Logan's Run

LOGANS RUN

Screenplay By 				David Zelag Goodman

Producer: Saul David

Director: Michael Anderson

Production Design: Dale Hennesy

Revised : April 30, 1975

PLEASE NOTE THE CRYSTAL WILL BE USED IN THE LEFT HAND OF ALL CHARACTERS.

FADE IN: BEFORE AND DURING TITLES

1		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

2		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

3		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.

4		CLOSER ANGLE - ROOFTOPS

As a MAZE-CAR slides softly to a stop.

5		ROOFTOP - THE RUNNER

The hatch opens and a MAN in a hurry leaves the maze-car and runs swiftly along the rooftop and disappears into an open elevator which instantly starts to descend. 6		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.

7 		OUT

8		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.

9		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.

10		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.

11		THE SANDMAN (FRANCIS)

Vaulting the rail, dropping lightly to ground level, weapon poised.

12		P.O.V.

The crowd melting, parting to reveal the Runner backed against the pool. People are YELLING, shaking their fists, terribly excited and fearful.

13		THE SANDMAN

Emotionless. Aims. Fires.

14		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.

15		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  flowercrystal shape in it. He lets the hand fall back now as the crowd  CHEERS and APPLAUDS him.

16		EXTREME CLOSE UP - HAND - IN THE WATER - (INSERT)

Closing in until the crystal fills the SCREEN.

MATCH DISSOLVE TO:

(TITLES END)

17		CLOSE UP - CRYSTAL - (INSERT)

Clear, sparkling, flower-like. CAMERA PULLS BACK to reveal

18		INT. - NURSERY CORRIDOR

The crystal is in the hand of a sleeping INFANT who is behind glass in one of many cubicles. Standing outside, looking in, LOGAN, dimly lit in  the soft glow of the cubicle where the sleeping infant lies, swaddled and coccooned in the rosy auto-tender which caters to the baby's every need. Faint MUSIC bubbles like distant laughter.

19		OUT

19X1		LOGAN

Logan is twenty-five, strong, virile (yet sensitive) with a kind of austere grace.

He is somewhat manic...proud...as he peers through the nursery window into a kind of foam cocoon which cradles THREE SLEEPING INFANTS. Logan is KNOCKING on the soundless glass.

LOGAN Wake up...come on, Logan-6.

19X2		FRANCIS

entering.

FRANCIS (shaking	    					his head in  mild, mocking	    				disbelief) You are here. I couldn't believe it when they told me. What are you doing? LOGAN (still knocking 	    				on the soundless glass) Turn this way. (as one of the infants 	  				stirs, smiles, bubbles) No, no...not you...YOU! Francis tries to pull Logan away from the window, but Logan is intent on waking one of  the infants.

FRANCIS You should've seen me take my last Runner...perfect. (Logan continues to pound the  	     			soundless glass) I backed him up against a residence pool and when he terminated...his hand... 	   				(breaks off as Logan	    				is paying  no attention) So now you've seen him...what's the difference awake or asleep?

LOGAN (to infant) Open your eyes once, idiot. (to Francis) It's not every day that a Sandman son is born. I'm telling you, Francis - that's him!

FRANCIS Maybe, maybe not. What's the difference? Come on, Logan, let's get out of here before everybody finds out.

But Logan isn't moving. Francis gets an idea.

FRANCIS Okay...you really want to wake him up?

Francis starts to pry at the Panel...knowing it will sound an ALARM.

LOGAN Hey, cut that out !

Too late: There is a SOUND OF ALARM CHIMES. The area in which they stand is bathed in a violet glow. Logan grabs Francis firmly and stops him from prying at the panel: LOGAN Now you've done it...

The CHIMES STOP...but the glow continues, a metallic VOICE is heard:

VOICE Break-in scanners report intrusion, identify.

LOGAN Logan-5...Francis-7, authorized duty quadrant. Intrusion accidental.

VOICE Clear Logan-5 and Francis-7.

The violet light goes off.

FRANCIS (with affection:					to Logan) Had enough?

LOGAN (looking at the infant) Even the alarm didn't wake him.

As Francis starts out:

LOGAN (one last look; 					joining Francis) All right, Francis...I'm with you.

They move off down the corridor...the lights behind them DIMMING as they pass cubicles suffused with soft pink light, CHILDREN automatically tended.

CHIMES...soft. A lullaby and a soothing impersonal VOICE.

VOICE Sleep time...go to sleep. Sleeping time, little ones.

As they exit Nursery...Logan stops and takes one final look backward.

FRANCIS You need a lift. Let's go to Arcade and celebrate... (teasing tone) your alert successor...Logan-6. LOGAN Has anyone ever broken in to where the babies are?

FRANCIS (putting a card key into a door 					which opens soundlessly) Not in my time...

They move through the door which closes.

20		EXT. - MAZE STATION - NIGHT

They are now on a kind of enclosed platform with widely spaced doorways, each glowing faintly. They pause, waiting.

FRANCIS (peering 					at Logan curiously) Why?

LOGAN just wondered...what happens?

FRANCIS (shrugs) Dunno...flameout maybe. Whatever happens, you can bet it's final. But who would want to find out?

One of the doorways brightens and the word ARCADE _ appears on it. The two men move to the spot as a maze-car stops. They enter it through the doorway which dims behind them as the maze-car WHOOSHES softly off into a kind of twilight.

21		INT. - MAZE-CAR - LOGAN AND FRANCIS

The door slides shut. They sink into seat forms which yield to them. They  move off. 22		EXT. - MAZE- CAR

Moving through the city at terrific speed. Giving us glimpses of the city as it goes. slowing finally as we see:

23		THE CITY - FEATURING ARCADE

Brightly lit, garish. We get only a glimpse as the maze-car disappears into a tunnel.

24		MAZE-CAR STATION - ARCADE

As the maze-car stops, opens and Logan and Francis exit into  a gathering  CROWD.

25		FULL SHOT - ARCADE

Glittering, crowded. Throngs of people moving on many levels, some walking, some on moving platforms. It's The Great White Way, Luna Park -- you name it. Gaudy booths and entrances, featuring every delight -- too much to take in at a glance.

26		WITH LOGAN AND FRANCIS

As they thread their way through a crowd which admires them when it notices them, across halls and up moving platforms, the good-natured argument continuing...

LOGAN but you don't know, you Just say what everyone says. One for one. One for one."

FRANCIS Well, why no!? That's exactly how everything works. How else could the city stay in balance -You have a better idea?

LOGAN (laughs) No, but at least I wonder sometimes -- instead of doing that "one for one" song of yours. You sound like a sleepteacher With a stuck tape.

FRANCIS Well the minute you get a better idea you can stop wondering. (beat) You know, Logan -- you wonder a lot. Too much for a Sandman

They are passing the facade of a Relive Shop The signs urging people to: RELIVE YOUR MOST PRECIOUS MEMORIES. DO IT AGAIN AND AGAIN! REFRESH AND RENEW ANYTIME!! As they cross the entrance, two men come out, grinning broadly, falling into step just ahead of Logan and Francis. Then one of the men stops abruptly, almost colliding with them. He mumbles an apology and starts back to RELIVE.

As he disappears into the RELIVE SHOP, his friend shrugs cheerfully to Logan and Francis and moves on.

27		ARCADE - ANOTHER ANGLE - NEW YOU

They are moving past a shop called NEW YOU #483 when a man comes cannonading out, thrilled and excited. He rushes over to a pretty young woman who has been eying Logan and Francis, plants himself in front of  her with his hands framing his face.

MAN Well? How do you like it?

WOMAN (critically) I don't know. The cheeks maybe... look a little -

MAN Cheeks? Cheeks? Right. Too much, you think?

WOMAN Too little.

MAN Too little? (gestures) Too little. Okay, wait for me.

And he darts back into NEW YOU #483. The woman shrugs, glances around, smiles and goes off with a passer-by.

28		ARCADE - ANOTHER ANGLE - LOVE SHOP

Signs promising LOVE, FULFILLMENT, RARE DELIGHTS. People streaming in and out. A woman comes out looking glazed, breathing "yes...yes..." As she passes CAMERA Logan and Francis emerge from the crowd and CAMERA moves with them.

LOGAN Did you ever see Francis-8?

FRANCIS (shaking his head) I never even visited Nursery before tonight. (beat) When you wonder, it slows you up -- you know?

They are now passing the facade of HALLUCIMILL where the signs promise: LIFT OFF, CRAZY LIFT, SUPER LIFT...here the people going in are simply excited but the ones coming out are clearly stoned out of their minds...

FRANCIS I don't know what makes you so curious. You have any idea who his seed-mother was?

LOGAN (quickly) Of course not! I m curious, not sick. (laughs)

The crowd is growing denser, funneling into a kind of passageway. Logan and Francis are swallowed up in the group.

29		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. It¹s my Love-Shop turn.

WOMAN That's all right. Happy turn.

2ND WOMAN You'll renew. I've got a feeling.

WOMAN (smiles) So do I...but if I don't at least I'll have the ultimate thrill. I'd almost rather have that than renew.

2ND WOMAN I feel the same way. Sometimes I think I'm not even going to try and renew when my time comes. But -- that's three years away. So long.

The 2nd Woman walks away.

FRANCIS (after a beat; 					to first Woman) It's been nice.

WOMAN Um-huh.

They look briefly and then she turns away. Francis takes Logan's 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. 30		FULL SHOT - GREAT HALL

As everyone begins to move to the far end, where great curtains have parted to reveal

31		ARCADE GREAT HALL - CAROUSEL ENTRANCE

AC the far end of the hall, where the throng is a huge crystal design ornaments an entrance The crystal is red and pulsing rhythmically to the accompaniment of a deep and thrilling TONE. As we move toward it with Logan and Francis, the TONE deepens, the great pulse takes on a hypnotic quality...

32		WITH LOGAN AND FRANCIS

In the crowd they overtake a fellow Sandman, DANIEL, and fall in step with him. When they speak now, their voices are hushed. LOGAN You should have been with us in Nursery, Daniel. I'm positive I recognized him -

FRANCIS (hustling					Logan) Come on. I don't want to miss the filing-in. There'll be some I know tonight, I think...

DANIEL (glances at his					own red crystal, nods) Yes. Me, too. You know we're both on Monitor tonight. FRANCIS Damn! That's right. Just when I			feel like an ALL OUT BLAST in Arcade. LOGAN Want me to take your shift? I'm			feeling restless anyway Francis glances at him, exchanges a look with Daniel. They vanish into the throng passing under the great crystal, turn the corner and we see

33		FULL SHOT - CAROUSEL

framed in a huge corridor we see a steep-sided arena dropping down to a shadowy center, which even now pulsates and flickers in changing  dimensions, but always maintaining the jewel- flower shape. There is one entrance into the center -- a kind of ramp from below the seats, leading directly into the mysterious bowl -- Just now the seat's are filling, and the sense of expectation builds People sit and immediately crane their necks, waiting...

34.		ANOTHER ANGLE

Featuring Logan and Francis as they find places in the arena. Like the others, they crane upward. As they do, Logan gestures at a number of pretty girls who are just being seated.

LOGAN Now there's a few who could have been his seed-mother. FRANCIS Only a few? You're just not trying.

35-36	   OUT

37		PANNING THE CROWD

As the seats fill, the excitement builds. Suddenly the lights begin to dim and dim...

SOUND: A kind of collective sigh, breathing in unison...

38 		OUT

38X1		ANGLE THE TIER BELOW THE SEATS

Suddenly visible, the LASTDAY GROUP. Their arms are upraised and in each palm the crystal blinks red-black, red-black.

39		THE CROWD

Transfixed, gripped with a religious fervor.

40		LASTDAY GROUP

Hands still raised, filing slowly into the mysterious well of Carousel.

41		CROWD

Tense, beginning nervous APPLAUSE here and there.

42		CAROUSEL

As the last one enters, beginning to glow and, as it does, the bowl slowly puts out leaves like some great plant, enfolding and hiding the people within a series of translucent petals. As the Last one enfolds them the Light intensifies, the exterior surfaces seeming to shift as if a kind of motion was beginning inside it...

43		CROWD

Visible in the growing Light from Carousel -gripped with passion and excitement, APPLAUDING, gesturing as they see

44		CAROUSEL

Moving, bands of light seeming to spiral upward Like a contained aurora as the Carousel picks up speed.

45		LOGAN

Caught up in it Like the rest.

46		CAROUSEL

Beginning to blur with its own speed. Through the shifting, spiraling curtain of light we see bodies moving in a kind of weightlessness, always struggling to move higher.

Follow a shadowy form as it moves, twists through other writhing shadows -- upward, upward. Suddenly the form is spread-eagled, and in a moment it is sharply outlined against the swirling canopy and then -- a searing flash. And it is gone. SOUND: Crowd in a frenzy -- SCREAMING.

47		FULL ANGLE - THE BLEACHER CROWD - FAVORING LOGAN

Standing. SCREAMING their cheers as:

48		FULL SHOT - UP AT CAROUSEL

High, reaching downward out of the shadows beneath the dome, fringing, intersecting rainbow bands appear, looping the swirling upper Carousel like Saturn's rings. Now we see figures reaching outward toward them...reaching and missing and falling -downward against the curtain and the flash of extinction.

49		MEDIUM ANGLE - A MAN

At the highest level...straining for the rainbow...

50		SWEEPING PAN SHOT - THE BLEACHER CROWD

Hysterical...starting to chant...

CROWD Renew!

The man continues to strain:

CROWD Renew!

51		CLOSE ANGLE - THE MAN

Almost a blur...but still straining: CROWD'S CHANT Renew!

52		CLOSE ON - LOGAN AND FRANCIS

LOGAN AND FRANCIS (chanting with the rest) Renew!

53		CLOSE ANGLE - THE MAN

The blur...but still there...straining with all his might for the rainbow...

CROWD'S CHANT Re...

Suddenly, the man...topples into the whirling blackness below...where he is instantly incinerated.

54		WIDE ANGLE - THE CAROUSEL

Whirling - whirling - the rainbows shining.

55		WIDE ANGLE - THE BLEACHERS

Orgiastic pleasure -- a Spanish crowd at a perfect killing -- SCREAMING, fulfilled.

56 		OUT

57		FULL ANGLE - THE CAROUSEL Other figures move to the topmost level...straining for the rainbow bands.

58		CLOSE ON - LOGAN AND FRANCIS

As the SCREAMING goes on in the b.g. of the SHUT... we hear a BUZZING noise. Logan reaches into a pocket and takes out a small, dark plastic box.

Logan looks at the box. On it we see:

MAN: RELIVE STORE 14 LOGAN (to Francis) Looks like I'm working. Francis stands. LOGAN Who invited you?

FRANCIS I'm in my party mood. Logan smiles. . . and the CAMERA PANS them rushing out of the bleachers.

They make their way into the hall.

Logan takes out the small plastic box. We can tell from his face that he is disappointed...until a faint BEEPING SOUND emanates from the box.

Francis watches as Logan wheels in one direction... the beeping stops. He turns in another direction... again, there is no beeping.

As Logan turns in a third direction...the BEEPING commences. Logan and Francis move swiftly in that direction and the BEEPING GROWS LOUDER...AND LOUDER...until Logan and Francis see:

59- 59X11	   WIDE ANGLE - A MAN

running.

CHASE: INTER CUT between Logan and Francis following the running man in the great hall...empty. We can HEAR the CROWD SCREAMING in Carousel offstage.

A. Logan and Francis separate...to encircle the running man.

B. The running man turns a corner and for a moment Logan cannot see him.

C. As Logan turns the corner...Francis is on the other side and FIRES at the running man...JUST MISSING HIM.

D.Francis winks at Logan as he pursues the running man up a ramp and Logan gets it: A little cat and mouse is in order.

(NOTE: THE CHASE WILL BE THE DIRECTOR'S OPTION.)

