August 22, 1989 FINAL SCRIPT TOTAL RECALL WRITTEN BY RONALD SHUSETT AND DAN O'BANNON REVISIONS BY RONALD SHUSETT AND STEVEN PRESSFIELD AND GARY GOLDMAN DIRECTED BY PAUL VERHOEVEN ----------------------------------------------------------- NOTICE: THIS SCRIPT AND ITS CONTENTS ARE CONFIDENTIAL. IT IS NOT TO BE REPRODUCED OR XEROXED WITH THE EXPRESSED PERMISSION OF CAROLCO INTERNATIONAL N.V. ----------------------------------------------------------- CAROLCO INTERNATIONAL N.V. c/o 8800 SUNSET BLVD. LOS ANGELES, CA 90069 (213) 850-8800 CAROLCO PICTURES INC. 8800 SUNSET BOULEVARD LOS ANGELES, CA 90069 (213) 850-8800 1 EXT. MARS RED ROCK DESERT (DREAM SEQ.#1) - DAY 1 RED! A vacant, epic expanse of glowing crimson. TWO MOONS rise into frame, floating over the jagged peaks of distant mountains. We are PANNING DOWN to the endless red plains of MARS. 2 EXT. MARS RED ROCK DESERT (DREAM SEQ.#1) - DAY 2 TWO PEOPLE in space suits walk across the Mars surface, down a slope, across a flat area and up onto a small ridge. They stand and look out over the Mars landscape. They reach for each other's hand and look at each other. QUAID I love you. MELINA I love you. Then they hug each other and walk off. 3 EXT. MARS RED ROCK DESERT (DREAM SEQ.#1) - DAY 3 Quaid walks from the precipice down a gradual slope. The ground gives way underneath him. He falls. His visor hits a rock. A small crack spreads, and the visor blows out. Quaid starts to decompress. HHHHNh! His breath is drawn out. His face puffs up. Veins stand out in his skin. His eyes bulge. His tongue protrudes. His nose and eyelids bleed. The woman rushes to him. She kneels down over him. They clasp hands. His eyes explo... 4 4 thru OMITTED thru 5 5 6 INT. QUAID'S BEDROOM - DAY 6 Quaid wakes in bed, sweaty and panting. A beautiful woman wakes up next to him. She's not the brunette from before, but a stunning blonde amazon -- LORI. LORI Doug? are you all right? He's still disoriented. LORI (CONT'D) You were dreaming. It's O.K. Quaid starts to come back to reality. Lori presses a button and opaque walls dissolve into transparent windows. WHITE LIGHT gradually fills the dark room, and the city becomes visible outside. LORI (CONT'D) Was it about Mars? Quaid nods, troubled. Lore wipes the sweat from his brow. LORI Is that better? QUAID Mmmm..... LORI Poor baby. This is getting to be an obsession. Lori caresses him, comforting, then erotic. Her lips dwell on his muscular chest. He starts to relax. LORI (non-chalant) Was she there? Amused, Quaid plays dumb. QUAID Who? LORI The brunette. The one you told me about. QUAID (laughs) Lori, I don't believe it...You're jealous of a dream! Lori punches Quaid in the stomach, and they wrestle playfully but rough. LORI Who is she? QUAID Nobody. LORI Nobody?! (down onto him) What's her name? QUAID I don't know. LORI Tell me! Lori straddles Quaid, and he laughs so hard he can't defend himself. LORI It's not funny, Doug. You dream about her every night. QUAID But I'm always home by morning. Quaid grabs Lori's wrists and immobilizes her in the infamous pretzel grip. LORI Let me go! QUAID Aw, come on, baby...You're the girl of my dreams. She stops resisting. LORI ...You mean it? QUAID You know I do. Quaid lets her go, and Lori entwines him in her long, athletic legs. LORI I'll give you something to dream about. 7 INT. QUAID'S KITCHEN/LIVING ROOM - DAY 7 TWO LARGE BANANAS are liquified as they pass through a juicer into a half-gallon pitcher. Dressed for heavy construction work, Quaid makes the POWER SHAKE to end all power shakes. He grinds up fruits, vegetables, buts, wheat germ, leftovers, several kinds of powder. He pours in a dozen shelled eggs--glubglubglub--from a carton. Then he mixes it all together in a forty-horsepower blender. ZEEEEEEEE! Meanwhile, The NEWS drones in the background. NEWSCASTER (O.S.) On the war front, Northern Block satellites incinerated a shipyard in Bombay, starting a fire that swept throughout the city. Civilian casualties are estimated to exceed ten thousand. The Chairman defended the attack, calling space-based weapons the only effective defense against the Southern Block's numerical superiority. Quaid gulps down his breakfast directly from his jumbo pitcher and walks over to the flat, wall-sized HIGH DEFINITION TELEVISION. NEWSCASTER And more violence last night on Mars... Quaid lowers the pitcher, watches with attention, and walks over to the table. ON TV, FIREFIGHTERS put out a blaze at a MINE as ARMORED SOLDIERS brutally beat back a crowd of MINERS. The Mine is enclosed under a glass "DOME". NEWSCASTER (O.S.)