HARPER

Directed by Jack Smight.  Written by William Goldman.  Stars Paul Newman, Lauren Bacall, Julie Harris, Arthur Hill, Janet Leigh, Robert Wagner, Shelley Winters, Strother Martin.  
1966, 121 minutes, Color, Not Rated.

HARPER is based on the first of the Lew Archer" series of books by Ross MacDonald.  The film version had a screenplay written by William Goldman, who had written only one movie prior to this but had written several books.  He later credited this film as being the one where the lightbulb went off in his head about screenwriting, and that he would be successful at it.  He was, in fact, very successful at it and would later write such films as BUTCH CASSIDY AND THE SUNDANCE KID (1969), PAPILLON (1973) , THE GREAT WALDO PEPPER (1975), MARATHON MAN (1976), ALL THE PRESIDENT'S MEN (1976), THE PRINCESS BRIDE (1987), MISERY, and MAVERICK.  He was also gainfully employed as a script doctor.

The film is remarkably faithful to the book, but it has been judiciously edited to be more streamlined.  In this way, Goldman proves that he understands movie plotting, innately (apparently) understanding what can be glossed over and what needs to be shown in detail.  The plot involves a missing husband.  Newman plays Lew Harper (changed for Lew Archer for some reason), a private detective hired by Albert Graves, the lawyer of the man who's gone missing.  Harper is a bit of a sad sack, but as we ultimately see is pretty good at his job.

The film is stylishly made but almost undone by its desire to be topical--it wallows in the Holywood vision of the hip and swinging 1960's and this ultimately dates it badly; Go-Go dancing is featured entirely too much for this to be a timeless entertainment.  By contrast, the novel is not nearly as locked in time even though it was originally published in 1949 and is awash in all kinds of post-war ennui.  Graves and Archer/Harper are not quite near enough in age to have their friendship make sense.  The fact that they served together in the war helps fill in the story there.

Aside from Newman, the cast is full of lead actors of a somewhat faded luster, as well as some competent character actors.  Lauren Bacall and Shelley Winters and Janet Leigh do the best with their roles, but Robert Wagner and Strother Martin come off best of the secondary roles.  Casting less old-school Hollywood faces may not have helped the film, but I can't really say that anyone is bad in the film.

Newman was active in the 1960's--HARPER is one of seven films he appeared in that were released from 1966-1969.  All of these films are interesting roles for Newman, with the standouts being HOMBRE and COOL HAND LUKE (both 1967).   He is interesting in even the misfire films, like TORN CURTAIN (1966).  Newman was uncommonly subtle in his craft by this point in his career which no doubt cost him some acting awards, but his work was way above average.  A method actor, much of his work is internal, and was not helped by his preference for playing strong silent types whose actions ultimately tell the audience what kind of person his character really is.  

In HARPER he keeps everything close to his vest until the very end of the story.  Newman is quite good in the role, bringing a lot of reality to the proceedings.  He is consistently behind the curve plot-wise so the majority of what he does is reactive, but that is exactly his strength.   He plays the sad sack well--so much so that the majority of the people he interacts with consistently underestimate him.  When the time comes, Harper brings the goods, in much the same way that Eliot Gould's Philip Marlowe does in Robert Altman's THE LONG GOODBYE (1973).

While Newman would return to the role nine years later in THE DROWNING POOL (1975), his work in this film should have been the start of more than it was.  As it turned out, this film wasn't the hit everyone wanted.  He would score with COOL HAND LUKE (1967) the following year, but big box office success would not come until BUTCH CASSIDY.

Still, the plot is intelligent, the characters are interesting and the mystery well handled.  Jack Smight directs with style and the widescreen cinematography by Conrad Hall is fabulous. I especially like how Smight uses long tracking shots in the film.

Warner Archive released an outstanding Blu-Ray of this a few years back.  It features a commentary by William Goldman that originally appeared on the DVD.

Young Adam

Written and Directed by David Mackenzie.  Stars Ewan McGregor, Tilda Swinton, Emily Mortimer, Peter Mullan.  
2003, 98 minutes, Color, Rated NC-17.