E. Logan FIRES... just missing the man...Francis FIRES again. . . just missing, too.

F. The man is in a panic as he continues up the ramp...to various levels and areas.

G. Both barrels (of Logan and Francis' respective guns) glow again as they FIRE...with both just missing the running man once more.

H. The man's face is crazed...and sweating...the mouse is going berserk as he has been chased to a high level.

I. He stands frozen, petrified, driven to the edge of a high balcony by the shots--teetering now. He is in full sight of Logan, Francis is across the hall.

J. The Runner¹s face. He looks at death twenty feet away--Logan aims.

K. Francis, watching, smiling at the perfect moment.

L. Logan's face. A shadow of thought, a hesitation.

M. The Runner lunges. Logan fires, misses.

N. Francis fires a salvo, drives the Runner back to the rail where he teeters again, throws his hands in front of his face and plunges. The SCREAMING in Carousel reaches a peak.

59X12- 63X1		   OUT

63X2		WITH LOGAN

As he arrives at the dead body of the Runner, bends over him, turns the man's left hand up. We see the flower crystal. Black. Logan takes out his transceiver.

63X3		INSERT TRANSCEIVER

A man's face visible. Logan checks it against the face of the dead man. They are not the same. 63X4		ANOTHER ANGLE

As Francis comes up, waits. Logan moves the transceiver to the dead man's face, rests it on his forehead.

63X5		INSERT TRANSCEIVER READOUT:

The words appear: IDENT. AFFIRM....NEW YOU #483 ALTERATION

63X6		LOGAN

Scowls for a moment, then shrugs. He takes out a small flat pouch and methodically strips from the body its few personal things, stuffs them into the pouch. Then his eye is caught by the man's right hand, clenched. Logan opens it. A metal ankh on a bit of chain. It means nothing to Logan who stuffs it into the pouch and closes it. Now again he fiddles with the transceiver, speaks into it softly.

LOGAN Runner terminated 0:31 (a beat) Ready for cleanup.

Done with his job, he rises to face Francis.

LOGAN (smiling) That was a great shot you made. FRANCIS Yes. (beat) But you look a little rusty to me -- what were you doing, wondering?

Logan shrugs. He's not sure himself. Together they walk off down the hall, passing CAMERA 63X7		ANOTHER ANGLE

We see in the distance, a pair of Stickmen descending into the hall, riding through the air on their odd vehicles, passing overhead then descending. One hovers not far away as the other comes down, hangs a few feet over the body.

63X8		1ST STICKMAN AND BODY

The driver makes sure he's in position, then presses a button on one of the arms of the vehicle. There is a broad spray of vapor from the bottom which covers the corpse. 63X9		CORPSE (INSERT)

It turns to crystals which sag away from the human form, as a sand sculpture erodes when it's dry.

63X10		1ST STICKMAN CLOSE ON HEAP OF CRYSTALS

Satisfied, he revs his machine and it rises smoothly out of the SHOT. As it leaves, the second machine moves down and into its place. 63X11		2ND STICKMAN

Glances at the crystals, maneuvers into position, presses his buttons. 63X12		CLOSER ANGLE - THE CRYSTALS, STICKMAN

Sucked up into the machine as it hovers. As the floor is once again bare, the 2nd Stickman revs slightly and his machine pulls up and away. 63X13		ANOTHER ANGLE

As the Stickmen move up and out, we see the exhilarated crowd beginning to pour out of Carousel.

63X14		LOGAN AND FRANCIS - ARCADE

Descending from the top level -- not much of a crowd. Francis is gesturing toward the Hallucimill.

FRANCIS ...Well I think you're getting stale. You need old Lucey--Go on. Gee the whole burn--try the new psycho-lift-they tell me it turns you inside out...

He shoves Logan in that direction and continues on down.

FRANCIS (calling after him) I'll look for you here when I'm off--

And he is gone. 63X15		LOGAN

waves, smiling, then turns to the Hallucimill.

63X16		POV - HALLUCIMILL EXT.

Crazy, man.

63X17		BACK TO LOGAN

Hesitates, as a COUPLE push past him gleefully on their way. He looks and we see: 63X18		POV - ARCADE, UPPER LEVELS

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

63X19		LOGAN Not with it. He turns and starts making his way downwards towards the exit.

63X20		LOGAN'S APARTMENT

As he enters. Idle, restless. He crosses to a sideboard--makes himself a drink, sips, doesn't like it. Gets rid of it, makes another. He fiddles with things, a game--sits, gets up. Now he is beginning to feel the drink. Takes another belt, smiles. Now he goes over to a tall wall recess flanked by a console with many dials.

63X21		AT THE WALL RECESS

As Logan dials, blurred and smoky images appear in the recess--a slow protoplasmic eddying in many colors. He tunes it in and the figure of a smiling young man appears--bejeweled, lustrous, willing.

63X22		LOGAN AT THE CONSOLE

Bored as Mastroianni turns the dial again and the young man dissolves. He dials again and now a beautiful young woman takes shape. It is Jessica. 63X23		JESSICA AND LOGAN

Still in the recess, she makes no gesture of interest, no smile. Around her neck, from a collar, a dangling ankh. It catches Logan's eye. He smiles, clicks another dial and she becomes real. He reaches out a hand and leads her out into the room.

64		LOGAN AND JESSICA

As Jessica turns to him, Logan moves in strongly and embraces her- but, to his surprise, she resists. Logan, still holding her loosely, is amused and surprised.

LOGAN What's wrong, Available?

JESSICA (breaking away gently) Please. . .No.

She backs away, almost apologetically. Logan follows, smiling.

LOGAN Please. . . no ? (noting that she looks trapped,					he understands) You mean "not here"--that's it? You're a private Available but particular, (he is moving in on her					as he speaks, she retreating, 					which amuses him) Don't worry. There's no one here but me. And you.

JESSICA No. 					(that stops him) Just no.

LOGAN You prefer women?

JESSICA No.

LOGAN Well then...?

JESSICA Nothing. I felt sad, I put myself on the circuit. It was a mistake.

LOGAN Sad? What made you sad? JESSICA A friend of mine went on Carousel tonight. Now he's gone. LOGAN (after a beat) Yes...probably he was renewed?

JESSICA (flatly) He was killed

LOGAN Killed? Why do you use that word?

JESSICA Isn't it right? Isn't that what you do? Kill.

LOGAN I never 'killed' anybody in my life. Sandmen terminate Runners (a beat) Who brought you?

JESSICA Nobody. I felt sad. .. I put myself on the circuit.

LOGAN You felt sad. What's your name?

JESSICA Jessica.

LOGAN (matter-of-fact) You're beautiful. Let's have sex. JESSICA No.						LOGAN Later.

JESSICA No.

LOGAN But you put yourself on the circuit!

JESSICA I thought I had to do something. LOGAN And?

JESSICA I changed my mind

LOGAN And now? JESSICA Curious.

LOGAN About what? JESSICA How a Sandman lives.

Logan smiles, takes off gunbelt, etc.

LOGAN Let's have sex. (as Jessica shakes her head) I thought you were curious. JESSICA Not about that.

LOGAN (after a beat) I'm listening.

JESSICA I'm afraid to tell you.

LOGAN (smiling) I'm not armed. (a beat) Well?

JESSICA Why is it wrong to run?

LOGAN You shouldn't even think such things... (smiles) And you picked a strange person to			say them to - JESSICA I suppose. But what if you want to live?

LOGAN So? Do what everyone does. Try like hell for renewal.

Logan stretches out his right hand. We see a red flower crystal embedded and centered in his right palm. It is exactly the same shape that we have seen in black in the palm of the dead runner.

LOGAN When this turns black...that's it. (laughs) If for any reason you want to be 31... you have the same chance as everyone else...Carrousel.

Logan takes his gun and points it at her.

LOGAN 		(playfully) But if you're one of the misfits... that's where I come in.

JESSICA (somewhat					frightened) I didn't say that I would run... I Just...

LOGAN (interrupting;					turning over her palm) Are you a 5 or a 6? (we see a green crystal)

JESSICA Six. I go red next year.

LOGAN You're years away. . . I don't know why you're thinking of these things, much less talking about them. (offering Jessica the gun) Want to try?

Jessica shakes her head. Logan looks at Jessica carefully...in an admiring sexual way...from her toes to her head...briefly noticing (in the process) 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. Suddenly Francis and two dishevel led young WOMEN burst in and come laughing toward Logan and Jessica Stoned, hilarious, they crowd around Logan one of them embracing him. In the wild hilarity, Jessica slips away and Logan, seeing her go, makes a vain effort after her. Francis notices, laughs. Amid the noise he shouts to Logan: FRANCIS These are for me -- you've got your own. (looking after Jessica) She must have been something--? At Logan's expression he roars with laughter Francis picks up an atomizer and hurls it at the ceiling where it shatters and a great pink cloud settles over them all.

64X1		EXT. - SAND MAN H.Q.

A frowning structure of dark stone and mirrored copper, fronted by broad steps. Logan and Francis are climbing the steps as a SANDMAN is coming out... His uniform is in tatters. They greet one another...then:

LOGAN What happened to you?

SANDMAN (embarrassed) I lost a Runner in Cathedral.

LOGAN How come?

SANDMAN Ran into some Cubs I couldn't manage. (as they stare) One of them cut me bad... 					(extends his arm and moves 					a finger from his shoulder to 					his wrist) all the way down. FRANCIS (with anger) CUBS! SANDMAN (shrug) On my way to the New You for repairs.

LOGAN Get yourself a new face while you're at it They know you now.

They wave. Logan and Francis continue.

64AX1- 64BX1	   OUT 64CX1		INT. - SANDMAN H.Q. LOBBY (VOICE OVER)

As Logan and Francis cross, turn into a corridor. LOGAN I just might look in on New You 483 myself.

FRANCIS You? Why? You're already beautiful.

LOGAN No -- it's that last Runner -- someone in 483 was trying to help him.

64X2		INT. - SANDMAN H.Q. - READY ROOM

As Logan and Francis cross the room, Logan nods to other Sandmen, who are monitoring areas of the Megalopolis on video consoles. One of these Sand-men speaks to Francis who hasn't greeted them

SANDMAN (Monitor) What's with you, Francis? FRANCIS (touching his				head; grimacing) Last night The other Sandmen, including Logan, smile as Logan and Francis continue to:

65-68	OUT

69		INT. - SANDMAN H.Q. - DEBRIEFING AREA

Black door opens revealing Logan and Francis who now enter a mammoth room. As they walk. . . they pass FOUR GIANT LIFECLOCKS...WHITE, YELLOW GREEN AND RED. Each LIFECLOCK pulses out the moments of every person alive in the city, governing everyone's crystal changes automatically shifting to the next LIFECLOCK when the time comes.

There are no humans.

Francis walks over to a circular table at the end of the room.... above which is a circular overhang. There is a groove...the shape of a palm crystal on one part of the circular table.

Francis takes out the plastic bag which contains the contents of the dead Runner's pockets and starts putting the contents on the table. (These contents are the ones from the Runner Francis has killed at the beginning of the film.)

The moment the first item touches the table...it activates a scanner on the overhang above. Francis stands alongside the table...his attitude is very matter-of fact. He has been through this procedure many, many times. He touches his head...(the hangover)...and Logan smiles. Moments later...the scanner stops...the word: |				IDENTIFY

appears on a SCREEN. Francis places his palm into the groove. . . and the words: CLEAR FRANCIS-7

appear on the SCREEN.

FRANCIS See you in the hydrotoner! Logan nods.

Francis exits as Logan places the contents of a plastic bag with the items he has taken off the Runner who jumped to his death. Among them is the odd-shaped piece of jewelry.

Logan is standing nonchalantly...as the scanner moves over the items...waiting to be quickly identified and cleared as Francis was earlier.

The scanner continues scanning.

Logan starts becoming impatient...but the scanning goes on and on and on.

Now...Logan is clearly puzzled...it has never...ever taken anything remotely resembling this length of time.

Suddenly, directly before him...on the SCREEN... the word:

PROBABILITY

blinks on and off...on and off...catching Logan's attention. As Logan turns toward the SCREEN...the scanner stops moving. The word PROBABILITY blinks off and is replaced by the word: APPROACH

We can tell from Logan's expression as he walks to the corner. . . that he has never seen this before. Logan sits in a chair in the area facing the SCREEN. There is a stellar groove (that we have seen on the Table) the shape of a palm crystal....glowing on an arm of the chair.

The word on the SCREEN is now:

IDENTIFY

Logan places his right palm with the flower crystal into the groove. We hear a HUMMING NOISE....then: The piece of jade Jewelry appears on the SCREEN and below the piece of jewelry the following words appear on the SCREEN:

OBJECT OCCURS IN NONRANDOM PATTERN AND FREQUENCY. LINKED WITH OBSOLETE WORD: SANCTUARY. PROBABLE EXISTENCE ESTABLISHED. QUESTION: IDENTIFY OBJECT?

LOGAN Negative. Question: What is it? Words on SCREEN now read:

PREMILLENNIAL SYMBOL. NAME: ANKH. QUESTION: IDENTIFY CONCEPT SANCTUARY?

LOGAN Negative.

Words on SCREEN now read:

SANCTUARY: CODE WORD PREMILL- ENNIAL RELIGIONS DENOTING PLACE OF IMMUNITY.

LOGAN I don't understand?

Words on SCREEN now read:

SANCTUARY NOW MATHEMATICALLY RELATED TO UNACCOUNTED CITIZENS NUMBERING 1056. LOGAN Question:

Word on SCREEN now reads:

HOLD It disappears and words on SCREEN now read:

OBJECT ANKH ASSOCIATED WITH UNACCOUNTED CITIZENS 1056. CONCLUSION SANCTUARY EXISTENT.... RUNNER GOAL.

LOGAN 1056 unaccounted for?!

Word on SCREEN reads:

CORRECT

LOGAN Impossible! (Rising tone) Question: Maybe they weren't all Runners. Maybe most of them reached Life Renewal on Carousel.

Words on SCREEN read:

NEGATIVE...UNACCOUNTED CITIZENS 1056...

LOGAN Question: None of them reached renewal?

Word on SCREEN reads:

ZERO

LOGAN But everyone believes that some....

Words on SCREEN read:

ANSWER: ZERO UNACCOUNTED CITIZENS NUMBER 1056....LOGAN- 5 ASSIGNED TO LOCATE SANCTUARY AND REPORT....

LOGAN Question: You mean nobody's ever been renewed?

Words on SCREEN read:

- - QUESTION ANSWERED.... ZERO....ECOLOGICAL-NEGATIVE...

As Logan reacts the new words which appear read: AUTHORIZATION TO PENETRATE CITY SEALS...

LOGAN (startled) The Seal...... (Breaks off) Question: The Seals? Go outside?! But there's nothing outside!

The words on the SCREEN read:

SANCTUARY DESTRUCT... FIND DESTROY

LOGAN I will. The words on the SCREEN read:

ASSIGNMENT SECRET.

LOGAN Question: (a beat) What if I need help from another Sandman?

The words on the SCREEN read:

NEGATIVE. REPEAT: ASSIGNMENT SECRET. LOGAN-5 TRANSFER TO RUNNER SEEKING SANCTUARY. Logan takes a breath.

LOGAN Question: I am six Red...how can I pretend to be approaching Lastday?

The words on the SCREEN read:

LIFECLOCK--ALTER

LOGAN My Lifeclock... (slightest beat) Question: My Life--

Before the startled Logan can finish...he feels a shock of pain and his hand is immobile. Logan stares at the back of his hand as if it wasn't his. His forehead shines with sweat.

Now the entire area, including the chair and the screen begins to glow bright red. The glowing becomes so bright that Logan is forced to close his eyes.

As the glow subsides...Logan looks at his right hand. The red flower crystal in his palm is blinking. He stares at it, fascinated, fearful. LOGAN Question: (urgent tone) Am I still six Red? The words on the SCREEN read:

LIFECLOCK-ALTER

LOGAN (standing) I know that but I had four more years (extending the blinking palm) This means ten days to Lastday. Of course I will get the four years back, won't I?