(CONT'D) ...where terrorists demanding independence once again halted extraction of turbinium ore. Lori comes out of the bathroom and walks behind Quaid to the kitchen. She tensely watches the news as she makes her breakfast. In a small corner of the TV screen, we see a STILL PHOTO OF VILOS COHAAGEN, a middle-aged man of commanding presence and obvious intelligence. NEWSCASTER (CONT'D) With one mine already closed, Mars Administrator Vilos Cohaagen vowed that troops would be used, if necessary, to keep production at full capacity. At the press conference, he emphasized that... As the INSERT OF COHAAGEN expands to fill the screen, Lori presses the remote control. BONK. The TV screen transforms into an ENVIRONMENTAL WINDOW that look out onto a virgin forest. LORI No wonder you have nightmares. You're always watching the news. Quaid and Lori sit down and eat breakfast. QUAID Lori... LORI Yeah, sweetheart? QUAID Let's do it. LORI Do what? QUAID Move to Mars. She stops buttering the bread. LORI Honey, do you have to spoil a perfectly wonderful morning. QUAID Just think about it. LORI (exasperated, but sweet) Sweetheart, we've been through this a million times. You'd hate it on Mars. It's dry; it's ugly; it's boring! --I mean, really, a revolution could break out there any minute. QUAID Cohaagen says it's just a few extremists. LORI And you believe him? QUAID All right, forget about it. Quaid clicks on the remote control. The FOREST PRIMEVAL is replaced by a...PRESS CONFERENCE ON THE TELEVISION. REPORTER (O.S.) Do you want to give them independence? COHAAGEN Absolutely not. Mars was colonized by the Northern Block at enormous expense. Our entire war effort depends on their turbinium. Lori straddles Quaid seductively, obscuring his view. LORI Doug, maybe we should take a trip. QUAID Lori, move. LORI There's lots nicer places than Mars. COHAAGEN ...and it's ridiculous to think we're going to give it away just because a bunch of lazy mutants think they own the planet. LORI What about Saturn? Don't you wanna see Saturn? Everybody says it's gorgeous. Quaid stretches to see around Lori. She playfully leans with him. REPORTER Any comment, sir, on the rumor you closed the Pyramid Mine because you found alien artifacts inside? Cohaagen and the reporters all chuckle. LORI We could take one of those lonnng space cruises. The kind with nothing to do. Lori traps him into a lonnng kiss. COHAAGEN Pat, I wish we could find some nice alien artifacts. Our tourist industry could use a boost... -- But the fact is, it's Mr. Kuato and his terrorists who spread these rumors, to undermine trust in the government. Back to the studio. NEWSCASTER That's it for the news. Stay tuned for Christine and the weather. But first this. COMMERCIAL for American Express: "Don't leave Earth without it." Lori finally ends the kiss. LORI Well...What do you say? QUAID I'm late. Quaid trudges to the door, discouraged. Concerned, Lori catches him before he can leave. LORI Sweetheart...I know it's hard being in a new town, but let's at least give it a chance here. Okay? QUAID Lori, don't you understand? I feel I was meant for something more than this. I want to do something with my life.--I want to be somebody. Lori strokes his cheek and looks into his eyes adoringly. LORI You are somebody. You're the man I love. QUAID Bye. Quaid hugs Lori hard, grateful for her love and support, but he's still, somehow, unsatisfied. They kiss good-bye, and Lori watches him head down the hallway to work. LORI (CONT'D) Have a nice day. 8 OMITTED 8 9 EXT. THE COMMONS - DAY 9 Quaid joins the bustling crowd of school children and commuters who scurry like ants in all directions through the central plaza/transportation hub of this futuristic community. Quaid follows signs down to the Subway. 