Summary:

Joe (Ewan McGregor), a rootless young drifter, finds work on a barge traveling between Glasgow and Edinburgh, owned by Les (Peter Mullan) and his wife Ella (Tilda Swinton). One afternoon they discover the corpse of a young woman floating in the water. Accident? Suicide? Murder? As the police investigate and the suspect is arrested, we discover that Joe knows more than he is letting on. Gradually we learn of Joe's past relationship with Cathy, the dead woman (Emily Mortimer). Meanwhile, an unspoken attraction develops between Joe and Ella, heightening the claustrophobic tensions in the confined space of the barge.

This is an interesting film, full of unhappy characters, death and what looks like some extremely chilly weather.  It's a mood piece, really, but notable because it is intelligent and just ambiguous enough to require the viewer to pay attention.  Character interactions are realistic, the way of life depicted is hard, and there is very little joy to be found in the film.  To say that it is unrelentingly bleak would be accurate but the film has much to offer in its darkness.  Life in the tiny barge is all about enforced intimacy and disillusionment. 

Based on a short 1957 novel by Alexander Trocchi, YOUNG ADAM unfolds in a manner that makes the central mystery difficult to anticipate.  This mirrors in some ways the way the book unfolds, which is written in the first person but nevertheless still conceals the mystery for an impressive amount of time.  Early in the film we see Joe on the barge from above as it passes by.  He is walking towards the back of the barge, and because the boat is moving forward it appears as though he is walking place.  This illusion perfectly mirrors Joe's life at this moment--he is a writer suffering from writer's block and has escaped from that by taking a job loading and unloading cargo on a small, barely-solvent barge.  He is neither confronting his past, or trying to move forward.  He is merely keeping time until the next thing comes along.  Walking in place as it were. 

We learn that Joe had been seeing a woman named Cathy.  When his relationship with her reaches a crossroads, he takes the easy way out and walks away rather than commit to her and their relationship.  Joe, we come to learn, is somewhat selfish.   The only thing he takes with him is his typewriter and that he throws that into the river.  On the boat, When confronted with his desire of Ella he ignores the consequences and goes after her.  When this drives away Les and leaves him with more responsibility than he wanted, he again takes the easy way out and walks away.  When he meets up with Cathy months later and she tells him that she is pregnant, once again he takes the easy way out and walks away.  When Cathy accidentally falls into the river, he does not jump in after her.  We had already seen him jump into the river to save Ella's son, so we know he has it in him.  One can surmise that there was no upside for him to go after Cathy.  He did not want a relationship with her.  When he jumped in for Ella's son, it is quite likely he did so to earn favor with her.

We never truly understand Joe perhaps, but the trick of the film is disguising his true nature for as long as it does.  There were certainly clues to his character. Joe literally has consensual sex with EVERY woman we meet in the film*.  However, it should be said that he finds willing partners wherever he goes.  McGregor gives a good performance, remaining legitimately likable even after we find out he was there when Cathy died and has kept it to himself with tragic results.

For all of the above Joe is a troubling character.  If not for the genuine remorse he exhibits when Joe the plumber is arrested for killing Cathy--he knows how she died after all--one could make a case that Joe is a sociopath.  So, not a sociopath, just weak and selfish.

Tilda Swinton gives an impressive performance, infusing her character with a lifetime full of disappointment, and masterfully displays raw sexuality in a real and non-glamorous manner.   They say that when contempt enters a marriage there is probably no way to recover from it.  Ella has contempt for Les, and it seeps out in their every interaction.   We learn that Les is impotent and unable to satisfy his wife sexually, and he proves to be equally impotent when faced with Joe taking his place in both Ella's bed and as the man of the barge.  

Emily Mortimer as Cathy should have received an award of some sort for a scene in which she is debased with food.   She is less clearly defined than the other characters.  Pretty, intelligent, and capable, she would seem to be the idealized companion that Joe thinks he wants.  However, in day to day life, he sees faults and can't help but be disappointed in her. 

At this point, it might be interesting to ponder the meaning of the title of the film.  There is no character named Adam in the story and apparently, Alexander Trocchi never explained what he meant by it.  It's possible he meant Adam in a biblical sense, and if the fruits of the Garden of Eden is a metaphor for sex, then Joe is a main character partaking of many apples.