The words on the SCREEN read:

TAKE OBJECT WITH YOU

LOGAN (very urgent) Question: Do I get my four years back?

Too late. The SCREEN is BLANK. For a moment his lips part as if to say something more but he changes his mind, turns away.

Now Logan walks over to the table and removes the ankh. Almost automatically, he starts moving his hand toward the groove...but the SCREEN already has the words:

CLEAR LOGAN-5

Logan looks at it - then:

The CAMERA PANS Logan out of the mammoth room.... past the GIANT LIFECLOCKS....where he pauses.... glances at his BLINKING CRYSTAL....and continues out into:

69X1		INT. - HYDROTONER - DAY

Spectacularly 23rd century. Logan enters. He looks around and spots Francis.... in a whirlpool bath....trying to recover from has incredible hangover.

In the b.g. of the SHOT we can see some Sandmen doing calisthenics. Logan walks over to Francis....hiding his blinking crystal by holding his hand against his leg. FRANCIS What the hell took you so long?

LOGAN (after a beat) Did you ever see anybody renew?

FRANCIS I think you've been skulling out too much. First Nursery and now stupid questions.

LOGAN Did you?

FRANCIS Of course.

LOGAN Anybody we know?

FRANCIS Look....why don't you get into the water....you need it....more than I do.

LOGAN (after a beat) I'm fine.... (walking away) See you....

FRANCIS At Carousel tonight?

Logan nods, exits. The CAMERA REMAINS on a slightly puzzled FRANCIS for a moment then FOLLOW Logan out to:

70		EXT. - SANDMAN BUILDING

Logan is on the steps, irresolute. He looks at his blinking crystal...moves as if to reenter, changes his mind. Now takes out the black box, dials.

LOGAN (into box) Location...female Green Six... name Jessica...living in Quad K.

71-73 	OUT

73X1		INT. - LOGAN'S APARTMENT

Logan opens the door to see Jessica. Behind her a young SANDMAN who has obviously escorted her there.

YOUNG SANDMAN (smiling) She says she's been here before...

LOGAN She has.

Jessica half turns and shrugs a 'see?'. The young Sandman's smile widens, he waves to Logan and shoves off.

JESSICA You could have called me yourself.

LOGAN But I wasn't sure you'd come.

JESSICA (the game has started) Here I am. (beat) Shall I come in?

Logan gestures, leading her inside to the living area.

LOGAN I couldn't get you out of my mind.

JESSICA I'm the most beautiful woman you've ever seen, I suppose?

LOGAN Maybe...sure....

JESSICA Thanks...but I have the choice. LOGAN Of course. JESSICA Then it's still no.

Logan laughs.

JESSICA You can have any woman in the city. What do you really want?

LOGAN You know

JESSICA I don't believe you. There has to be more.

LOGAN All right.

Logan extends his right hand. He turns his right palm so that. Jessica can see it blinking red.

Jessica gasps for a moment...then:

JESSICA Why show me?

LOGAN I'm going to run.

JESSICA (after					reacting) Why tell me?

LOGAN You know something. JESSICA About running, dying what?

LOGAN Both...running's what I'm interested in.

JESSICA I know what everyone knows. Try like hell for Renewal. You have the same chance everyone else has.

LOGAN It's different now. Help me.

JESSICA How can I?

Logan takes out the ankh.

JESSICA Where did you get that?

LOGAN A Runner gave it to me.

JESSICA And then you killed him, right?

LOGAN I let him go...believe me.

JESSICA I don't..

LOGAN (a beat) Speak to your friends for me, Jessica... please...

JESSICA Please? What friends?

LOGAN (clutching the ankh, looking 				at Jessica's; then:) I don't have much time.

JESSICA I never heard of a Sandman running . . . ever. ..

LOGAN (putting the			ankh in his pocket;			dropping the bombshell) And I never heard of Sanctuary.

Jessica reacts. She is about to speak. . .doesn't..

Logan reaches out and touches her hand.

LOGAN What can I do to make you believe me?

Jessica draws her hand away quickly from his touch.

Logan stands and starts out...as Jessica watches him..

74-81	OUT

82		EXT. - A SLEEK, OUTDOOR RESTAURANT - NIGHT

There are three men and a woman seated at a table. Jessica reaches the table and sits down.

83		CLOSE ON - LOGAN

A distance away...watching.

84-85 	OUT

86		EXT. - RESTAURANT - FULL ANGLE - THE THREE MEN, WOMAN AND 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.

87-88 	OUT

88X1		SANDMAN READY ROOM

Four Sandmen at the consoles. They look up as Francis enters. He goes to one of the men who stretches, yawns, gets up. 1ST SANDMAN Thanks, Francis. FRANCIS (taking his					place at the console) Just don't be forever about it like last time.

1ST SANDMAN Ah-h you love it. You're afraid you'll miss a really good Run.

They all laugh. Francis takes up his watch as the other exits.

89 OUT

89X1		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.

90-92	OUT

93-94 	OUT

94A1		READY ROOM - FRANCIS

Obviously enjoying the work, watching--tracking a Runner's progress, the assignment of a Sandman, the kill. 94X1		WITH JESSICA

Making her way through the strolling crowd, her face thoughtful.

94X2		ANOTHER ANGLE

The man from the restaurant, following.

94X3		GALLERY, SANDMAN RESIDENCE -- JESSICA

Walking slowly up to a door, she hesitates, KNOCKS.

Logan opens the door, reacts.

LOGAN Are you here to help me? JESSICA What do you need?

A moment, then Logan moves toward her hungrily, pulling her in to him as the door closes.

94X4 	OUT

DISSOLVE TO: 94X5		WITH LOGAN AND JESSICA

Walking along a handsomely landscaped stream. Laughing together, stopping to admire the beautiful fish (koi).

JESSICA What're you going to do?

LOGAN That's tomorrow.

JESSICA (turning away slightly) I wish I could help you.

LOGAN (turning her gently back) Maybe you'll chink of something...

JESSICA (hating herself) I wish I knew what you think I know.

Logan smiles at her, both knowing what's false, but drawn to each other anyhow. They commence walking again. 94X6		ANOTHER ANGLE

The followers, ahead now, watching, trying to make up their minds as to whether Jessica is bringing Logan to the ambush. As they argue, Logan and Jessica approach.

94X7		WITH LOGAN AND JESSICA

LOGAN If you did know, you'd tell me. JESSICA Of course--

LOGAN (overriding) If you trusted me, you'd know. JESSICA (evading it) We're coming to Arcade. (beat)	- Shall we Relive together? 94X8		CLOSE ANGLE

As they pass, Jessica looks full in the face of one of the followers, looks away. Logan does not notice. The followers are partly reassured. One of the men is now holding a garrote made from his necklace. The man who first followed gestures and the others go off purposefully. He continues after Logan and Jessica as they exit round a corner.

94X9 	OUT

94AX9	READY ROOM

As 1st Sandman returns, still cheerfully chewing. Francis is reluctant to give up his place and when he does, he remains standing there, watching. He loves the work--they all do.

94X10	ARCADE - LOWER LEVEL

Logan and Jessica entering. Logan is aware of Jessica's increasing tension. He pretends unconcern, but he is wary.

94X11	ANOTHER ANGLE

Behind them, visible through the crowd--two of the men we saw before. The Follower and the man with the garrote. They are moving so as to intersect with Logan and Jessica where the crowd is thickest, streams coming together to move to a higher level.

94X12	FEATURING JESSICA

As they move, fearful--torn between her promise and her feeling for Logan. Catching a glimpse of the followers, she makes a small sound, hesitates, pretends to have stumbled.

94X13	THE AMBUSHERS

Closer now, closing in -- the wire garrote gleaming between the man's hands. 94X14	LOGAN AND JESSICA

Suddenly she stops. He comes round facing as people eddy by them. Logan looks at her searchingly.

LOGAN Tell me, Jessica.

Behind him the two men move in. The man with the garrote raises his hands. One more step... Logan senses something, half-turns just as we hear a familiar urgent SOUND--the sound of his transceiver. Behind him the man hesitates, drops his hands. Logan takes the transceiver from his belt and moves out of the crowd to the side, Jessica with him. Now he bends to read the message and Jessica cranes her head to see too. 94X15	READY ROOM - FRANCIS AND SANDMEN

As the Runner alarm pulses and the readout flashes its message:

RUNNER FEMALE: CATHEDRAL Q-2 ...LOGAN-5

The Sandman at the console turns and says:

1ST SANDMAN Hey, Logan's got a mean one tonight-- why don't you--

But Francis is already at the door. A wave and he's gone. The others ad lib interest-- "watch out in there--they can cut you before you see them" etc.

95-105 	OUT

105X1	ARCADE STATION - THE AMBUSH

The two watching, muscles taut -- wondering.

106- 106X1	OUT

106X2	ARCADE - TWO SHOT - LOGAN AND JESSICA

As he speaks he leads her into the maze-car station and punches out his destination on the car caller.

LOGAN A Runner...Cathedral. A woman.

106X3	MAZE-CAR STATION ARCADE

JESSICA You're not going, are you? LOGAN (a beat) Why not? Maybe she'll help me. You won't. You'd better stay here.

The maze-car arrives and they move to it. JESSICA (touching his					arm) I'd rather be with you. LOGAN (knowing she is					lying through her teeth) That's nice. They enter the car which instantly moves off. As it passes, the men in ambush come forward and read the destination. They ring for another car which pulls in immediately.

107- 109X1 	OUT 109X2	ANOTHER ANGLE

As the two jam into the maze-car which rockets off in pursuit...

110- 120 		OUT

121		INT - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT

LOGAN Have you ever been through Cathedral?

Jessica shakes her head.

LOGAN They're like beasts. Wild. JESSICA Maybe they're angry because they're grown in meccano-breeders.

LOGAN (interrupting,					grimacing) Instead of what? Nine months inside a 			woman: (ugh) We're all raised the same but most of us don't become cubs in Cathedral.

JESSICA Some people say children need human mothering.

LOGAN Insane. Nurseries are better than any mother could be.

JESSICA I'm only telling you what I've heard... (slightest beat) Haven't you ever wondered what your seed-mother was Like...?

LOGAN Uh-uh.

JESSICA I have.

LOGAN (after a beat) When did you begin to question Lastday?

JESSICA I don't remember exactly...except I was a Green. (another beat) What would you like to relive, Logan?

LOGAN (smiling) Let's see - how long has it been?

As Jessica turns her head...looking somewhat guilty, the maze-car slides to a stop.

A warning light pulses on the car's console and a RECORDED VOICE speaks before the hatch opens.

VOICE Attention passengers. Cathedral Station is a personal risk area. Persons with business are warned to be careful.

121X1	EXT. - MAZE-CAR - CATHEDRAL STATION

Now the hatch opens. They step out, Logan first, Jessica timidly, looking around. Behind them the hatch closes, the maze-car sighs away into the distance.

JESSICA I've never been in this quadrant. (looks off) Is that Arcade off there? There are standing on the maze-car platform -- a high overlook like an "elevated" station. 121X2	POV - THE CITY BEYOND THE WALLS OF CATHEDRAL

Arcade shining like distant fireworks.

122		EXT. - MAZE-CAR M PLATFORM - CATHEDRAL

Below them a narrow, sharply angled concrete canyon, buttressed walls rising featureless. The look of an old fortress, blank, dim and cool. Still visible over an opening the chiseled legend "Cathedral Plaza--2025 A.D.--Skidmore, Rosenfelt, Hennesy architects."

Jessica shivers, looking around her. Logan takes her arm and they descend into the canyon, move toward the wall. Their footsteps the only SOUND.

LOGAN Let me go first. Sometimes they're 			waiting just inside there--to rush you when it opens...

LOGAN Quickly now--

He helps her through the narrow opening--the portal's walls are very thick.. They turn abruptly and see:

123		INT. - WALL - DAZZLE CHAMBER

A room of angled, reflecting surfaces. At one end a jagged corridor, also mirrored, leads away. The zigzag, angled effect creates an absolute confusion of images. but Logan leads her unhesitatingly across the chamber to the corridor. Jessica hangs back, momentarily certain she's about to smash into something.

LOGAN (guiding her) Just follow--no matter how it seems...

JESSICA (doing her					best) But what is this--why? LOGAN (as they enter						the corridor) The Cubs. When they're flying on muscle there's no way to catch up. Without the dazzle, they'd just go past us-- (gesture) too fast

JESSICA Muscle? I don't know that one. Logan is leading her down the zigzag corridor. It's stop and go--a fun house in which you can get hurt. LOGAN It's unauthorized. No good for any- one over thirteen anyhow--shakes you to pieces--speeds everything up to a			blur-- (he is amused) you can see what happens when some flying Cub tries to go through this on muscle--splat! Jessica reacts...to what Logan has said...then: A moment later: 124		ANOTHER ANGLE

As they approach the end of the corridor, a small FIGURE in a tattered garment approaches them. She stops SINGING as she sees Logan and Jessica.

JESSICA (gently) Don't be afraid.

We see that it is a little GIRL of seven. Her face is grimy and hair is tangled.

JESSICA What's your name?

MARY I'm Mary 2.

JESSICA Where do you live, Mary?

MARY Here.

JESSICA Why aren't you in Nursery?

MARY I'm very smart.

JESSICA When do you go up?

MARY I never go upstairs. You're a nice old lady.

As soon as she finishes her last sentence, Mary grabs at Jessica's clothing...tearing a pin (piece of Jewelry) off...and running away swiftly.

As Jessica instinctively starts after her...Logan... holds her back.

LOGAN (shaking his head) Not here. Might be a decoy.

Cautiously, Logan and Jessica exit from the wall, stepping out into-

125		EXT. - CATHEDRAL ITSELF

An area of rubble and dilapidated buildings.

Logan crouches, holding the transceiver and fanning the area, listening...

SOUND: a soft beeping which abruptly grows louder and holds steady.

Logan gestures to Jessica to follow him, and moves carefully in the direction of the BEEPING, quartering occasionally like a hunting dog. Coming up to an angle of wall, he stops, flicks the sound off, puts the machine back onto his belt. He gestures to Jessica to stand still then he straightens, steps out, calls:

LOGAN Runner!

Silence. Jessica involuntarily moves to him and as she does, the Runner moves from behind an upright and stands.- The figure is shadowed, the arms out, palms facing in a kind of gesture of surrender. In the Runner's left hand, the tiny red crystal pulses on and off. The Runner is a woman!

There is an instant of frozen confrontation and then suddenly Jessica gasps, grasping at him. As Logan whirls: 125X1		ANOTHER ANGLE

Suddenly, from everywhere out of the shadows, a pack of snarling Cubs materializes--moving with blinding speed. At their appearance the Runner whirls and races off into the dark shadows. Logan makes a futile gesture after her, then turns to face the Cubs.

A strutting, feral-faced fourteen or fifteen year old heads the pack, dressed in fierce-looking tatters and hung with rip-off trophies. He gestures to one of his followers to stand still.

BILLY (speaking of the Runner) Don't worry about her. We'll have that one later. Right now I think we've got a Runner and his pairup. And what a Runner!

The CAMERA PANS the other Cubs...mean, filthy.

A VOICE We're going to have ourselves a time, we are. Right, Billy?!

There is a chilling laughter of agreement from the rest.

LOGAN I'm a Sandman!

BILLY I cut up a Sandman yesterday. They said I'd never get him...but I cut him up good, I did.

LOGAN (firm tone) I feel sorry for you, boy!

Some murmuring as the pack watches their leader.

BILLY For me? Better feel sorry for your- self, Sandman!

LOGAN No, for you! How old are you, Billy?

Billy is silent.

LOGAN Fourteen? Fifteen? Your days are running out. How long can you last? A year. Six months? (he points to the yellow					flower in Billy's palm) What happens when you're sixteen and you go green?