10 OMITTED 10 11 INT. SUBWAY STATION - SECURITY LOBBY - DAY 11 Commuters file past wall-sized PANELS. On the other side, GUARDS screen them for concealed weapons. PAN with Quaid as he approaches the checkpoint. BEHIND X-RAY PANEL as Quaid passes behind the X-ray panel, he and other commuters become WALKING SKELETONS. A few steps later, the skeletons emerge from behind the screen, opaque human beings once again. 12 OMITTED 12 13 INT. SUBWAY STATION - SUBWAY PLATFORM/TRAIN - DAY 13 IN A CROWD, Quaid moves forward, one sardine among many, and boards a subway car. 14 INT. SUBWAY CAR - DAY 14 The doors close behind him and Quaid walks to the side where TV COMMERCIALS play on a row of flat MONITORS. ON TV, A CABBIE, in an old-fashioned checkered cap, turns to the back seat and addresses the CAMERA. JOHNNY Thanks for taking JohnnyCab. I hope you enjoyed the ride. This commercial ends, and the next one begins. A HAPPY FELLOW lies next to a SEXPOT on a round bed. The bedroom is under a glass dome at the bottom of the ocean. Outside, colorful fish swim around . NARRATOR (O.S.) Do you dream of a vacation at the bottom of the ocean... JUMP CUT: The Fellow now appears in a poverty level apartment, alone, surrounded by a pile of bills. NARRATOR (O.S.) ...but you can't float the bill? A SOPHISTICATED WOMAN skis to a stop next to a flock of penguins. NARRATOR (O.S.) Would you like to ski Antarctica... JUMP CUT: The same woman, now in an office, is surrounded by ten employees, all demanding decisions. NARRATOR (O.S.) ...but you're snowed under with work? A SPORTSMAN in a space suit climbs up the pyramidal mountain from Quaid's dream. NARRATOR (O.S.) Have you always wanted to climb the mountains of Mars... JUMP CUT: The Sportsman is now an OLD MAN creeping up a STAIRCASE. NARRATOR (O.S.) ...but now you're over the hill? --Then come to Rekall, Incorporated... STAIRCASE REFLECTED IN PUPIL OF EYE Rapid PULLBACK to FACE OF DR. EDGEMAR, a professional gentleman. He is the narrator we've been hearing. DR. EDGEMAR ...where you can buy the memory of your ideal vacation, cheaper, safer, and better than the real thing. Discover Dr. Edgemar ON A BEACH at SUNSET. He walks over to a Rekall IMPLANT CHAIR, floating over the water, and sits down. DR. EDGEMAR So don't let life pass you by. Call Rekall: For the memory of a lifetime. (jingle) Reeeeeeekallll... RekallRekallRekall As a CHORUS OF SIRENS chants dreamily on, Dr. Edgemar opens his cupped hands. A butterfly flutters out. SUPERIMPOSE Rekall LOGO and a twelve-digit PHONE NUMBER. Quaid is intrigued. 15 EXT. CONSTRUCTION SITE - DAY 15 GRRRRRRRR!! Futuristic DRILLHAMMERS grind a concrete surface to bits. Quaid's taut muscles glisten with sweat as he and several WORKERS excavate a rocky building site. The others struggle to control the powerful tool, but Quaid wields his drillhammer like an artist, working twice as fast with half the effort. Quaid shouts at HARRY, a middle-aged buddy with a beer belly, likeable face, and Brooklyn accent. QUAID Hey Harry...Harry! You ever heard of Rekall? HARRY Rekall? QUAID They sell fake memories. HARRY Oh, Rekall. QUAID Yeah. HARRY "RekallRekallRekall." (stops drilling) You thinkin' of goin' there? Quaid also takes a break, leaning on his drillhammer, which HISSES in neutral. QUAID I don't know. Maybe. HARRY Well don't. Quaid is surprised, even challenged, by the intensity of Harry's reaction. QUAID Why not? HARRY A friend of mine tried one of their "special offers"...Nearly got himself lobotomized. QUAID No shit... HARRY Don't fuck with your brain, pal. It ain't worth it. Harry and Quaid rev up their hammers. QUAID I guess you're right. They resume drilling. 16 EXT. REKALL BUILDING - DAY 16 Quaid walks through an almost desolate plaza and enters through the glass doors. 17 INT. REKALL BUILDING/LOBBY - DAY 17 Quaid walks to the CONSOLE in the center of the floor. CLOSE ON: COMPUTER DIRECTORY as Quaid selects REKALL, INC. from a long list of names. The screen displays the location and personnel. 