The film remains in the memory long after viewing it.  

*Or does he? I admit I missed the possibility of an unreliable narrator the first few times watching the film, even though as the novel is told in the first person it is a shining example of the form.  I haven't re-watched the film since making this connection to see if it really changes anything.  It's just another potential layer of a truly remarkable film.

THE OMEN

Directed by Richard Donner.  Written by David Seltzer.
Starring Gregory Peck, Lee Remick, David Warner, Billie Whitelaw, Leo McKern
1976, 111 minutes, Color, Rated R, Panavision 2.35:1

SPOILERS BELOW- READ WITH CAUTION

A diplomat (Gregory Peck) discovers that his son was switched at birth with the spawn of Satan.  When one of the priests involved in the deception recants years later and tries to make amends by confessing his sins to the diplomat, the diplomat is initially skeptical.  When people start dying under mysterious circumstances he slowly comes around to the notion.  When his wife (Lee Remick) is killed he becomes a believer and with the help of a journalist (David Warner) decides to try and take care of the problem himself.

Like all films that deal with Satanic issues, THE OMEN offers up a vast conspiracy of people working together for evil--knowing nods, subtle glances, all but winking at each other as they effortlessly work together to complete complicated plans.  I think this encourages the viewer to lose themselves to something much bigger than themselves, or at least the idea of something much bigger.  THE OMEN is very much a story of faith, but rather than faith in something better it instead plays upon the faith of something worse.  Evil with a big supernatural 'E' is real in the world of THE OMEN, but THE OMEN's faith of evil is stylized enough to simplify one's response to it.  Since one cannot relate the events in THE OMEN in the real world it is easier to go along with the "what if" scenario it puts forth.

What sets THE OMEN apart from other examples of this genre is the degree of subtly regarding the Satanic aspects of the story.  For the most part this is achieved by simply avoiding the typical trappings of the Satanic film--there are no pentagrams, cloaked and hooded characters, or blood sacrifice rituals overtly on display in THE OMEN.  These symbols are replaced almost completely by Jerry Goldsmith's tremendous film score and the wildly inventive death scenes. Unlike most Satanic films, we only see a few people actively involved in the plot at hand. By comparison 1975's RACE WITH THE DEVIL seemingly involves the entire southwest United States.  In THE OMEN, it is almost is if the entire thing was carried out solely by the participants we see on the screen.

Shots like these work best in widescreen presentations

The story is nominally constructed so that one can take it either as a supernatural thriller or a story of a man undone by a series of coincidences.  Gregory Peck at some point becomes convinced that his son is, in fact, the spawn of Satan, and the fact that this feels organic to the story and not unbelievable is a testament to the fine film-making at work.   That said, you can't truly take the film two ways.  Oh, I suppose if you weren't paying attention too hard it would stand, but if you look at it closely the film unequivocally plays its hand as a supernatural film.  If the filmmakers really wanted to try and sell the "maybe it was all in Gregory Peck's head" angle they needed to clearly show his point of view during the scenes of coincidence, i.e. the supernatural goings on.  When the nanny is instructed by the hound of Hell to hang herself to make room for Mrs. Baylock, this occurs with no one else around.  The possibility that the nanny was simply having a psychotic break is not seriously entertained due to the presence of tense music during the exchange.  Maybe it's best not to think too hard about it.

While primarily all about the spawn of Satan, the film does touch on a few other themes.  For instance, Lee Remick grows to feel that the son is not hers and does not to want to be around him.  I'm sure every parent has had feelings of this sort at one point or another about their children, but it is usually in the heat of the moment and once calmed down things go back to normal.  Remick's character comes to feel this way over time with no real "reason".   This could be a symptom of depression, but the film doesn't dwell on this aspect.  Ultimately, it's too bad that Remick is not used much beyond what these few sentences set up, and in the end her role is underdeveloped.

The cast is first rate from top to bottom, and it helps immeasurably that everyone involved takes it seriously.   Gregory Peck lends a certain aura of respectability to the proceedings, and his earnestness helps keep things in the believable range far longer than it should.  David Warner is fun as the photographer trying to piece the story together.  Billie Whitelaw as Ms. Baylock steals the movie, however.  She is so chilling that I have never been able to see her in any other role without thinking of her work here.