BILLY (lashing out) Nothing will happen! I make the rules as I go!! Cubs do what I say! Always have! Always will! I got Cathedral and I'll never let go!

LOGAN No cubs over fifteen, Billy! Ever heard of a cub with a green flower? You'll leave Cathedral then, Billy, when you're on green, because they won't let a green stay here. (slightest beat) If you try to stay the young ones will gut-rip you apart!

BILLY Shut up! Shut up your damn mouth!

Logan falls back into a fighting crouch...but before he can strike 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 126		CLOSE ON - JESSICA

Watching..terrified.

127		CLOSE ON - LOGAN Being held against the wall by Cubs as: ANOTHER VOICE Shake him to death!!

A VOICE Kill him!

128		ANOTHER ANGLE - INCLUDING BILLY moving a drugpad against Logan's face.

Logan is holding his breath...desperately trying not to breathe the "Muscle" directly from the pad into his system.

BILLY (chilling laugh) He's trying to hold his breath...

As Billy presses the pad tighter against Logan's face:

With all his might, Logan wrenches his arms loose... drops to the ground and pulls out his gun.

He fires and fire girdles a pillar...and they start to back away.

BILLY We can rush him...we can take can take him	again, we can!!

The pack hesitates...stops backing away.

LOGAN (moving the gun slowly 					back and forth) All right! How many of you want this to be Lastday?!

The pack moves back again...and disperses, leaving Billy facing Logan alone.

LOGAN Come on, Billy...come on...you cut a Sandman, didn't you?!

Logan tucks the gun back into his waist.

LOGAN Come on, Billy...cut me...Come on

After a beat, Billy turns and runs away.

Logan comforts the shivering Jessica for a moment then takes out the small box from his pocket and turns it...until it starts BEEPING.

The CAMERA PANS Logan and Jessica...following the SOUND.

They move over the rubble...and cautiously around abandoned buildings.

We HEAR A SCREAM...and HEAR the Cubs who've only obviously found and attacked someone. The SOUND is coming from a different direction than where the beeping is coming from.

LOGAN (shaking his head) They've got someone else! Why would anybody come here?

Jessica shudders as the scream dies abruptly.

The BEEPING is now very loud.

Logan homes in on an abandoned building, enters, crosses swiftly to a door inside and kicks it down.

We SEE the Runner. The WOMAN cringing, expecting death.

129		FULL SHOT - LOGAN AND THE WOMAN

frozen for a moment. In f.g. a figure stirs, moves and we see it is Francis. His weapon is drawn and aimed, but as he watches, he lowers the barrel and smiles. The is Logan's job.

130		CLOSE ON - JESSICA

watching

131		LOGAN AND THE WOMAN

WOMAN (nearing					hysteria) There's been a terrible error! My Lifeclock must have broken in some way! (rising tone) I'm nowhere near thirty...look at me...I'm twenty-two. I should be green! Did you hear me? (shouting) Green!

LOGAN (quietly) Don't be afraid--

Before Logan can continue...the Woman...who is now wild-eyed and hysterical lunges at Logan...and starts grappling with him. WOMAN I'll kill you!! I'll kill you!!

After Logan pushes her away...and she falls down:

LOGAN (breathing hard) I'm not going to hurt you.

Slowly, she rises.

Logan takes out the ankh.

LOGAN Sanctuary? Anything?

Logan reaches into his pocket and takes out a small round object...the size of a large marble.

LOGAN If they find you throw this hard enough to break it. Then hold your breath till you get away...It's blind gas.

Her reaction is blank, then, with desperate ferocity she attacks Logan again.

During the course of the struggle, Logan subdues her again.

Jessica enters, bends over the near-crazed Runner as Logan holds her. Eyeing him, the woman stands and takes the small round object...she appears somewhat bewildered as Logan and Jessica move off. 132		EXT. - THE OTHER SIDE OF THE ABANDONED BUILDING - MED. ANGLE - FRANCIS WATCHING

He is shocked, unbelieving. 133		CLOSE ON FRANCIS

Stunned and uncertain, Francis aims his gun toward Logan and Jessica...but he wavers...watching them disappear into the rubble...

134		ANOTHER ANGLE - FRANCIS

shivering like a wet dog. He turns toward open window. FRANCIS (in a firm, cold					tone) Runner! The woman turns, staring insanely. Her mouth opens like a fish as: Francis FIRES his gun. A moment later, as the burning body topples to the floor;

134X1		MAZE-CAR PLATFORM - THE MEN

hearing the unmistakable SCREAMING sound of the kill, they exchange a look.

135		LOGAN AND JESSICA

At the flash of FIRE from Francis' gun, they turn. Logan and Francis' eyes meet. A beat, then Logan grabs Jessica and pulls her away.

136		FRANCIS

After a long, long hesitation, takes out his small plastic box and starts to speak into it:

FRANCIS (quietly) Runner terminated at G.16 Ready for cleanup at Cathedral Quadrant 39. 137		ANOTHER ANGLE - OVERLOOKING CATHEDRAL ENTRANCE

The Second and Third Men...very close to the maze-car platform... peering into the darkness and seeing Logan and Jessica emerge onto the maze-car platform. We can tell from the way the two men look at one another that they believe Logan has fired the shot they have heard.

They hide from the approaching Logan and Jessica.

SECOND MAN I almost believed her.

They move off soundlessly. Behind them, a maze-car has arrived.

138		MED. - ANGLE - FRANCIS

Gun in hand...running through Cathedral toward the maze-car platform.

139		INT. - MAZE-CAR - LOGAN AND JESSICA - MOVING SHOT

JESSICA I'm ashamed. I was bringing you to be killed.

LOGAN Where? Sanctuary? Can you take me there?

JESSICA Logan, I don't know where Sanctuary is. But if I take you to them, they'll kill you.

LOGAN (a beat) All right. But why? I didn't kill the Runner.

JESSICA (interrupting) Yes, but they won't know that...or care. They're hunting you, Logan. Maybe me too, now...

LOGAN (wry laugh) That's nothing...there's a Sandman behind us, too and there'll be more soon. Take me to them.

JESSICA (torn) I - I can't.

LOGAN Then - why don't you leave me - go			to them - explain

JESSICA No. Not that either.

Logan considers her. A long BEAT. Thinking, then:

LOGAN All right. New You 483. I'll find out myself.

139X1		INT. - SANDMAN READY ROOM - FRANCIS

Distracted...ignoring the greetings of Sandmen who are monitoring the city.

139X2		ANOTHER ANGLE - FRANCIS

Walking past the GIANT LIFECLOCKS into the debriefing area.

The scanners begin moving.

Moments later the scanner stops...the word:

IDENTIFY

appears on a SCREEN Francis pauses a moment and places his palm into the groove.

Now he takes out the items of the dead woman Runner and places them on the scanning table.

An ALARM SOUNDS and the word:

REJECT

flashes on and off on the SCREEN.

Sandmen come running into the Area.

SANDMAN What happened?!

Francis hesitates....then....quickly, as if changing his mind, taking the items off the table: FRANCIS Can you beat it....I've got the damn wrong bag.

SANDMAN You ought to put yourself on reliefcall, Francis.

FRANCIS (starting out) Yeah....

140		EXT. - NEW YOU #483 - TWO SHOT - LOGAN AND JESSICA

as they enter NEW YOU #483 they are being watched by:

141		MED. ANGLE - THE SECOND AND THIRD MEN

A safe distance behind.

142		INT. - NEW YOU #483

The waiting room has many mirrors...where customers ...male and female...are checking their faces (and bodies).

There are also various photographs on the walls... suggestions for changes to foreheads, eyes, cheeks, lips, etcetera. The chatty informality is very much like people in a beauty parlor or barber shop.

There is a RECEPTIONIST seated behind a desk in a corner.

Logan and Jessica walk up to the desk.

The receptionist looks at Logan...ignoring Jessica.

RECEPTIONIST Hello, Sandman.

LOGAN Hello.

RECEPTIONIST Do you want to see Doc?

Logan nods, impatient - he knows someone's watching.

RECEPTIONIST We don't get many Sandmen. I think we've only had one other since I've been here.

LOGAN (brusquely) A Sandman can get as sick of his face as anyone else. Where's the doctor?

RECEPTIONIST (smiling) I like your face. Would you mind if Doc took a picture? I'd Like him to give your face to somebody else.

LOGAN It's all right with me. Is he here?

RECEPTIONIST My name's Holly...Holly 13. In			ancient times they said my number was unlucky. Do you believe in luck?

LOGAN No - Look, I'm in a hurry.

HOLLY Doc'll be with you soon, Sandman.

Logan and Jessica walk to one of the chairs in the waiting area and sit down next to an attractive WOMAN.

WOMAN CUSTOMER Is this your first time?

Logan and Jessica nod.

WOMAN CUSTOMER (smiling) This is my third... (a beat) ... I did it when I turned yellow ... and green. (showing her palm) I turned red yesterday.

LOGAN (looking) Beautiful work. This man do them all?

WOMAN CUSTOMER No. But I hear he's terrific. Have you seen any of his work?

LOGAN Just one. HOLLY Doc's ready, Sandman. Logan and Jessica stand. They follow Holly into a large, shining, stainless steel room where we see: 143		MED. ANGLE - DOC

who looks about twenty-one years old, exchanges a pointed look with Jessica. DOC It's a real privilege, Sandman.

LOGAN Thanks. (slightest beat) I thought you'd be older. I ex- pected a Red.

DOC (showing his palm;					the flower crystal is Red) I am.

LOGAN Your own work?

DOC (with pride) And I did it myself right on there.

144		FULL - ANGLE - THE SURGICAL APPARATUS

Aesculaptor Mark III -- the latest in servo-surgical designs. Completely self-contained -- tilt-bed, cryojector services embedded in the platform. The Mark III's laser heads are integrated into the whole cocoon, swiveled and gimbaled so as to be able to focus any of the surgical beams in microscopic delicacy or wide-bladed scraping.

The machine vaguely resembles an enormously complicated x-ray table on an angle -- the great slotted laser heads overhanging it and Integral with it. From the cryonic receptor base there is a steady exhalation of cold -- the vapor seeping steadily downwards, blurring the endlessly looped and tangled tubes and wires and containers Which join in solid state circuitry so that any random or involuntary twitch of a patient will be instantly compensated by an equivalent move of the laser head -- keeping the focus precise.

At one end -- where the halves of the Mark III join, is n console of switches and dials -- lights nod servo-recorders which control the operation from the first injection of cold to the final healing vacuum drafts and scar burnishing. With the air of a magician demonstrating, Doc goes to the console and flips switches. Instantly the table responds -- the platform tilting, the crab-like laser arms descending flexing -- small vapor jets oozing as the beams slash harmlessly across the table. Beaming, Doc turns it off and the whole apparatus subsides. DOC I designed it myself. (slightest beat) What'll it be ...a face job or a full-body job?

LOGAN Just the face.

DOC Fine....Holly will get you ready. You're in good hands, believe me.

Holly comes forward and unbuttons the collar on Logan's tunic.

As Holly brushes her fingertips lightly down Logan's arms:

DOC Holly works here because she gets a lift out of watching the Table... (smiles) and other things. I'll be back in a minute.

HOLLY He's going to sterilize himself.

LOGAN Do I have to undress?

HOLLY Not for your face.

Logan follows Holly to the Table. (Jessica remains behind with Doc who speaks to her with soft urgency).

DOC You shouldn't have brought him here.

JESSICA; I didn't bring him -- what's the difference. He's blinking. He wants to run. DOC Run!? He's a Sandman.

JESSICA I tell you he's running. I know. DOC Maybe...Maybe. But I wish he'd gone somewhere else. (a beat, a shrug) All right. He gets a face. 144X1		THE SURGICAL TABLE - LOGAN AND HOLLY

Logan lies down.

The Table ripples...accepting his weight prisoning and positioning him.

HOLLY (leaning - close to 					Logan) I like dark hair. Have him give you dark hair.

DOC'S VOICE All set? HOLLY Um huh. Would you take a picture of him, Doc? I'd like you to give his face to somebody else.

DOC Why not?

Doc pushes a button...there is a tiny FLASH.

DOC Do you have anything special in mind?

LOGAN I don't care...Just get it over with.

DOC (smiling) Hurry...hurry...hurry.

HOLLY (whispering) Dark hair.

LOGAN Holly'd like dark hair. DOC Holly'd like a lot of things. (studying Logan's face) We can start by narrowing the cheekbones. Doc presses buttons on the control board. Jessica, who is standing next to Doc, is slightly startled as the Table begins to HUM...as a pair of laser beams separate themselves from the overhead cluster and extend toward Logan, forming inner cones as they approach.

CryoJector needles start to close in on them, nearing their faces and shoulders slowly...the visible cold streaming off the points.

A vibrobeam begins to KEEN.

SOUND: An insistent chiming.

Doc hears the sound and turns with the martyred air of a man who's been called to the phone too many times. He turns to a phone-like apparatus nearby, shifting the table into neutral as he turns. The table and the laser heads stop moving. DOC (as if speaking on a phone) Hello (listening) Yes (listening) Yes, they are. (listening; his expression					changing) Done.

Doc turns back to the console, pausing to stare intently at Logan, then up at the brightly smiling Holly. Something in his look registers, and Holly's smile fades. Now Doc engages the machine again...

DOC Pay attention, Sandman. I'm proud of this machine.

As he speaks he presses and an arm sweeps downward and into position near Logan's face. It pauses as

DOC With this one there's no waiting for scar burnishing. It's all in one...watch now...

The laser arm sweeps across Logan's forehead and cheeks, leaving a bright trail of blood as

DOC But here's the improvement. Instant healing---before you feel a thing. Watch now...

Doc pushes a special button and the arm sweeps back along the track, spraying healing fluid. Magically the blood vanishes and the skin is moist and whole.

144X2		THE SURGICAL TABLE - LOGAN

His face tense--he knows something's wrong. Over him Holly's bright face with its rapt look. She's not sure, but she enjoys whatever's happening.

144X3		BACK TO DOC

who is playing the console as he speaks.

DOC Perfect depth adjustment on this one, Sandman. The beam will cut through that uniform and just exactly through the skin beneath-- absolute precision. Watch now And the machine does its stuff, slashing through Logan's tunic--a seam of blood following the rip.

DOC Of course, it doesn't mend uniforms, Sandman, but otherwise it does everything, doesn't it? Just imagine what would happen to you if the healing stopped functioning. And the arm moves back again, spraying the healing fluid into Logan's new wound. Again the blood disappears. Suddenly Doc's look is ferocious. He turns off the healing switch and punches buttons fiercely. The laser arms begin to move wildly and the SOUNDS become shrill. Holly looks alarmed.

HOLLY No! You're scrambling the table. He'll be cut to pieces, Doc. DOC Damn right! It was a trap. They know! LOGAN No - I'm Running!

Machine begins to WHINE LOUDLY.

Jessica tries to turn the machine off...Doc starts to wrestle with her as:

145-145X4		INTERCUT: CLOSE ANGLES - THE CLUSTER ABOVE LOGAN

Moving.

HOLLY

Watching two stun beams lower.

Doc knocks Jessica down. She is groggy on the floor as

The stun beams lance into Logan's cheeks.

The Table holds him, biting into his right leg below the knee.

146-148		QUICK CUTS OF DOC AND HOLLY

Watching intently as: 149-150		CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIM

As surgical beams slit his shirt from the shoulder to the waist leaving two threads of blood. A vacu-head dips to suck the blood away neatly.

151		ANOTHER ANGLE - LOGAN

As Logan desperately sucks in his belly....trying to flatten himself into the Table.

152-153	CLOSE ANGLES - LOGAN AND THE CLUSTER ABOVE HIM

As laser blades cut into his face....followed by a spray of healing liquid on the cuts. 154		CLOSE - ON HOLLY

Excited....flushed....as:

155		CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM

As two wide blades of light sweep downward....and hover three inches above his neck....and keep lowering ....HUMMING loudly....and one inadvertently frees Logan's right arm.

