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: