLE

Coils bursting everywhere, vapor billowing into the cavern.

ANOTHER ANGLE

Huge slabs of ice instantly loosening, crashing over.

FULL SHOT

As the effect multiplies -- In the hissing vapor-sculptures crashing over and enormous chunks of ice loosened and crashing.

BOX

Careening around wildly in the growing ruin, as the lights dim and flicker out.

ANGLE

The ceiling full of birds loosening, crashing down upon Box. Again and again like great spears and wedges

BOX

Buried in his work, still feebly moving, then still as the roaring ice crashes down, in the terrible darkness.

LOGAN AND JESSICA

Cowering in the crashing maelstrom of ice blocks -- saved only by being in an angle of the cave.

FULL SHOT

The SCREEN blotted out by the cave-in, going out of focus. Silence. Then:

SOUND: Ice melting, water running.

LOGAN AND JESSICA

Stir in the dimness, amazed to be alive.

SOUND: A heavy crash and splash as another huge ice block falls into the water.

As it falls, the cave is suddenly illuminated again. They look and see the light is coming from a great fissure in the wall -- opened by the last ice fall. Water rains across the opening.

Logan and Jessica make their way to it, step out.