Richard Donner had primarily done television work prior to this, and one feels that he was trying to impress with his work here.   He displays a deft hand by mixing the patently absurd and realistic by disguising the absurd behind a sheen of style.  THE OMEN features strong compositional choices throughout, and Donner does a great job of using closeups for maximum effect.   The film remains tense and scary even after multiple viewings, and this is due to the craftsmanship of the British crew and the Richard Donner's direction.  Have I mentioned Jerry Goldsmith's music yet?  I'm not sure there has ever been creepier music to a horror film.  It takes all of the opening credits to put the viewer into the mood for the dark tidings to come.   There is an isolated score included on some of the DVD versions and the latest Blu-Ray version that includes some tracks not used in the final movie and it's fun to listen to it.

This was not the first movie that ever scared me silly* but was one of the first, and it scared me silly without my actually having seen it.  When I was quite young someone told me the story of the film and it gave me nightmares that night.  I woke up convinced that there was a line on my pillow and that my head was going to be cut off.   I was six so I am going to cut myself some slack.

When I did see the movie proper several years later it was on a crappy Beta rental.  I greatly enjoyed that first viewing and have consciously or not spent the rest of my life collecting it on home video.  I think I've bought this movie more than any other: I bought it on VHS, I bought it on laserdisc, letterboxed for the first time though the print was beat up and featured distracting splice marks**. I bought it again on laserdisc, this time remastered with Jerry Goldsmith's score isolated in stereo on the analog channels.   There was extra music that was mixed out of the final mix and the splice marks were reduced.  Then I bought the four-disc DVD box set from a number of years ago.  I was pretty sure that the DVD box set was going to be it, but then it was released again with a new transfer and new extras, so I got it once more.  At that point surely I was old enough to be able resist buying the movie yet again, right?  What could they possibly add to make me want to buy it again?

I bought THE OMEN again on Blu-Ray in 2008.  It was on sale and, well, I am weak.  The Blu-Ray came with the two theatrical sequels and the truly awful remake from 2006.  It also gathered just about every special feature that ever graced a home video release for this title.  That isolated score on laserdisc?  It's there.  The "The Omen Legacy" documentary that was on the last DVD release?  It's there.  The "666: The Omen Revealed" documentary that was on the original DVD release--but not the last release?  It's there.  There are a couple two-three new things as well.  Really, it was a no-brainer.  The splice marks are gone, though they are still visible in some of the older "making-of" features.

The film features a preponderance of earth tones, as well as a filtered look that has always kept it from sparkling on home video.  When there are lush greens at the end of the film it is borderline startling.  It looks the best it ever has on this Blu-Ray. 

Update:  In 2019 Shout Factory released the films again in their THE OMEN COLLECTION: DELUXE EDITION.  This has all three of the original films, the awful 2006 remake and the 1991 TV Movie OMEN IV: THE AWAKENING, which while nice to have is not at all essential.  The original film has again been remastered, this time from a 4K master, and again looks the best it ever has on home video.  It probably looks better than theatrical prints at this point as well.  The earth tones are still there, but whites are a lot better balanced.  The original mono mix is included again, this time in lossless sound.  I believe all of the extras from the 2008 set is here, save for a trivia track.  There are new extras as well.  Not sorry I got it.  Screen captures are from the 2019 version.

* I believe the first movie to scare me silly was FRANKENSTEIN: THE TRUE STORY (1973).  I had fallen asleep in front of the TV and woke up not knowing what it was.  I would have been 5 or 6.  That said, the first movie to scare me past the point of silly was Tobe Hooper's SALEM'S LOT (1979).  I was visiting family and unhappy with the noise in the main gathering room took up watching TV in a back room, which was very, very dark.  When the little Glick boy sat up in the coffin I almost wet myself.   To this day I have never been as scared watching anything as I was that night watching SALEM'S LOT.

** I know the damage I'm talking about is not truly a splice mark.  It's just what it looks like.  What I think the damage is a result of the film (negative?) being pulled too hard which left stress damage.  Mind you this is just a guess.  Here's an example.  I had to pull it from one of the older SD special features.  I added the arrows.