156		CLOSE ON - DOC

Shocked as Logan reaches for his gun.

157		CLOSE - ON LOGAN AND THE CLUSTER ABOVE HIM.

As dozens of laser beams slash toward Logan....he twists away....and breaks off....jumping off the Table.

Doc rushes Logan holding what appears to he a frozen police billy.

In an instant he has knocked Logan's gun away....and as Logan looks down at it....we see it lying on the floor completely frozen.

Slowly, Doc moves toward Logan the short smoke-colored stick menacing in his hand.

LOGAN (out-of-breath) What I told you is the....

Abruptly, Doc lunges toward Logan...missing him as Logan ducks away.

As Doc turns to attack....Logan smashes his elbows into Doc's chest and Doc falls back onto the Table.

157X1	CLOSE ON - HOLLY

SCREAMING, as Doc is slashed by the machine amid showers of sparks and gouts of steam as the metal twists and wires short out and various fluids boil and spill onto hot surfaces. Holly tries to fight her way into the mess to help Doc, but Jessica, recovering, pulls her down and the two struggle.

157X2	CLOSE ON - DOC

In terror as the laser beams begin to slash him to ribbons.

157X3	LOGAN

Making an effort to stop the machine, pulling levers and pushing buttons in vain. He sees what's happening, pulls Jessica away from Holly and, grabbing up his gun and tunic, heads for the entrance. Crossing the waiting room they are stopped by the sight of:

158- 162XI 	OUT

163		FRANCIS

Entering...gun in hand.

164		REVERSE ANGLE - LOGAN AND JESSICA

As they face Francis.

165		FULL ANGLE - FRANCIS LOGAN AND JESSICA

FRANCIS (frowning) What's going on, Logan?!

LOGAN It has nothing to do with you.

FRANCIS (choking but still loyal) What are you talking about?! I saw you let a Runner go? (up a notch) I saw you, Logan?? Tell me!!

Suddenly the machine behind them erupts into a great burst of smoke and noise, momentarily drawing Francis' attention. Instantly Logan jumps him, grabs and throws him sprawling. Without a look back, he and Jessica run out.

166 		OUT

166X1		FRANCIS

Enraged, finds his gun on the floor and, before rising, gets off a shot at them as they disappear. Then leaping to his feet, dashing off in pursuit.

167		ARCADE TRACKING

Logan and Jessica running through Arcade. 167X1	LOGAN AND JESSICA

Suddenly she pulls him in another direction.

JESSICA Follow me, Logan. Stay close.

As they run into Hallucimill...Francis...never too far behind... spots them and follows.

168- 173 		OUT

174		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.

175		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.

176		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.

177- 179		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.

180		ANOTHER ANGLE - FRANCIS

Entering, starting to look around -- grabbed by one of the laughing Wantons.

181-182	LOGAN, JESSICA

Brief glimpses of them looking for each other.

183		FRANCIS

Hunting both.

184		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. 185		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.

186- 186X1 	OUT

186X2	INT. - AN IMMENSE METAL STAIRWAY

After a moment, Jessica takes Logan's hand and they start down in the darkness. The SOUNDS of Love Shop still heard from behind the wall.

LOGAN Are you taking me to them?

JESSICA Yes. (beat) I don't know what else to do -- with him following us. (she hesitates) Why do you keep running from your--

LOGAN Because he's my friend - (a beat) and I don't want to be killed by him - or anyone.

JESSICA He's good, isn't he?

LOGAN Will he find us and kill us? Yes...or one of the others. (a beat) You know there's only one place to go now...

JESSICA (hopelessly) They won't believe us.

LOGAN (beat) I'd rather take my chances with them...than with Francis.

JESSICA They won¹t listen. LOGAN (interrupting) You think Sandmen will? (before she can answer) There's no other way for me,

JESSICA We'll convince them.

They pause. He puts his hand over hers. Jessica is silent. Then she turns his hand over. The crystal blinks red -- on, off.

JESSICA Yes, Logan. (turning to him blindly) I'm glad they didn't change your face. Logan embraces her, but his look is strange and remote. They continue down into the darkness. Behind them the SOUNDS of Love Shop die away and only their footsteps are heard.

187 		OUT 187X1	FRANCIS At the mirrored archway, looking around carefully, testing. He knows they went through somehow. Hands claw at him - he brushes them away as he searches.

188-200 	OUT

200X1	WITH LOGAN AND JESSICA

They have come to the foot of the stair. Here the flooring shines wetly in the darkness.

JESSICA (softly) Exactly four steps now. Let me lead you. (they walk) Now to the right. It's narrow here, you'll have to get behind me.

LOGAN (whispering) How will they know we're coming?

JESSICA (whispering) They're watching us now. They'll let us in when they're sure.

200X2	CLOSE-UP - LOGAN'S HAND (INSERT) As he fumbles the transceiver switches at his belt, punching out a signal.

200X3	INT. - SANDMAN H.Q. READY ROOM

As the Sandmen monitoring SEE THE SIGNAL FLASH and move smoothly into action.

200X4	LOGAN AND JESSICA

Close together, he behind, waiting--alert as a VOICE is suddenly heard:

VOICE (scratchy, 					filtered) Sandman, put your hands on your head. (he does) Clasp your fingers together. Now turn your hands over. Palms up. (beat) In a moment a light will shine in your eyes. Walk into it--Jessica first, then you, Sandman. You will have to stoop--but don't unclasp your hands. Do you agree?

Logan nods.

Jessica glances back at him but their faces are unreadable in the dark. Then suddenly--in front of her--a blindingly bright, narrow rectangle of light illuminating them fiercely. Jessica moves forward. Even she has to stoop. Logan is close behind. As he bends awkwardly into the opening, the light goes out.

201		LOGAN, JESSICA -- SANCTUARY HQ

As he pushes her through the opening then moves instantly to the side, pulling her with him.. The move fails. Both are pinned helplessly in the blinding glare of the spotlight and the sudden appearance of glass-silver spear points pressed against them. Logan is unable to draw his gun.

VOICE Hold still, Sandman, or die where you are.

2ND VOICE Is she the one? OTHER VOICES (like angry					stage whispers) She betrayed us. Kill him. Kill them both. Jessica you sold us. Sandman butcher. Sandman murderer.

Logan and Jessica stand rigid against the spear points, only their heads turning to the echoing sibilants.. The spotlight goes off.

202-204 	OUT

205		INT. - SANCTUARY HQ. - LOGAN, JESSICA - CLOSE

In the darkness we see the glass-silver spear points are glowing all around them, the long shafts falling away into darkness, the points, steaming gently when they touch--making an instant, wincing burn. Logan moves--a spear point presses--he flinches.

LOGAN I'm a runner. She brought me here because I begged her to help me.

He turns his palm. The red crystal blinks impressively in the darkness.

At the sight, a BABBLE of SOUNDS. Argument.

VOICE He's lying. No Sandman ever ran.

2ND VOICE You don't run. You kill runners. You have killed runners all your life. -

LOGAN Yes I have. (beat) Now it's my turn. And I want to live.

Another angry murmur of VOICES. Over it Jessica suddenly:

JESSICA (shouting) What's the matter with you. He's a runner-- he's blinking. We must help anyone who asks...we must-or we're the same as they are--deciding who lives and dies.

One of the points lifts and touches Jessica's cheek. A quick, fierce burn. She shrieks--a tiny sound--and is silent.

206		LOGAN

Reacts fiercely, spinning against the spear points, he is Jabbed and pierced in a dozen places as he manages to get Jessica closer, shielding her with his body. But the spear points are too much. He subsides, as VOICES rise angrily "Kill him now".

Suddenly a RINGING ALARM. All sound stops at once and we hear a CLATTER of FOOTSTEPS down the iron stair and across the outer floor. The spotlight bursts on again and a figure staggers into the chamber, straightening into the light, hair dishevelled, hands in front against the glare. It's Holly.

HOLLY Holly. Holly, New You 483... He's dead. Doc's dead and the Sandmen came...

VOICE (gentle) Holly--Holly. Remember the code. The code, please Holly...

HOLLY (hysteria) They smashed everything and I barely got away. (beat) Holly. Station 12, Sanctuary 7. Holly. Holly...

She lowers her hands and we see her, tattered, frightened--the bright smile strange. She comes to herself a bit, looks to the side and sees Logan and Jessica, pinned against the wall.

She reacts with fear at the sight. HOLLY It's him! The first Sandman. He killed...Doc.

JESSICA No, Holly--wait! He's running. Tell them the rest! HOLLY (suddenly					exhausted) He's the one. You too. I remember. He was in a hurry. Just a face job. Dark hair, I said. Then he killed Doc and you grabbed me--and the machine blew up and I ran...I ran JESSICA Holly. Holly! Please...The other Sandman. Remember the one who came after--

Holly suddenly remembers and the shock makes her lucid.

HOLLY (pouring 					it out) That's right. The other one came after. The older one. Smashing, killing, burning!

JESSICA (coaching					desperately) ...and he was hunting the first one, this one. Wasn't he? Wasn't he? This one was running, the other one was hunting him...

HOLLY (remembers) Yes. Oh yes. (to Logan) He was after you. I remember. You're running!

207-208 	OUT

208X1	ANOTHER ANGLE 1

The spear points are withdrawn. Logan and Jessica relieved but shaken, wary.

LOGAN May we move?

A long beat. Then--

VOICE I saw we pass them through. Somebody help Holly.

Other VOICES mumble agreement. Holly moves off into the dark room, hands reaching out to help her.

VOICE You two. Just go straight ahead. Follow the corridors with the pipes overhead to the end. Then use the key.

As the voice speaks the spotlight finally goes off and by a dim glow around the perimeter, we see we're in some kind of large underground chamber--some part of the vast undercellars of the city. The light is enough to reveal that there are perhaps twenty people in the room, reds and greens both--but all are silhouetted, no face seen. There's a kind of aisle open down the room's center and it's obviously the way they are to go. Logan and Jessica move off. Logan pauses.

LOGAN I don't know who you are. I'd like to thank someone.

VOICE It doesn't matter who we are. Follow the tunnel to the end.

LOGAN I Will there be someone to tell us where to go from there...?

A murmur of discussion then:

VOICE Someone will follow. When you come to 			the lock, he will tell you how Co go on the other side. Jessica may go with you as far as the lock.

LOGAN (a deep breath) No. Jessica goes back now. Take her back. (suddenly his tone is 					urgent as he speaks to her) Now! Go on back. Back outside, Jessica.

She is bewildered by the change.

JESSICA Why?- No...no...I'm going with you.

VOICE1 Only to the lock. After that there's no way back.

JESSICA (small voice) I don't care. I'm going to Sanctuary. With you.

A BABBLE of VOICES. "Impossible"...She ignores, watches Logan. JESSICA (cont'd) Will you take me with you?

LOGAN Why, Jessica? You're still a green. JESSICA shakes her head. She doesn't know why.

Logan puts his arm around her, marveling, trying to understand, moved. But suddenly he remembers the urgency of the moment. He wheels, pulling her with him. LOGAN Come on then--they'll be here any minute!

Uncomprehending, she starts to run with him. Too late. An EXPLOSION shakes the chamber--the wall bellies inward and a group of Sandmen, led by Francis, burst into the room, firing as they come. Panic. Turmoil. PEOPLE running, SCREAMING--the ALARM BELL RINGING, RINGING as Sandmen methodically slaughter the people in the wreckage of the room.

209 		OUT

209X1	LOGAN AND JESSICA

As the brief, one-sided battle rages, echoing SHOTS and SCREAMS in the dust filled room, Logan pulls her down out of the way. They watch, helplessly. Suddenly the figure of a Sandman looms before them. He stares at Logan, unsure. Logan reacts, draws, fires. The Sandman is smashed away, burning.

209X2	LOGAN

Suddenly aware that he has killed a Sandman. Jessica pulls him down again into the shadow. Neither realizes chat the soft pulsing of his crystal can be seen from the room.

210		ANOTHER ANGLE

Francis, quartering the room like a hound, searching, searching, stopping as he sees

211		FRANCIS P.O.V. The crystal blinking red, eerie in the darkness.

FRANCIS (believing the						blinking crystal is Jessica's) Logan. I know you're in here. What've you done...gone crazy over a Runner? (whispering) Nobody knows except me. You know I won't say anything. I should have turned you in but I couldn't. Leave her. Come on out with me. It'll look like you're part of the group that hit this nest. (pleading) Logan...you're a Sandman! (slightest beat) Logan...now...now...Logan...

After the slightest beat, Logan FIRES and Francis falls, a great chunk of the cave roof falling between him and Logan -- all vision obscured while EXPLOSIONS and SCREAMS continue.

212		LOGAN AND JESSICA

As he pulls her shakily to her feet. She nods, she's okay. He leads her off down the tunnel.

213		WITH LOGAN AND JESSICA - TUNNEL

following the tracks. The way leads down, curves, recurves, but always down.

214		ANOTHER ANGLE - INCLUDING LOCK As Logan and Jessica rush toward it. The corridor has widened into a kind of chamber which ends in a great metal door like an immense submarine hatch.

The tracks run straight to it and beneath it. The base of the door tands in a couple of inches of water. With great urgency, Logan and Jessica examine the huge door. Logan gives the wheel a tug...nothing.

SOUND: A WHIRRING like clockwork...A METALLIC BELL SOUND and then a RECORDED VOICE.

VOICE Runner, this is the last gate. Use your key now. When the Bell sounds again...use your key. Good luck, Runner. May you find Sanctuary.

SILENCE. Then the BELL CHIME SOUND and a light illumines the center of the wheel where there's a kind of keyhole. The WHIRRING continues for about ten seconds. Then it stops	and the light goes out.

214X1	LOGAN AND JESSICA

Hearing a SOUND they turn and see: 214X2	ANOTHER ANGLE - P.O.V.

Far behind them, in the wet glisten of the tunnel, a bobbing light and shadow -- the SOUND of RUNNING

215-216	CLOSE ON - LOGAN AND JESSICA

As Jessica takes the ankh from her neck - fumbling with the chain.

JESSICA (breathlessly) Every key only works once...and only a Lastday key must open this door.... They said it would fit - but....

She tries to fit the ankh into the glowing one, but her hand shakes. Logan tries to steady her - and in helping, she drops it into the dark pool of water. They fall to their knees, searching desperately. Then Logan remembers.

LOGAN Wait - I have the one I took from the Runner.

SOUND: The same as before as Logan searches his pockets for the Runner's ankh.

Logan finds it just as the WHIRRING SOUND has STOPPED again...and the light has gone out again in the center of the wheel.

As Logan and Jessica wait for the sound, etcetera to repeat again another TREMENDOUS EXPLOSION is heard rocking everything. In the distance, Jessica can see the shadow of a FIGURE approaching.

As the SOUND, etcetera, repeat-s once more...Logan pushes the ankh into the lighted center of the wheel. The ankh fuses and the lighted center becomes brighter as the door opens.

There is a hesitation...in which Logan turning his head back... realizes what he has done and is shaken.

As the shadowed FIGURE looms LARGER:

JESSICA There's no turning back, is there?

Logan turns and pushes Jessica through the door... following her... as the door closes and they are:

217		ON THE OTHER SIDE

now, they can still hear the SOUND, etcetera for the last time.

Beyond the lock is the ruins of a vast undersea complex in which food was raised and harvested. What we see is an endless shadowy labyrinth of breeding pens which stretch off into the green darkness -- a kind of mammoth aquarium with catwalks and ramps intersecting the huge tanks. The levels are multiple and everything is slimed, rusted, rotted and wet.

In the tanks themselves are shoals of fish, gardens of seaweed, etc. The machinery for harvesting and winnowing has long since gone to rust -- and visible in the great tanks are the wrecks of vessels and gear -- the kind of stuff Cousteau and Co. are using now.