18 INT. REKALL RECEPTION - DAY 18 CLOSE ON: A YOUNG WOMAN'S HANDS. A white stylus touches each fingernail, and red pigment instantly saturates the entire surface. RACK FOCUS to Quaid, who enters in the background. QUAID Hello. TIFFANY, a bored, ornamental receptionist hides her paraphernalia and greets Quaid. She sits in front of a large REKALL LOGO. TIFFANY (big smile) Good afternoon. Welcome to Rekall. QUAID Douglas Quaid. I have an appointment. Tiffany checks a schedule and finds his name. TIFFANY Okay. Just a moment, Mr. Quaid. QUAID Thank you. Tiffany speaks to a salesman on the VIDEO INTERCOM. We see him on the screen. TIFFANY (CONT'D) Bob, Douglas Quaid is here to see you. (listens, hangs up) It'll just be a minute. QUAID Thank you. Quaid ambles around the room, perusing VIDEO TRAVEL POSTERS for imaginary vacations. Tiffany watches him with interest. A moment later, BOB McCLANE enters. He's a former high school jock. MCCLANE Doug...Bob McClane. QUAID Nice to meet you. MCCLANE Good to see ya. Right this way. McClane shakes Quaid's hand and leads him away. Meanwhile, Tiffany diffidently changes the color of her fingernails again with a touch of the stylus. 19 INT. MCCLANE'S OFFICE AT RECALL - DAY 19 McClane ushers Quaid into a stylishly decorated room. MCCLANE Have a seat, sit down, make yourself comfortable. Quaid lowers himself into a sleek, futuristic chair. McClane sits behind his desk. MCCLANE (CONT'D) Now help me out here, Doug. You were interested in a memory of... QUAID Mars. MCCLANE (unenthusiastic) Right. Mars. QUAID That a problem? MCCLANE To be perfectly honest with you, Doug, if outer space is your thing, I think you'd be much happier with one of our Saturn cruises.Everybody raves about 'em. QUAID (irritated) I'm not interested in Saturn. I said Mars. MCCLANE Okay, you're the boss -- Mars it is. McClane types on his computer keyboard, and figures come up on his screen. MCCLANE (CONT'D) Let's see...the basic Mars package will run you just eight hundred and ninety-nine credits. That's for two full weeks of memories, complete in every detail. --A longer trip'll run you a little more, cause you need a deeper implant. QUAID What's in the two week package? MCCLANE First of all, Doug, when you go Rekall, you get nothing but first class memories: private cabin on the shuttle; deluxe suite at the Hilton; plus all the major sights: Mount Pyramid, the Grand Canals, and of course... (leers) Venusville. QUAID How real does it seem? MCCLANE As real as any memory in your head. QUAID Come on, don't bullshit me. MCCLANE I'm telling you, Doug, your brain won't know the difference. Guaranteed, or your money back. QUAID What about the guy you lobotomized...Did he get a refund? MCCLANE (nervous laugh) You're talking ancient history, Doug. Nowadays, traveling with Rekall is safer than getting on a rocket. (types) Look at the statistics. Numbers and graphs appear on the monitor. MCCLANE Besides, a real holiday's a big pain in the butt: lost luggage, lousy weather, crooked taxi drivers. When you go with Rekall, everything's perfect. --So whaddaya say? Quaid ponders his decision. QUAID All right. MCCLANE Smart move. (types) Now while you fill out the questionnaire, I'll familiarize you with some of our options. QUAID No options. MCCLANE Whatever you say...Just answer one question. What is it that is exactly the same about every vacation you've ever taken? Quaid fills out the questionnaire on his video screen. QUAID I give up. MCCLANE You. You're the same. (pauses for effect) No matter where you go, there you are. Always the same old you. (grins enigmatically) Let me suggest that you take a vacation from yourself. I know it sounds wild, but it's the latest thing in travel. We call it an "Ego Trip". QUAID I'm not interested in that. MCCLANE You're gonna love this. --We offer you a choice of alternate identities during your trip. McClane pre-empts Quaid's questionnaire on the video monitor with CLOSE UP: the following list. A-14 MILLIONAIRE PLAYBOY A-15 SPORTS HERO A-16 INDUSTRIAL TYCOON A-17 SECRET AGENT MCCLANE (O.S.) Face it...Why go to Mars as a tourist when you can go as a playboy, or a famous jock, or a... QUAID Secret agent...How much is that? MCCLANE Aaah, let me tantalize you. You're a top operative, back under deep cover on your most important mission. People are trying to kill you left and right. You meet a beautiful, exotic woman... McClane interrupts himself. QUAID Go on. MCCLANE (sits back) I don't wanna spoil it for you, Doug. Just rest assured, by the time the trip is over, you get the girl, you kill the bad guys, and you save the entire planet. (smiles confidently) Now you tell me. Is that worth three hundred measly credits? Quaid smiles reluctantly. McClane's got him hooked. 