TOMORROW NEVER DIES (1997)

TOMORROW NEVER DIES

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

Commentary:

SPOILERS BELOW!!!

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

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

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

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

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

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

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

Stuff To Like:

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

Stuff to Dislike:

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

Notes:

GOLDENEYE (1995)

GOLDENEYE

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

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

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

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

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

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

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

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

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

Stuff To Like:

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

Stuff to Dislike:

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

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

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

LOGAN'S RUN (1976) - Part 2

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

 Deleted Scenes

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

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

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

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

Scenes:

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

FADE IN:

BEFORE AND DURING TITLES

EXT. SKY NIGHT

The moon and stars are visible, but as CAMERA looks down, the SCREEN fills with dark, billowing clouds. CAMERA moves into the clouds and just as they blank out the SCREEN, a distant shimmer of light becomes visible. Moving toward it, the shimmer becomes

EXT. DOME OF GLASS - NIGHT

A glowing but not transparent structure stretching off into the clouds that press it. CAMERA continues to move in until the detailed structural webbing of the dome fills the SCREEN and then CAMERA MOVES THROUGH IT and we see

EXT. THE CITY - DAY

Shining below the dome (which we now see as a series of dome-like structures standing off without end) -- a marvelous crystalline city of great openness, building clusters, green plazas, fountains... multi-leveled but human scale, crisscrossed by the flickering clear tubes of the MAZE-CARS.

CLOSER ANGLE - ROOFTOPS

As a MAZE-CAR slides softly to a stop.

ROOFTOP - THE RUNNER

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

INT. RESIDENCE PLAZA - THE ELEVATOR

From a busy courtyard below we watch the elevator slide down from a great height. As it reaches the courtyard the RUNNER darts out, pushes into the crowd.

WITH THE RUNNER

As he reappears around a corner, skirts a brimming pool and makes for a kind of broad corridor which seems to lead out of the courtyard. He is moving even faster now, glancing  back as if he fears pursuit.

ANOTHER ANGLE - CORRIDOR

Above, at the railing of an oval light well, dressed in black and silver, a figure holding an odd looking weapon lazily in one hand -- and watching. It is FRANCIS.

WITH THE RUNNER

Moving rapidly down the corridor, he suddenly stops as if feeling the presence above. He looks up, sees the SANDMAN and his face breaks in terror. He wheels, frantic, screaming, runs back into the hall.

THE SANDMAN (FRANCIS)

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

POV

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

THE SANDMAN

Emotionless. Aims. Fires.

THE RUNNER - CLOSE

Seeming to burst aflame in the LENS, then slipping BELOW FRAME to reveal Francis sauntering forward, holstering his weapon. The crowd closing in behind him, applauding, congratulating him.

THE SANDMAN

Arriving at the pool where the body lies, half immersed. He leans over, lifts the right hand from the water, revealing a palm with a black flower-crystal shape in it. He lets the hand fall back now as the crowd CHEERS and APPLAUDS him.

EXTREME CLOSEUP - HAND - IN THE WATER - (INSERT)

Closing in until the crystal fills the SCREEN.

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

FULL SHOT - ARCADE GREAT HALL

An immense room into which the streams of people coming from the entertainment area are mingling. There is a general air of anticipation stirring the crowd as CAMERA singles out Logan and Francis entering, waving to friends. CAMERA closes in on them just as they reach a beautiful woman who is obviously pleased to see Francis. They embrace, and as they break:

FRANCIS

And that's my friend, Logan.  

(as she acknowledges the introduction)

We're celebrating his next in line. Carousel -- Arcade -- who knows? Want to come along?

WOMAN

(smiles, shakes her head)

Only if I make it to the top of Carousel.

(she holds up her hand)

Thirty -- and the big spin.

In her palm the crystal blinks, red, black. Francis nods, gives her a half-squeeze.

FRANCIS

You're thirty -- already? I always thought I was older than you --

(beat)

Well, give it a good try.

WOMAN

(pleasantly)

You know I always have.

Another beautiful WOMAN joins them.