Footing is dangerous -- a slip from any catwalk means a plunge into water and some of the walkways are well under water anyhow. From an invisible ceiling comes a steady dripping and everything is crusted and smells of salt and decay and life in the darkness.

217X1	WITH FRANCIS

As he arrives at the door, the ankh glowing as before.

But Francis has a light. He examines the door with it, and as it lights the pool of water on the ground, it picks out Jessica's ankh. FRANCIS stoops, gets it and looks from it to the one glowing 128		LOGAN AND JESSICA

Bewildered -- uncertain, as their eyes adjust to the dim light. Finally, Logan gestures ''this way" and sets out.

(NOTE: The action of the sequence is the action of people groping through a labyrinth. They go along, gripping a rail where possible, sometimes sinking deep into water, sometimes rising above it. They run into blind endings and retrace to the last junction -- always trying for what looks driest and seems to stretch farthest along the great wall...)

219-224	WITH LOGAN AND JESSICA - SERIES OF CUTS

A. Making their way along the walkway side by side.

B. Stopping as the walkway disappears under water. Logan wading in while she waits -- until he re-emerges. She follows.

C. Choosing between diverging ramps. Having to return.

JESSICA How do we know this is the right way?

LOGAN It's the only way. D. POV an alley way full of machinery. Logan gives a wheel a half turn -- great rusty net-combs start to winnow the water.

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

F. POV ancient signs - PROTOPLANK...DEPOT NO #11 DO NOT DECANT... HABITAT MARITIME...ETC.

They speculate.

JESSICA What do you suppose this was...?

LOGAN Some kind of breeding pens...I			suppose...They say people used to breed animal s, fish, anything (at her disbelieving look) To eat, of course. JESSICA Ycch. (shudders) To kill things and then eat them. It must have been a savage world. Logan shrugs, but the idea makes him queasy, too. G. They stop, tired. Peer through at the wreckage of a small inspection vessel and suddenly hear:

SOUND: FOOTSTEPS, coming, halting, WATER sloshing. Steps again.

225		POV - THROUGH THE MAZE OF TANKS - A LIGHT

moving, hunting.

LOGAN (alert) Stay here, while I see what it is.

Jessica nods, frightened. Logan slips off into the darkness. In a moment he's back. His face - is grim.

JESSICA It's Francis, isn't it?

He nods.

226		LOGAN AND JESSICA

Trying to move faster now, Logan makes a wrong turning and they must go back. But as they do so, Francis is ever closer -- a gigantic distorted SHAPE now visible through the eerie glass -then suddenly seeming small and distant.

As they emerge from the blind alley once again close to the wall, suddenly:

227		FRANCIS

looming huge, gun drawn, apparently only a few feet away.

228		LOGAN AND JESSICA

Logan desperately claws at machinery, succeeds in starting motion, somewhere what sounds like a GENERATOR begins laboring, ancient machinery GROANS. They turn and run as they HEAR: FRANCIS (distorted;					echo; etcetera) LOGAN N N N. 229		POV - FRANCIS' LIGHT

is splashing the walls ahead and in it they suddenly see:

THE DOOR -- a waterlock with a wheel. As the light passes, Logan heaves desperately on it. It starts to give as the light comes back and they are revealed.

230		CLOSE - ON FRANCIS

aiming at Logan...then slowly moving his hand until Jessica is in his sights.

231		LOGAN - JESSICA - FRANCIS

Francis FIRES -- tremendous SOUND, ECHOING and RESOUNDING. One of the great tanks buckles and a cascade of water erupts over everything. Through it, Logan manages to get the door open and pushes a half-drowning Jessica through.

232		INT. - THE SHAFT

A sort of ancient freight elevator which commences to move groaning when the waterlock door closes. Logan slumps to the floor.

233		INT. - SHAFT - TWO SHOT - LOGAN AND JESSICA

Moving at an extremely high speed...We can see the outside - flickering - dark, light, - dark, light... and finally to a white color. They lie slumped, motionless. Finally it stops. The door opens into a kind of glistening darkness, suffused by a bluish glow. It is now very cold.

In the silence Logan stirs. Groping, he touches Jessica, who moves close to him. Logan puts his arm around her and they rise. Slowly, tentatively, he leads her out into the dark chamber where they stand for a moment trying to find themselves. What little light there is seems to come from the left. Arm around Jessica, Logan starts to move.

JESSICA (whispering) I'm afraid.

LOGAN It's brighter there...besides, we can't go back.

He starts to move again but Jessica hangs back.

JESSICA Wait.

He halts.

JESSICA (cont'd) I don't know what's going to happen to us Logan but -- (a beat) Are you glad you didn't kill him?

LOGAN It doesn't make any difference anymore.

JESSICA You're really one of us now, aren't you?

LOGAN You knew that I wasn't before, didn't you? (Jessica nods) Why did you stay with me?

JESSICA (feelingly) I wanted to... (Logan puts his arms				around her) ...And you...what made you kill Sandmen?

LOGAN I had to. I did kill...for the first time in my life I killed.

JESSICA Because you felt like a Runner, didn't you.

LOGAN I guess so...I know I felt something I never felt before...and I didn't like it...not a bit. (after another long beat) I'll tell you one thing...Sanctuary better be worth it. That's the last place for me to live now.

JESSICA For us.

Logan mouths "Us"...a strange word...and why not... in the last minutes he has done strange things.

234-236 	OUT 236x1	INT. - ICE CAVERN

Suddenly they are blinded by a brilliant light coming from the side and revealing for the first time where they are.

236x2	ANGLE

Before them a vase, dim, ice-shrouded storage area, row upon endless row of frozen lockers trailing away into darkness, their legends and contents unreadable in the thick covering of ice and frost. To the side, a bright light. 236x3	LOGAN AND JESSICA

Walk toward the light.

236x4	WITH LOGAN AND JESSICA

We see a huge, high-domed cavern ringed and ornamented with extraordinary ice sculptures-They are everywhere: Otters, fish, a tusked walrus---overhead a flight of birds.

236x5	ANOTHER ANGLE

As they look in wonder:

VOICE Overwhelming, isn't it?

Logan and Jessica turn and see:

237-238	OUT

239		FULL ANGLE - BOX

Box is half-man...half-metal.

From the midpoint of his sternum to his hips he is coils and cables. One hand is a cutting tool. His head is half-flesh...half-metal. his legs are a chrome pedestal.

BOX Are you too startled? Am I too removed from your ken? (slightest beat) I'm neither machine nor man...but a perfect fusion of the two...and better than either. (with great pride) No human sculptor could match this greatness...don't you agree?

LOGAN All right - what are you? BOX (laughs) Your turn. JESSICA It's incredibly beautiful.

BOX Ah, but wait for the winds. Then my birds sing. My walrus breathes. My palace chimes and bells. And the deep grottoes whisper my name...Box Box...Bahhhhxxxxsss...

LOGAN (after a beat) We're hungry	do you have anything to eat? BOX Anything to eat?

Box starts to laugh...He is roaring with laughter as:

JESSICA (quietly) We're human and we're hungry.

BOX (still laughing) I know...I know.

LOGAN This place is a link to Sanctuary, isn't it?

Box looks totally confused.

LOGAN (angrily) How do you think we got here??!!

BOX You walked in. I saw you. Don't you remember?

Logan contains his anger.

LOGAN (beginning 					again; quietly) Where do you think we came from?

BOX From? From? From?

LOGAN We were sent here and you know it. Others have been sent here. Where are they? Hiding? Box looks around the cavern: BOX (mischievously) Hiding? Yes! Hiding, hiding.

LOGAN Where do we go?! (up a notch) Where do we go from here??!!

We hear a NOISE outside.

BOX Is that the wind? (smiling) Not yet... (slightest beat) You must hear my birds sing.

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

BOX Never a pair. I have never had a pair.

LOGAN Where do you send them?

BOX You're a beautiful pair.

JESSICA Please.

BOX I've never seen humans whom I thought worthy of being here... (a beat) I'd like to sculpt you. (looking around) Where would I put you? (smiling) I know...you'd be the base of the column. You'd hold up my world!

LOGAN (exasperated) Answer the question!

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

LOGAN (to Jessica) There must be somebody else up here. I can't believe that he's--

BOX (interrupting;					his voice tone changing;					very lucid) Let me sculpt you and I will show you where the others have gone. LOGAN That's better. (slightest beat) How do you want us?

BOX Nude. Imagine, a pair.

LOGAN (starting to 					take off his clothes; 					as Jessica hesitates, 					Logan smiles) It'll be all right...

240-241	JESSICA

Undresses.

Box motions to a pedestal covered with deep white furs.

BOX Up there.

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

LOGAN How do you want us?

BOX (beat) Up there.

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

Logan takes Jessica into his arms.

BOX Enchanting. Is that what humans do?

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

BOX'S VOICE Superb!

242		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:

243		LOGAN AND JESSICA

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

244-245	OUT

246		CLOSE - ON BOX

BOX (stepping back) Done...behold...!

247		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:

248		FULL ANGLE - THE ICE SCULPTURE

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

249		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.

250		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:

251		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.

252		CLOSE ON LOGAN AND JESSICA

Horrified as they move slowly along the wall.

253		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.

254		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 I¹ll destroy you..I'll kill you!

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

BOX (calmly) Such a beautiful pair. I'll stand you facing one another. Box starts his saw hand BUZZING. He turns all the flesh parts 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.

255		MED. 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:

256		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.

257		TWO SHOT - LOGAN AND JESSICA

Finally reaching the rear wall of this room as:

258		REVERSE ANGLE - BOX

Relentlessly moving toward them.

259		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:

260		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.

261		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.

262		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:

263-270	OUT 270x1	ANGLE - THE REFRIGERANT COILS

Bursting open, discharging great streams of gases.

270x2	LOGAN

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

270x3	ANOTHER ANGLE Coils bursting everywhere, vapor billowing into the cavern. 270x4	ANOTHER ANGLE Huge slabs of ice instantly loosening, crashing over. 270x5	FULL SHOT

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

270x6	BOX

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

270X7	ANGLE

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

270X8	BOX Buried in his work, still feebly moving, then still as the roaring ice crashes down, in the terrible darkness. 270X9	LOGAN AND JESSICA Cowering in the crashing maelstrom of ice blocks--saved only by Being in an angle of the cave.

270X10	FULL SHOT The SCREEN blotted out by the cave-in, going out of focus. Silence. Then:

SOUND: Ice melting, water running.

270X11	LOGAN AND 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.

271-272	OUT

273		EXT. - HIGH LEDGE

Water is pouring down in a waterfall from the icemelt.

They are blinded by:

274		SUNSHINE: A HUGE RISING SUN

As Logan and Jessica shield their eyes...then realizing that the dazzling light will not go away:

Standing together...in fear of the sunrise.

JESSICA Is there something on fire!!

Logan shakes his head...he doesn't know.

As Logan looks up at the sun. LOGAN It seems to be moving away. Come on...

274X1	ANGLE - LOGAN AND JESSICA

clambering cautiously down from the barren ledge.

274X2	LOWER - AN AREA OF BOULDERS

Suddenly, a FAIRLY STRONG WIND starts blowing.

JESSICA (frightened) What's that?

LOGAN It feels like breath. It makes everything move. Your hair is moving.

JESSICA (smiling) And yours.

They reach the level below and pause, look around.

LOGAN Jessica -- we must be outside!

She looks at him, uncertainly, he puts an arm around her and they set out again.

275-276	OUT

276X1	INT. - CAVE - CLOSE ON FRANCIS

Picking his way through the ruined cave, puzzled.

277-287X1 OUT

288		EXT. - FOREST AREA

As Logan and Jessica reach it.

They are startled by the SOUND of BIRDS SINGING for a moment...then continue through some high grass and thorned bushes being scratched, etcetera.

A swarm of insects attack...Logan and Jessica fight them off:

JESSICA (starting to panic) I hate outside! I hate it!

LOGAN (holding her; 					comforting tone) We'll be all right... (a beat) We will...

The sun is starting to go down...as they see a rabbit dart away in the grass...startling them for a moment. 288XA1	FRANCIS Coming out through the fissure in the rock, squinting at the unexpected light from the sky, then setting out as Logan and Jessica did. 288XB1	WITH LOGAN AND JESSICA - A BUSHY AREA

They come upon bushes of berries. Logan picks a few, looks at them and smells them. As he is about to put them in his mouth...Jesslca grabs hold of his hand.

JESSICA Don't!

LOGAN Sooner or later, we'll have to try something

Logan eats the berries...as Jessica watches intently.

After a beat

LOGAN They're good.

Logan and Jessica pick berries and eat. When they are finished:

JESSICA It's getting dark and cold. I'm tired.

LOGAN Why don't we rest here? We know we can eat these.

They sit on the ground.

LAP DISSOLVE TO:

288X1	TWO SHOT - LOGAN AND JESSICA - NIGHT

Sitting on the ground.

Jessica is shivering. Logan has his arms around her trying to keep her warm.

JESSICA Where do you think that heat-ball went?

Logan shrugs.

JESSICA Do you think everything's going to turn to ice?

LOGAN I doubt it. JESSICA Don't ever let go.

LOGAN I won't. After a long beat:

LOGAN It all seemed to make sense until Box.

JESSICA Do you think he was telling the Truth?

Logan shrugs.

JESSICA (trying to 					convince herself) Maybe we're the first ones to get through... 					(hopeful tone) Maybe Sanctuary is near, now... another protected place. It couldn't be outside.

LOGAN (grunts) How would anyone know? Even if we find it -- we can never go back.

At her stricken look...Logan touches her in a caring way.

LOGAN You're right...it must be near now. We'll find it.

JESSICA (yawning;							closing her eyes; resting						on his shoulder) Thirty thousand years didn't last very long, did they? 288X2	EXT. - BARREN TERRAIN - NIGHT - FRANCIS Looking frightened as he looks up at the moon and the stars his gun drawn.

Suddenly, a rabbit darts by.

Francis jumps up in great fear and starts FIRING his gun...blasting the rabbit to smithereens.

He is breathing hard (fear)...and looking around...gun in hand.

288X3	EXT. - FOREST AREA - DAY - LOGAN AND JESSICA

walking in the hot sun...grimy...thirsty.

288X4	EXT. - FOREST AREA - FRANCIS

His face still betrays a wild, frightened look as he moves very cautiously.

He reaches the bushes of berries and sees some of them on the ground.

He picks a few off the bush...is ravenous...but finally...too frightened that they might be some kind of poison to eat any.

As he angrily crushes the berries in his hand... then wipes his hand on his trousers:

288X5	EXT. - FOREST AREA - LOGAN AND JESSICA

Seeing shimmering in the distance. They walk toward it.

288X6- 288X8	TRACKING SHOTS WITH LOGAN AND JESSICA

Reaching...

289		FULL ANGLE - A BROOK

They rush to it...drink...then undress...swim...and as they embrace in the water:

JESSICA Logan!!!Look!! (Logan turns around) No...your palm...look!!!

Logan looks at his palm...the blinking crystal is clear.

He grabs Jessica's hand and looks at her palm... the same.

JESSICA (quietly) What does it mean? LOGAN (trying to					assimilate its meaning					himself) The Lifeclocks have no power outside.

Jessica takes Logan's palm and kisses it.

JESSICA (with laughter) You can have any woman in the city. What do you really want?

LOGAN (straight) You know, Jessica.

JESSICA. (a beat) ...But I still have the choice...?

LOGAN Of course.

JESSICA Then the answer's Yes...

They embrace there in the water... 290 		OUT

291		HIGH ANGLE - SHOOTING DOWN - LOGAN AND JESSICA

Coming out of the forest...climbing up a green hilly area...reaching the top and seeing:

292-301	OUT

301X1	ESTABLISHING SHOT - WASHINGTON, D.C. - MATTE COMPOSITE

The monument rising up out of a tangle of forest -- other buildings gleaming, half hidden. In the foreground Logan and Jessica walk toward monument.