20 INT. REKALL - MEMORY STUDIO - DAY 20 Quaid sits in a "dentist's chair" in an office which is a cross between an operating room and a sound mixing booth. An IV tube is connected to the back of his hand, and he wears a GREEN SURGICAL SMOCK over his street cloths. ERNIE, a hyperactive young technician, lowers over Quaid's head a burnished metal bowl at the end of an elbow arm. He has the air of an acid-head who's still out there. ERNIE Just relax. First trip? QUAID Mm-hmm. Ernie carefully aligns the complex scientific instrument and locks it in place. ERNIE Don't worry. Things hardly ever fuck up. The door opens and a bird-like, middle-aged woman enters in a stylish pants suit. DR. LULL is too skinny and her hair is too red. She treats Quaid with impersonal conviviality. DR. LULL Good evening... (checks video-chart) Doug. I'm Dr. Lull. QUAID Nice to meet you. Dr. Lull flips through Quaid's computer chart. DR. LULL Ernie, patch in matrix 62B, 37, and... (looks at Quaid) Would you like us to integrate some alien stuff? In quick succession, Dr. Lull runs through a series of graphics on the computer screen representing "memory trip" cassette covers. We see pictures of slimy green Martians. QUAID Two-headed monsters? DR. LULL Don't you keep up with the news? We're doing alien artifacts now. Dr. Lull and Quaid share a facetious smile. QUAID Sure. Why not? The latest graphic appears on the screen: a sophisticated archaeological dig inside a red cave. Dr. Lull crosses the room to get another laser disk. She tosses it to Ernie, who examines the cover art with interest before plugging it in. ERNIE That's a new one. Dr. Lull fastens straps over Quaid to hold him in place and makes perfunctory conversation. DR. LULL So, been married long? QUAID Eight years. DR. LULL I see. Slipping away for a little hanky-panky. QUAID Not really. I've just always been fascinated by Mars. ERNIE All systems go. DR. LULL (fastens last strap) Then we're all set. DR. LULL (CONT'D) Ready for dream land? Quaid nods and Dr. Lull shoots him in the neck with the medicine gun. DR. LULL (CONT'D) I'll be asking you a few questions, Doug, as we can fine tune the ego program. Answer honestly, and you'll enjoy yourself a whole lot more. Quaid begins to feel the effects of the anaesthetic. Dr. Lull checks his vital signs. DR. LULL (CONT'D) Your sexual orientation? QUAID Hetero. DR. LULL Hmmm. (flips a switch) And how do you like your women? Quaid looks drowsily at a schematic female outline on a computer screen. With each decision, the computer image adjusts to correspond to Quaid's taste. DR. LULL (CONT'D) Blonde, brunette, redhead? QUAID Brunette. DR. LULL Slim, athletic, voluptuous? The schematic figures fills out, her breasts expanding to enormous size. QUAID (woozy) Athletic. The computer figure returns to more normal proportions. DR. LULL Demure, aggressive, sleazy? Be honest. QUAID Sleazy...and demure. DR. LULL (with certainty) Forty-one A, Ernie. Ernie inserts cassette 41A into his console. The computer image seems very similar to the woman in Quaid's dream. ERNIE Boy, is he gonna have a wild time. Won't wanna come back. 21 INT. MCCLANES OFFICE - DUSK 21 McClane is talking with another prospective client, a spinsterish, middle-aged woman, MISS LONELYHEARTS. MCCLANE So, what do you say? MISS LONEYHEARTS I'm not so sure. (complains) But there won't be any souvenirs. MCCLANE Not true. For just a few credits more, we supply T-shirts, snapshots of you at the sights, and letters from the handsome men you'll meet. The VIDEOPHONE rings, and Dr. Lull appears on his screen. DR. LULL (LIVE FEED) Bob? MCCLANE (impatient) What is it? DR. LULL You better get down here. McClane rolls his eyes, as if in league with the customer against the company. MCCLANE I'm with an very important client. DR. LULL Looks like another schizoid embolism. Miss Lonelyhearts is scandalized. McClane stands and attempts a reassuring smile. MCCLANE I'll be right back. MISS LONELYHEARTS Mr. McClane, Mr. McClane. TIFFANY Bob, what's wrong? 