2ND WOMAN

(to the first)

Sorry I won't be at Carousel tonight. It's my Love-Shop turn.

 

WOMAN

That's all right. Happy turn.

 

2ND WOMAN

You'll renew. I've got a feeling.

 

WOMAN 

(smiles)

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

 

2ND WOMAN

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

The 2nd Woman walks away.

FRANCIS

(after a beat; to first Woman)

It's been nice.

 

WOMAN

Um-huh.

They look briefly and then she turns away. Francis takes Logan's arm and they move off.

FRANCIS

I guess you never had her?

Logan shakes his head.

FRANCIS

You missed something special.

 

LOGAN

Well... you can't have them all.

 

LOGAN AND FRANCIS

(together, it's an old joke)

But you can try.

They laugh, but the laughter is broken as a trio of youngsters, moving with erratic speed of lightning, smashes between them, almost knocking Francis over. He reels, Logan catches him and they recover in time to see the trio rip wildly through the crowd, knocking people down, screaming with shrill joy as they disappear.

FRANCIS

The damned Yellows are getting out of hand. Those three ought to be in Cathedral. No business scrambling in Arcade...

 

LOGAN

(laughs cuffs Francis' arm)

What an old, old man you're getting to be, Francis. Weren't you ever a Yellow? I bet you were even wilder than --

(he breaks off as the lights in the Great Hall dim)

come on, Sandman.

The two of them start to move to the far end of the Great Hall.

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

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

Eating without enthusiasm... obviously more interested in their conversation.

SECOND MAN

He's blinking... so what? Sandmen get old, too.

 

FIRST MAN

But what if he's telling the truth?

 

THIRD MAN

I say no. It's not worth the risk.

 

WOMAN

I absolutely agree. He's killed Runners for a decade. He has no feelings.

 

JESSICA

He was born a Sandman. He had no choice.

 

WOMAN

Neither do we.

EXT. RESTAURANT - THREE MEN A WOMAN AND JESSICA

Leaning together talking in an undertone

SECOND MAN

(urgently)

If he believes you, he'll come.

 

JESSICA

Why Arcade Station?

 

SECOND MAN

(impatiently)

Why? It's our only chance -- kill him and get away in the crowd heading for the evening slaughter --

JESSICA

Right at the station itself?

 

MAN

No -- just there -- on the first level.

(beat)

Don't look for us. We'll see you.

 

WOMAN

(cutting in)

You don't seem quite sure, Jessica.

(beat)

Can you do it? Will you?

Slowly, Jessica nods.

THIRD MAN

Tonight?

 

JESSICA

(stalling)

Y-yes... if I can find him.

 

WOMAN

I think you can. Don't you?

Jessica faces her squarely, nods. The woman looks deeply into her eyes, relaxes.

WOMAN

I'm sorry. We all are. But he has heard about Sanctuary -- and that makes him dangerous to all of us.

After murmurs of agreement:

SECOND MAN

(staring at Jessica)

We're counting on you.

Jessica exits. They look at each other in dismay. After a moment, one of the men follows her. They don't trust her.

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

They enter the car which instantly moves off. As it passes, the men in ambush come forward and read the destination. They ring for another car which pulls in immediately.

ANOTHER ANGLE

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

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

LOGAN

Have you ever been through Cathedral?

Jessica shakes her head.

LOGAN

They're like beasts. Wild.

 

JESSICA

Maybe they're angry because they're grown in meccano-breeders.

 

LOGAN

(interrupting, grimacing)

Instead of what? Nine months inside a woman:

(ugh)

We're all raised the same but most of us don't become cubs in Cathedral.

 

JESSICA

Some people say children need human mothering.

 

LOGAN

Insane. Nurseries are better than any mother could be.

 

JESSICA

I'm only telling you what I've heard...

(slightest beat)

Haven't you ever wondered what your seed-mother was Like...?

 

LOGAN

Uh-uh.

 

JESSICA

I have.

 

LOGAN

(after a beat)

When did you begin to question Lastday?

 

JESSICA

I don't remember exactly... except I was a Green.

(another beat)

What would you like to relive, Logan?

 

LOGAN

(smiling)

Let's see -- how long has it been?