301X2	WITH LOGAN AND JESSICA

Walking toward CAMERA to edge of swamp they stop and look at:

301X3	LINCOLN MEMORIAL - LONG SHOT - (MATTE PAINTING)

301X4	WITH LOGAN AND JESSICA

Exiting CAMERA RIGHT toward Memorial

301X5	EXT. - MEMORIAL - LOGAN AND JESSICA - (MATTE COMPOSITE)

Climbing steps of memorial toward statue.

301X6	EXT. - MEMORIAL STEPS - HIGH REVERSE ANGLE - (MATTE COMPOSITE) Logan and Jessica walking up steps toward CAMERA. They pass between two columns and EXIT CAMERA right.

301X7	INT. - LINCOLN MEMORIAL (MATTE COMPOSITE)

Logan and Jessica walk toward statue L-R. They stop and look up.

301X8	CLOSEUP - LOGAN AND JESSICA

Looking up at statue.

301X9	WHAT THEY SEE: THE STATUE OF LINCOLN (MATTE PAINTING)

301X10	CLOSEUP - LOGAN AND JESSICA

Looking up at statue.

LOGAN I have never seen a face like that before. It must be the look of great age. Whoever he was he was terribly old.

JESSICA (beat) Yes, do you think that's why he looks so sad---?

Logan shrugs. They turn, start to EXIT from memorial.

301X11	INT. - MEMORIAL - HIGH ANGLE OVER STATUE'S BACK (MATTE COMPOSITE)

Logan and Jessica EXITING.

301X12	LOGAN AND JESSICA

301X13	OVER LOGAN AND JESSICA - WASHINGTON MONUMENT AND CAPITOL IN B.G. (MATTE COMPOSITE)

They walk through pond toward capitol.

301X14	CEMETERY - CAPITOL IN B.G. (MATTE COMPOSITE)	301X14 (LOT 2)

Logan and Jessica walking past gravestones. 301X15	LOGAN AND JESSICA'S POV - GRAVESTONES	301X15

301X16	CLOSEUP - LOGAN AND JESSICA

As they pass the stones, Logan glances at them.

LOGAN They all have names and numbers on them. I wonder what they are?

JESSICA "Beloved Husband". "Beloved Wife". What can all that mean? Just then their attention is focused by a distant SOUND as of SHOUTING -- a man's voice. Jessica stops. JESSICA Francis? Logan shakes his head. They EXIT cemetery toward capitol. 301X17	LONG SHOT - CAPITOL (MATTE COMPOSITE)

Logan and Jessica walking up steps toward building.

301X18	TWO SHOT - LOGAN AND JESSICA

Walking up the steps...many of which are cracked.

They are proceeding with great caution...as they enter the Capitol Building.

301X19	INT. - CAPITOL ROTUNDA - LONG SHOT - (MATTE COMPOSITE) Logan and Jessica enter the ancient room. They stop and look around.

301X20	CLOSEUP - LOGAN AND JESSICA

SOUND: HAMMERING NOISE -- irregular. It stops after a bit.

They walk to the door and open it cautiously.

They EXIT right.

301X21	INT. - CORRIDOR OUTSIDE SENATE Logan and Jessica walking down corridor, left to right. The SOUND continues. 301X22	INT. - SENATE CHAMBER

Logan and Jessica as Logan opens the aged door.

301X22A	CLOSEUP - A CAT SQUALLING OUT INTO CAMERA

301X23	CLOSEUP - LOGAN AND JESSICA

React, then they enter Senate and stop and look.

301X24	INT. - SENATE - OVER LOGAN AND JESSICA'S BACK - A WHITE HAIRED MAN OF S SIXTY-PLUS

There are HUNDREDS OF CATS...and THOUSANDS OF BOOKS all over the place.

JESSICA (frowning; 					whispering) Look at his face...and his hair... 					(grimacing) Is that what it is to grow old?

LOGAN (still stunned) It could be...

There are a COUPLE OF CATS on the man's lap as he turns and faces Logan and Jessica...when he HEARS them move closer.

The man is stroking the cats calmly...unperturbed by the appearance of Logan and Jessica.

LOGAN How old are you?

MAN As old as I am I suppose...who knows ?

LOGAN Your hair is white.

MAN It wasn't always. I remember when it wasn't. But it wasn't your color either. (looking at Jessica) ...or yours. I have my color somewhere.

JESSICA Those cracks in your face...do they hurt?

MAN Oh, no...

JESSICA Could I touch them?

MAN Oh, my...please try.

Jessica walks up to the man and touches his face.

JESSICA What's your name?

MAN I've forgotten. It's been so long since I've used it. Logan and Jessica exchange a quick glance...feeling they have come upon a nutsy, fruitsy cupcake. MAN But all of my cats have names. LOGAN Is that what they're called-- cats?

OLD MAN Yes, cats, of course. What else could they be? Cats. Of course each one has his own name too. JESSICA But there are so many of them. Do you know each one separately. OLD MAN Yes indeed, everyone. Actually, they all have three. (reciting) "The naming of cats is a difficult			matter. It isn't just one of your			holiday games. You may think at				first I'm mad as a hatter when I				tell you a cat must have THREE			DIFFERENT NAMES." (a beat) An ordinary name and a fancy name. That's two. Do you want to guess what the third one is? Logan and Jessica are silent.

OLD MAN (reciting again) "But above and beyond there's				still one name left over,				And that is the name that you			never will guess;			The name that no human research			can discover -- -			But THE CAT HIMSELF KNOWS, and			will never confess." (reaching down and					stroking another cat) Will you, my pet? One of the cats jumps off his lap.

OLD MAN (reciting) "Why did you go little fourpaws?			You forgot to shut your big eyes." (the man closes his					eyes for a moment; then:) "I have a Gumble Cat in mind!" As the man opens his eyes: LOGAN How long have you been living here? OLD MAN For as long as I can remember. LOGAN What kind of place is this? OLD MAN Just a place, I suppose...who knows?

The man looks puzzled.

LOGAN How did you get here?

OLD MAN I have always been here...

LOGAN Are there any other humans? OLD MAN Gracious...no.

LOGAN Have any other people ever passed through?

The man shakes his head...then:

OLD MAN But there may be a few around somewhere.

LOGAN What makes you think so?

OLD MAN My parents thought so. Mother and Father. You know?

LOGAN (astonished) Mother and -- ? You knew your mother and father?

The man nods.

JESSICA And...and how were you grown? Inside your mother?

OLD MAN Yes...

JESSICA Are you sure?

OLD MAN Mother and Father said so... you know?

LOGAN Where are they?

OLD MAN Dead...they're dead...and buried.

JESSICA (not knowing					what it is) Buried???

Logan wheels...as he HEARS THE NOISE OF A DOOR SQUEAKING SLIGHTLY...as it opens a bit wider:

302		CLOSE ON A CAT

Coming through the opening - did he push it?

303		CLOSE ON THE MAN

OLD MAN (pleased; 					reciting) "Gus is the cat at the theatre door. 			His name, as I ought to have told 			you before, Is really Asparagus. 			That's such a fuss To pronounce, 			that we usually call him just Gus."

306		WIDER ANGLE - INCLUDING LOGAN AND JESSICA

OLD MAN May I see your hand again?

Logan and Jessica extend their left hands. The Old Man takes them, looks from one to another with delight. OLD MAN They're beautiful. May I have one too please? LOGAN No--I'm sorry. It's not possible. OLD MAN (offended) It isn't fair. I'll give you one of my favorite cats...a Jellicle cat. (reciting) "Jellicle cats have cheerful faces,			Jellicle cats have bright black eyes;			They like to practice their airs and graces			And wait for the Jellicle Moon to rise."

LOGAN I'm sorry but I don't have anything to give you. As the man continues to look petulant:

JESSICA (simply; 					sincerely) That's the truth.

Jessica takes off a ring and hands it to the man.

JESSICA Here you can have this.

The man seems pleased. OLD MAN What kind of jewel is this?

JESSICA I don't know. OLD MAN You're both full of secrets like Macavity. (looking at the ring) Did you steal this? JESSICA No.						OLD MAN (reciting) "Macavity, Macavity, there's no			one like Macavity,			There never was a cat of such			deceitfulness and suavity." LOGAN What's beyond this place - do you know? OLD MAN No, no, no						LOGAN Did your Mother or Father ever mention another place? OLD MAN Never, never, ever. Nothing.

After a pause:

LOGAN May we stay here for a while? We'd like to rest.

OLD MAN Of course you can stay. This belongs to the people.

JESSICA What belongs to the people?

OLD MAN All this. All of it. JESSICA What people? OLD MAN I don't know...but it does.

The man stands...and starts walking toward a door to an adjoining room.

OLD MAN I'll be right back. (stopping) Oh, yes...about the cats... one rule is true: (reciting) "Don't speak till you are spoken to." The man smiles and leaves. 305		LOGAN AND JESSICA

Logan clears two chairs of cats and they sit down.

Jessica picks up a book and starts leafing through it.

Logan is deep in thought.

Jessica looks up from the book.

JESSICA (quietly) How curious people used to be -- All these books...

Silence...until:

LOGAN That sweet madman -- how could he Come to exist? JESSICA He had a mother and father -- and he knew them.

LOGAN One in a million, I suppose

LOGAN AND JESSICA (together; 					smiling) ...Who knows?

JESSICA (after a beat) We're going on, aren't we?

LOGAN (shaking his head) There's nothing to go on to, Jessica.

Logan continues to shake his head through Jessica's following line:

JESSICA There's a Sanctuary...there is!

LOGAN You want there to be one...that Doesn't...

JESSICA (interrupting; 					urgent tone) There has to be! I know it exists! It has to!!

LOGAN (gently) No, there doesn't. Not really --just so 			many want it to exist...so many who don't want to die...want it so much that a place called Sanctuary becomes "real". But it doesn't exist. It never existed. Just the hope.

JESSICA (becoming						hysterical) You're wrong!! It has to be!! It Just has to be!!

As Logan takes her in his arms...comforting her:

306		FULL ANGLE - INCLUDING THE MAN

The man returns with a portrait in hand.

OLD MAN Oh, my don't cry.

The man proudly shows them the portrait....which is a portrait of himself in his twenties. He sort of brushes the hair...which is rich auburn.

OLD MAN (gesturing) There are larger pictures of other people over there. I don't know who they are. Perhaps they're family.

She man leads Logan across the chamber to a far corner.

307		CLOSE ON - JESSICA

Remaining near the podium. She is dejected. Logan's argument that there is no Sanctuary has sunk in and taken hold.

308 		OUT

308x1	THE CORNER - LOGAN AND THE OLD MAN

We see portraits of Presidents of the United States.

We can recognize all of them...with the exception of the dozen or so that come after Ford.

As Logan looks at the portraits he recognizes Lincoln.

LOGAN That's the same fellow who's outside. If he was so important - why isn't he first?

The old man shakes his head.

309		INT - SENATE CHAMBER - CLOSE ON - JESSICA

As Francis suddenly appears alongside her.

Jessica is terrified...speechless. Francis glances across the chamber, sees Logan. When he speaks, it is softly but urgently.

FRANCIS What did you do to him?

Jessica is silent. Francis' tone becomes increasingly sexual.

FRANCIS Why? Why you? (grabbing her) Do you know you ruined him? Do you know that? Can you tell me why? Why you? (a beat) And now you've killed him, you know...

Francis starts to tear off her clothes...obviously to rape...but his expression remains cold and without passion.

JESSICA (screaming) Logan!!!

As she screams, Francis clamps a hand over her mouth and drags her O.S.

310 		OUT

310x1	LOGAN

hears the scream, wheels -- sees nothing for a moment.

311		INT. - SENATE CHAMBER

FRANCIS' VOICE Here!!!!

Logan looks up...and we see Francis crouched behind the railing of the first row of the gallery...with his gun pointing down at Logan, holding the terrified Jessica with his other arm.

OLD MAN (cheerfully) How nice...more company...

FRANCIS (emotional; 					disjointed thoughts) We had such good times together... I let you go! (frenzied) You didn't terminate a Runner and I let you go!! (a beat) She did this to us! How could you let her?! An ordinary available??!! (with this he flings					Jessica down and away.					She lies there...stunned) And what about Logan-6 and Francis-8? (a tear in his eye) ....Why didn't you chink about them?! (up a notch) There's over two hundred years of Sandmen's blood in you, Logan.... and now you'll spill it for a stinking Runner!!

312		CLOSE ON - LOGAN

Holding up his right palm.

LOGAN Look at your palm, Francis.... look! It's clear. Clear!

313		REVERSE ANGLE - FRANCIS

Looking at his palm....shocked...dropping his gun. It falls on the CHAMBER FLOOR.

FRANCIS Why did you do that??!!

LOGAN I didn't do anything, Francis! They've made us believe that....

FRANCIS (interrupting; 					wild) Why did you do that???!!!

Francis leaps from the gallery and falls on Logan.

314		WIDE ANGLE - CATS

Scattering in all directions as:

315-319	CLOSE ACTION SHOTS - FRANCIS AND LOGAN

In hand to hand combat punching...Kicking...wrestling

320		INTERCUT WITH: JESSICA AND THE MAN REACTING

Jessica deeply disturbed...The man enjoying himself as if Logan and Francis were putting on a show for him.

321-331	THE FIGHT- SERIES OF SHOTS

A. Francis manages to pick up a chair and smashes it down on Logan.

B. As Logan slumps to the floor and Francis cries to follow through his advantage by crushing Logan's face with his foot:

C. Logan grabs Francis' foot and twists it...sending Francis reeling backward.

D. Standing, Logan grabs a table and hurls it at Francis...who ducks.

E. Francis sees a steel flagpole (with an American flag that has sixty-one stars) and takes hold of it.

F. Francis moves toward Logan...with the menacing steel flagpole in front of him.

G. Logan is wary...watching every movement of the steel pole.

H. Francis swings the steel pole twice...We can HEAR the WHISH-WHISH as it cuts through the air...with Logan avoiding the blows.

I. On the third swing...Logan grabs hold of the steel pole and swings around on it...kicking Francis in the chest.

J. Francis lets go of the steel pole as he staggers backward. Francis and Logan look at one another for a brief anguished moment as Logan crashes the steel pole (which he is now holding) down on Francis' head.

K. Francis crumbles to the floor. Feebly, he raises a hand toward Logan...

Logan touches Francis' hand and Francis grasps his wrist, holding death off with the strong grip.

FRANCIS (delirious) That was the right shot--Look out there, he's trying to break free Watch it, Logan, steady, now!......

His eyes focus briefly and he sees Logan's palm-the crystal shining clear and white. Francis is suddenly radiant.

FRANCIS Logan! You renewed!

And he is dead. DIRECT CUT TO: 332		JESSICA AND THE MAN

The man walks over to Francis and bends down.

OLD MAN Oh, my...he died...

333		CLOSE ON - LOGAN

Rubbing his face with the palms of his hands...clearly upset.

334		ANOTHER ANGLE - INCLUDING JESSICA AND THE MAN

OLD MAN We¹ll have to bury him.

JESSICA What¹s that?

OLD MAN They¹re put into the ground so they can be visited by the living...

Logan¹s eyes are glistening with tears. The man starts out.

OLD MAN I¹ll make the arrangements.

JESSICA (softly) At least it¹s over...

Jessica¹s words don¹t help as Logan shakes his head...then:

OLD MAN Are you ready to put him in? LOGAN Not yet.

OLD MAN All right.

The man sits down.

Gently, Logan lifts Francis¹ body...trying to straighten him out from the slightly twisted position he assumed when he fell to the floor.

After resting Francis¹ body on the floor again. He cradles Francis¹ head in his arms.