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

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

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

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

BILLY

(speaking of the Runner)

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

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

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

There is a chilling laughter of agreement from the rest.

LOGAN

I'm a Sandman!

 

BILLY

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

 

LOGAN

(firm tone)

I feel sorry for you, boy!

Some murmuring as the pack watches their leader.

BILLY

For me? Better feel sorry for yourself, Sandman!

LOGAN

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

Billy is silent.

LOGAN

Fourteen? Fifteen? Your days are running out. How long can you last? A year. Six months?

(he points to the yellow flower in Billy's palm)

What happens when you're sixteen and you go green?

 

BILLY

(lashing out)

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

 

LOGAN

No cubs over fifteen, Billy! Ever heard of a cub with a green flower? You'll leave Cathedral then, Billy, when you're on green, because they won't let a green stay here.

(slightest beat)

If you try to stay the young ones will gut-rip you apart!

 

BILLY

Shut up! Shut up your damn mouth!

Logan falls back into a fighting crouch... but before he can strike a blow... he is grabbed and slammed against the wall of an abandoned building.

[ANOTHER VOICE

Let him suck Muscle! That'll shut his mouth! Let's watch him shake himself to death!!

We see the Cubs take out drugpads. They squeeze the pads and inhale the "Muscle." At once their movements become blurringly rapid. They take menacing positions -- some leaping overhead.]

A VOICE

Give him some Muscle!!

Like lightning they change positions and flash around Logan and Jessica

CLOSE ON - JESSICA

Watching... terrified.

CLOSE ON - LOGAN

Being held against the wall by Cubs as:

[ANOTHER VOICE

Shake him to death!!

A VOICE

Kill him!

ANOTHER ANGLE - INCLUDING BILLY

Moving a drugpad against Logan's face.

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

BILLY

(chilling laugh)

He's trying to hold his breath...

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

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

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

BILLY

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

The pack hesitates... stops backing away.

LOGAN

(moving the gun slowly back and forth)

All right! How many of you want this to be Lastday?! 

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

LOGAN

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

Logan tucks the gun back into his waist.

LOGAN

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

After a beat, Billy turns and runs away.

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

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

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

ARCADE TRACKING
Logan and Jessica running through Arcade.

LOGAN AND JESSICA

Suddenly she pulls him in another direction.

JESSICA

Follow me, Logan. Stay close.

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

EXT. HALLUCIMILL - TWO SHOT - LOGAN AND JESSICA

Exiting from the other side... and running through the crowd toward and into a Love Shop... followed by Francis coming out of the Hallucimill, too... and running toward the Love Shop.

INT. LOVE SHOP - LOGAN AND JESSICA

As they enter the hot darkness. The Love Shop is throbbing with sexuality. In it, the darkness breaks at Irregular intervals -- when booths and cubicles flare into brilliance, each time revealing an orgiastic tableau. The Love Shop is multi-leveled and the random flashes may appear from any direction at any time, blinding and stunning the viewer. Logan and Jessica pause to get their bearings and as they do, a beautiful WANTON grabs Logan, pulling and laughing:

WANTON

I have an empty one, Sandman.

Logan tries to pull away, looks around for Jessica just in time to see a man almost carrying her off. Then the light is gone again and Jessica with it.

LOGAN AND THE WANTON

As she tears at his clothing, wrapping herself around him, trying to pull him down. Then, as the light flares again she suddenly lets go and grabs another man... Logan is, freed, starts looking for Jessica.

SERIES OF SHOTS

Logan hunting through the Love Shop, fighting them off.

INTERCUT SHOTS

Of the suddenly-illuminated tableaus. Sex, manifold and multiform -- everybody doing it.

ANOTHER ANGLE - FRANCIS

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

LOGAN & JESSICA

Brief glimpses of them looking for each other.

FRANCIS

Hunting both.

WITH LOGAN

As he suddenly collides with a woman -- shoves her away and sees it's Jessica. Now together they make for an archway where multiple mirrors enclose them.

Suddenly they are in darkness. Then a heavy door slides open and Jessica leads Logan through the opening. Behind them the door slides shut again.