DISSOLVE TO:

335-338	OUT

339		EXT. - HIGH ANGLE - CEMETERY - NIGHT - SHOOTING DOWN

OLD MAN'S VOICE "Vigil wondrous and vigil sweet there 			in the fragrant silent night."

339X1	CLOSER ANGLE - CEMETERY

As they look down at Francis' body...in the open grave.

Jessica watches as Logan and the man start shoveling dirt into the grave...starting to fill it.

339X2	JESSICA

quietly watching:

DISSOLVE TO: 339X3	INT. - SENATE - NEXT MORNING

On Logan sleeping - Jessica and Old Man in a spirited but soft conversation in a far corner.

As Logan wakes he hears:

OLD MAN Of course...that's settled then. But just you remember your promise...

JESSICA We'll remember. But that's a long time off...

She sees Logan awake and listening, crosses to him, smiling. Logan rises to her.

LOGAN What are we promising him? What can we possibly give him?

JESSICA He asked if we would bury him when his time comes.

LOGAN (beat) We can't. We're going back.

JESSICA To what?

LOGAN I'm going to try and tell people what we've seen and--

JESSICA (interrupting) You're lying! You'll never have the chance to tell anybody anything! You'll be killed the moment you're seen!

LOGAN Do you expect me to let things go on without trying to change them?!

JESSICA Things won't change...you know that! We can live here together, Logan... have a life as long as his... together!

LOGAN (showing his palm) Things change!

JESSICA You want to go back to kill, is that it?! Now, you'll want to kill your own!!! kill Sandmen!!! Killing's all you ever...!!!!

Logan shakes Jessica who is becoming hysterical.

LOGAN (softly) Jessica...listen to me...listen to me... (as she quiets down) The Lifeclocks made me kill Francis. They make people die or be killed every day. If I didn't			try and destroy that...I couldn't live here or anywhere. Do you understand?

JESSICA I want to be alive and with you, that's all I want.

Logan puts his arms around her.

LOGAN I know...I know...

The Old Man comes to them, wondering.

LOGAN We're leaving.

OLD MAN What a pity. I was hoping you'd be here to bury me.

JESSICA Come with us.

OLD MAN Where are you going?

LOGAN To a city with thousands and thousands of people.

OLD MAN Alive?

Logan nods.

OLD MAN Thousands and thousands...as many as my cats?

LOGAN More...many more.

OLD MAN And all alive you say?

Logan nods.

OLD MAN Yes, I would like to see that. Is it a long journey?

Again, Logan nods.

OLD MAN (mumbling) Thousands and thousands alive... oh, my...

340-349	OUT

350		HIGH ANGLE - GREENBELT AREA - SHOOTING DOWN - DAY

Logan, Jessica and the Old MAN are walking...with the Capitol Building blurred by overgrown foliage receding in the b.g. of the SHOT.

351-361 	OUT

361X1	EXT. - FOREST AREA - AFTERNOON

The Old Man has picked Some wild vegetables...and hands a piece to Logan and a piece to Jessica.

As they hesitate...the Old Man bites into it... heartily.

As Logan and Jessica start eating it, too:

OLD MAN (marveling tone) Never see the sun or the moon... I hope we get there soon...

361X1A	NIGHT - WOODED AREA - CLOSE

On Logan, Jessica and the Old Man as they emerge from a small grove of trees and stand looking O.S. past CAMERA Behind, a flicker of firelight.

OLD MAN (weary but					enthusiastic) Is that really it? It doesn't seem very far. Will we be there soon?

LOGAN I promise. We '11 go on as soon as it's light.

JESSICA (gently, 					turning O.M. away) But now I'm tired. Let's go back to the fire...

They turn, the Old Man still marveling at the sight.

P.O.V. WHAT THEY SEE (TO BE INTERCUT)

NIGHT (Matte) view of the domed city seen through a fringe of trees and beyond distance hills.

361X1B	EXT. - WOODED AREA - NIGHT

As the three return to where a small fire is burning on the ground.

OLD MAN That's better than gold when it's cold.

LOGAN Thank you. (turning to Old Man) Tell me - what do those words mean? "Beloved husband²...²Beloved son"... "Beloved wife"'...

OLD MAN My father was the husband and my mother was the wife. "Beloved" is a word they used - to stay together.

LOGAN Stay? They lived together all their years?

OLD MAN Oh, yes...I think...

JESSICA (reading; 					moved) ³Beloved son²... 					(a beat) So people stayed together for that feeling of love... They would live and raise children together and be remembered. (another beat) I think I feel that way, Logan. Can we be that way?

LOGAN (facing Jessica) Yes. You and I, Jessica. (a beat)

JESSICA And Sanctuary?

LOGAN Sanctuary is the right to live.... nothing more. But nothing less, either....

There is a long beat...then Jessica snuggles up to Logan...she is ready for sleep.

JESSICA (whispering) Beloved husband...

LOGAN (kissing her) Beloved wife...

361X2	OUT

361X3	EXT. - DAY - GREENBELT AREA - LOGAN, JESSICA AND THE OLD MAN Walking.

361X4 	OUT 361X5	EXT. - WOODED AREA - NIGHT - LOGAN, JESSICA AND THE OLD MAN As they walk the great glowing dome is visible in the distance.

The Old Man marvels at what he sees...they walk on.

362		LONG, LONG ANGLE - LOGAN JESSICA AND THE OLD MAN - DAY

Walking up the beach toward the domed city. We get an idea of the scale. They appear as ants in front of redwood trees.

363 		OUT

364		LOGAN, JESSICA AND THE OLD MAN

Approaching. The wave power inlet in f.g. They

HEAR: THE ROAR OF THE WATER

As they approach cautiously...they see:

365		WAVE POWER INLET

Waves pounding over ACRES OF STRANGE STEPPED CONSTRUCTION... DESCENDING TO A VORTEX.

JESSICA What does that water do?

LOGAN It's part of the hydrogalvanic system. The ocean tides are changed into energy somehow.

JESSICA Is it inside the city?

LOGAN Of course. (a beat) I don't know where... (frowning) I Just took them for granted. (Logan takes Jessica's hand) It's our only chance.

The CAMERA PANS LOGAN, JESSICA and the OLD MAN down the STRANGE STEPPED CONSTRUCTION until they reach:

366		FULL ANGLE - A POOL OF WATER

At the CENTER of this IMMENSE WATER FLOWING CONSTRUCTION OF STEPS.

After a beat Jessica looks at the Old Man: LOGAN (softly) I know... (after a beat; to the					Old Man) We're going to try and get in this way. I don't think you can make it.

OLD MAN (sadly) Oh...I did so look forward to seeing all those people.

LOGAN I'm sorry.

OLD MAN Yes...

LOGAN Can you make it back?

OLD MAN Oh my...I'll try.

JESSICA (kissing the Old Man) Goodbye.

OLD MAN Oh, my...

The Old Man watches Logan and Jessica dive into the POOL and disappear.

367		THE OLD MAN

he bends and plays with the water in the POOL for a moment...like a young child at a pond or lake.

368		INT. - POWER CENTER OF THE CITY - LOGAN AND JESSICA

Emerging from the water.

It is a labyrinth of humming turbines, automonitored cables and impulse collectors.

Logan leads her swiftly through the humming maze toward an exit.

369- 369Xl 	OUT

369AX2	GREAT HALL - AT CAROUSEL ENTRANCE

As the CROWD is pouring in:

LOGAN'S VOICE No!! Don't go in there !!

The CROWD turns and looks up at:

369X2	LOGAN

On a high balcony in the Great Hall.

Looking down at them.

LOGAN You don't have to die!! No one has to die at thirty!!! You don't have to blink out on Lastday. There's no renewal on Carrousel! You can live longer and grow old... I've seen it. She's seen it!! Believe me!!

There is an angry murmur in the CROWD as Logan continues:

LOGAN (holding up					his palm) See... it's' clear. The Lifeclocks are a lie - Carousel is a lie!!

369X3	WIDEN ANGLE - INCLUDING SANDMEN

Trying to grab Logan. There is a struggle. Some Sandmen are knocked over the railing.

But remaining Sandmen fire a gas tranquilizer which subdues Logan and Jessica.

The CROWD cheers...and continues into Carousel as:

370		INT. - SANDMAN DEBRIEFING AREA

It is the same area where Logan received the original assignment to find and destroy Sanctuary.

In the rear...with the panel open...the sign reading: PROBABILITY blinks on and off.

Logan is dragged in by a number of SANDMEN.

We see Jessica, too, still groggy, being held by SANDMEN in the b.g. of the SHOT.

Logan is placed on the chair in which his CRYSTAL was altered.

371		CLOSE ANGLE - LOGAN IN THE CHAIR

A shaft of light glows on and he stiffens - bound by it.

372 		OUT

372X1- 372X3	FULL SHOT - LOGAN AND THE SCREEN

As around him in the air, a series of spectral greenish HEADS appear -- one after the other -in response to questions. Each of these heads is Logan. Each revolves slowly on its axis as it responds.

As the real Logan (in the chair) is questioned, each of the heads answers in turn. They are each a part of his persona and his brain.

373-378 	OUT

378X1- 378X18	INTERCUT WITH CLOSER SHOTS OF LOGAN HIMSELF WRITHING IN AGONY AS THE IMPASSIVE HEADS SPEAK.

ANOTHER ANGLE - LOGAN AND HEADS

A. 						FIRST HEAD SPEAKS (Logan's voice) A Jewelry store.

B. Logan himself - twisting in pain.

C. The word NEGATIVE appears on the SCREEN.

D.						A SECOND HEAD (Logan's voice) A creature called Box - all frozen, all frozen.

E. Logan writhes in the chair. F. Again the word NEGATIVE appears on the SCREEN.

G. 						A THIRD IDENTICAL HEAD (Logan's Voice) No...There is no Sanctuary.

H. The SCREEN seems to shimmer. It blinks.

I. A third time the word negative appears on the SCREEN.

J. 						A FOURTH HEAD (Logan's voice) There is no Sanctuary

K. The SCREEN'S glow increases...to an almost blinding light... starting to frighten the Sandmen present.

L. At the same time, we see JESSICA coming out of her tranquilized daze...fearful...still in the Sandmen's custody.

M.						A FIFTH HEAD (Logan's voice) An old man without a crystal...But there is no Sanctuary.

N. Now the SCREEN is starting to spark. Behind it we SEE the intermittent glow of overheated electronic components.

O. And we see the word negative...once more on the SCREEN -- but broken now.

P. 						A SIXTH HEAD (Logan's voice) There is no Sanctuary.

Q. Now the noise and the light from the SCREEN are peaking...and we can see the increasing fear of the Sandmen.

R. On the SCREEN the word negative is beginning to shake...as the SCREEN begins to shake.

379		FULL ANGLE - THE SIX HEADS

LOGAN'S VOICE (emanating					 from all of them) There is no Sanctuary. There is no Sanctuary.

The sign PROBABILITY bursts...the SIX HEADS of Logan go out.

The noise and the light coming out of the screen Increase, as it begins to burst into showers of sparks and flame.

380-410 	OUT

410X1	ANOTHER ANGLE - LOGAN

Straining twisting, as the light above him bursts, goes out in a puff of smoke -- releasing him. Logan staggers to his feet in time to meet:

410X2	SANDMEN

Rushing in from the Ready Room to join the others who have closed in on Logan One holding Jessica.

410X3	LOGAN AND SANDMEN Manages to get one of the Sandmen's guns, instantly blasting him with it. In the noise and confusion, the fight becomes general. A Sandman fires back at Logan, misses -- the shot hits one of the Lifeclocks which flares electrically, ribboning out a great arc. Instantly Logan gets off a couple of shots at the other Lifeclocks which similarly flare and burst into violent electrical fire and discharges.

410X4	THE BATTLE

The electrical discharges, smoke and noise making great confusion. Sandmen hampered by their own numbers and by trying to miss the machinery. Logan firing methodically at the Lifeclocks, moving. Stumbles over Jessica, prone in the smoke. Helps her to her feet. Crouched, they make for the exit.

410X5	ANOTHER ANGLE - THE. SCREEN

Sputtering its life out in strange predictive words....PROBABILITY flashing on and off.... EQUILIBRIUM...DESTRUCT...EQUIL...NO BALANCE...NO BALANCE...FAMINE... INACCEPTABLE ...NO BALANCE...etc., flashing vainly through the eddying smoke and the fierce discharges which fill the great room.

410X6	SANDMEN

The battle is lost -- the smoke and noise overwhelming. They pick up their wounded and get out as best they can.

410X7	INT. SANDMAN H.Q. LOBBY

Sandmen rushing out through the gathering smoke and the flare of fire behind them.

410X8	EXT. SANDMAN H.Q.

Sandmen pouting out through smoke and fire effects. Pushing through passers-by herding everyone away from the scene.

People getting the hell out of there.

Ad Libs: Get away from here. The whole thing's going.

410X9	INT. LIFECLOCK ROOM

Through the smoke, etc. The Lifeclocks EXPLODE.

410X10	EXT. SANDMAN H.Q.

The building EXPLODES -- great geyser of flame shooting upward.

410X11	GREAT HALL

The sound of the explosion creates panic. Lights begin to flicker. The great red crystal lights fitfully on and off. People are panicking, running in different directions. Some pressing into Carrousel for safety.

410X12	CAROUSEL

As people run in there, the red crystal glowing and sputtering, the petals moving spasmodically. As people look, the white crystal comes on, begins spinning wildly, bursting into strange, lancing lights. A great roaring commences and the whole arena starts to rock with the crystals. Now the white crystal explodes and the whole room is crisscrossed with deadly arcing discharges. People flee the scene of destruction.

410X13	GREAT HALL

The panic is-full, people getting the hell out of there.

410X14	ARCADE

People are stampeding like cattle, all heading down and for the exits, trampling each other in their fright.

410X15- X21		PANIC MONTAGE SERIES OF CUTS

A. EXT. The City under the dome -- fitfully lit as the dome itself seems to be cracking strange electrical discharges emanating from it as from a gigantic line storm.

B. The lights in Arcade flicker and go dim.

C. The chandeliers in Arcade swaying, a couple falling onto the screaming panicky people.

D. Maze-Car Station. People fighting to cram into cars. Car lights go out. People turn and bolt in another direction.

E. Love Shop -- pandemonium as the drugged bodies clamber over each other in fear, struggling to get away.

F. Great Hall emptying -- the signs of panic everywhere.

G. The great crystal -- a wildly spluttering electrical fire wrecking it.

410X22	EXT. - DOMED CITY - FIRE FX AND CRACKING

INTERCUT with above:

410X23	LOGAN AND JESSICA

Making their way through Cathedral -- out the dazzle chamber, running O.S. past Maze Car Station.

410X24	LOGAN AND JESSICA Running past Power Center.

411	EXT. - CITY - FULL SHOT

The dome of the city torn. Lightning effects playing on the stunned people...who look up and see the starry heavens, too, as they stumble forward into the darkness.

A wind begins to blow...where air had never stirred anything. There is a sense of wonder. Hysteria is lessening...as the people find themselves moving through the crack...as they discover the fact that the crystals have disappeared from their palms.

Some are joyful...others frightened...others puzzled...as they emerge from the crack in the dome at:

412		FULL ANGLE - THE ACRES OF STRANGE STEPPED CONSTRUCTION We can still see the fires in the b.g. of the SHOT as Logan holds on to Jessica...(like Gable onto Jeanette MacDonald at the end of SAN FRANCISCO)...full of happiness and hope for the future.

AS people continue to mill all over the acres of strange stepped construction...we see the Old Man WALKING INTO THE SHOT.

Logan and Jessica run to him. He looks around. People start to gather...they have never seen a white-haired Old Man in their lives.

As people continue to gather around the Old Man... who couldn't be more delighted...Logan and Jessica are smiling...inviting people to touch him...and some do.

Yes, he is an old man...Yes, they will all live again to be old men and old women...Yes, this is the world renewing itself once again.

FADE OUT:

THE END