FRANCIS

Desperately trying to get rid of a woman, sees a flash of Logan and Jessica far across the room -- sees them leave. Then he's pulled down again as the orgy continues.

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

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

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

These images show the continuity error in the released film.

These are stills from the deleted scenes.

LOGAN

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

 

BOX

Never a pair. I have never had a pair.

 

LOGAN

Where do you send them?

 

BOX

You're a beautiful pair.

 

JESSICA

Please.

 

BOX

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

(a beat)

I'd like to sculpt you.

(looking around)

Where would I put you?

(smiling)

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

 

LOGAN

(exasperated)

Answer the question!

 

BOX

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

 

LOGAN

(to Jessica)

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

 

BOX

(interrupting; his voice tone changing; very lucid)

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

 

LOGAN

That's better.

(slightest beat)

How do you want us?

 

BOX

Nude. Imagine, a pair.

 

LOGAN

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

It'll be all right...

 

JESSICA

Undresses.

Box motions to a pedestal covered with deep white furs.

BOX

Up there.

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

LOGAN

How do you want us?

BOX

(beat)

Up there.

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

Logan takes Jessica into his arms.

BOX
Enchanting. Is that what humans do?

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

BOX'S VOICE

Superb!

ANOTHER ANGLE - INCLUDING BOX

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

As he works furiously... at incredible speed:

LOGAN AND JESSICA

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

CLOSE - ON BOX

BOX

(stepping back)

Done... behold...!

REVERSE ANGLE - LOGAN AND JESSICA

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

Their mood is broken by:

BOX'S VOICE

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

Logan and Jessica break. They turn and see:

FULL ANGLE - THE ICE SCULPTURE

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

WIDE ANGLE - INCLUDING LOGAN, JESSICA AND BOX

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

JESSICA

(squeezing Logan's 

hand)

It's glorious...

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

LOGAN

All right. Now you keep your bargain.

BOX

(rapt by his work)

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

LOGAN

(only interested in getting out)

We're ready.

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

INT. ICE ROOM

As Box enters followed by Logan and Jessica.

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

It stretches back as far as the eye can see.

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

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

WIDE ANGLE - MEN AND WOMEN

Standing in erect positions.

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

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

CLOSE ON LOGAN AND JESSICA

Horrified as they move slowly along the wall.

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

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

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

The CAMERA PANS Logan back to Box.

ANOTHER ANGLE - INCLUDING BOX

As Logan turns toward him.

LOGAN

(stupefied)

How did they get in here?

BOX

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

LOGAN

What other food?

BOX

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

(pointing to the frosted ice wall)

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

(gesture)

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

Logan pulls out his gun.

LOGAN

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

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

BOX

(calmly)

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

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

Box is now like an armed vehicle.

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

BOX

(advancing)

Resign yourself.

MEDIUM ANGLE - LOGAN AND JESSICA

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

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

REVERSE ANGLE - BOX

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

TWO SHOT - LOGAN AND JESSICA

Finally reaching the rear wall of this room as:

REVERSE ANGLE - BOX

Relentlessly moving toward them.

TWO SHOT - LOGAN AND JESSICA

Seemingly pinned back against the rear wall.

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

The entire time he never takes his eyes off:

REVERSE ANGLE - BOX

Getting closer. The saw is BUZZING LOUDLY.

BOX

(chilling tone)

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

REVERSE ANGLE - LOGAN AND JESSICA

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

FULL ANGLE - LOGAN, JESSICA AND BOX

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

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

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

There is an EXPLOSION.

BOX

(looking up; screaming)

No! The coils!

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

BOX

(still screaming)

All my work!! All my work!!

As Logan and Jessica stand:

ANGLE - THE REFRIGERANT COILS

Bursting open, discharging great streams of gases.

LOGAN

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

ANOTHER ANGLE

Coils bursting everywhere, vapor billowing into the cavern.

ANOTHER ANGLE

Huge slabs of ice instantly loosening, crashing over.

FULL SHOT

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

BOX

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

ANGLE

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

BOX

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

LOGAN AND JESSICA

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

FULL SHOT

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

SOUND: Ice melting, water running.

LOGAN AND JESSICA

Stir in the dimness, amazed to be alive.

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

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

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