22 INT. REKALL - MEMORY STUDIO - DUSK 22 MCCLANE (to Tiffany) Don't let her leave McClane strides into the memory studio, ready to kick ass, but he pulls up short at what he sees and hears. Quaid shouts and thrashes about in the chair, violently struggling to break the straps that hold him down. He's like a different person: a caged animal. QUAID You're dead, all of you! You blew my cover. Terrified, Dr. Lull and Ernie keep a safe distance from Quaid. McClane is merely aggravated. MCCLANE What the fuck is going on here?! You can't install a simple goddamn double implant?! DR. LULL It's not my fault. We hit a memory cap. QUAID They'll be here any minute! They'll kill you all! MCCLANE What's he talking about? QUAID Let me go! McClane walks up to Quaid and examines his eyes. MCCLANE Mr. Quaid, try and calm down. Quaid breaks the strap holding his right arm and grabs McClane by the throat. QUAID (quietly menacing) My name's not Quaid. McClane, choking, tries to pry Quaid's hand from his neck, but he can't loosen the iron grip. QUAID Untie me. Ernie rushes over and unsuccessfully tries to wrestle Quaid's arm down, using his full body weight. McClane's eyes are bulging. Dr. Lull frantically jabs a SYRINGE GUN into Quaid's thigh and fires dose after does until Quaid's grip weakens and he passes out. McClane falls to the ground, gagging. Dr. Lull goes over to help him. DR. LULL Are you all right? McClane shoves her away and gasps for breath. DR. LULL (CONT'D) Listen to me! He's been going on and on about Mars. (frightened) He's really been there. MCCLANE (raspy) Use your head, you dumb bitch! He's acting out the secret agent role from his Ego Trip! DR. LULL (superior) I'm afraid that's not possible. MCCLANE (condescending) Why not? DR. LULL We haven't implanted it yet. McClane falls silent. Suddenly he's terrified. MCCLANE Oh shit....Oh shit... DR. LULL I've been trying to tell you. Someone erased his memory. ERNIE (hysterical) Excuse me, someone? We're talking the fucking Agency! DR. LULL Shut up! TIFFANY Bob, the client's gone. WHACK! Dr. Lull SLAPS Ernie across the face. Her violent act shocks everyone to silence, including herself. McClane tries to think. MCCLANE Okay, this is what we're gonna do. Renata, cover up any memory he has of us or Rekall. DR. LULL I'll do what I can. It's getting messy in there. MCCLANE Ernie, dump him in a cab. Around the corner. Tiffany, you help him. (Ernie nods) I'll destroy his file and refund his money. (stands) And if anybody comes asking...we've never heard of Douglas Quaid. DR. LULL Come on...put his head in place. They look at Quaid, sprawled unconscious in the chair. 23 EXT./INT. TAXICAB - NIGHT (RAIN) 23 Quaid, befuddles, slowly comes to his senses in the back seat. It's pouring RAIN outside. QUAID Where am I? CABBIE (cheerful) You're in a JohnnyCab! QUAID I mean...what am I doing here? Through WINDSHIELD, we see that the Cabbie is a smiling robotic mannequin in an old-fashioned cabbie's uniform. His vehicle is a JOHNNYCAB, the automated Checker Cab of the future. JOHNNY I'm sorry. Would you please rephrase the question. QUAID (impatient, enunciates) How did I get in this taxi?! JOHNNY The door opened. You got it. 24 EXT. THE COMMONS - NIGHT (RAIN) 24 The JohnnyCab dives up to the commons. Quaid exits the JohnnyCab. JOHNNY Thanks for taking JohnnyCab! I hope you enjoyed the ride. Still woozy, he staggers down a covered walkway out of the pouring rain. Harry, his buddy from work, approaches him. HARRY Hey, Quaid! QUAID (surprised) Harry! HARRY (claps Quaid on shoulder) How was your trip to Mars? Harry walks with Quaid toward the SECURITY GATE leading to his apartment complex. QUAID What trip? HARRY You went to Rekall, remember? QUAID I did? HARRY Yeah, you did. I told you not to but you did anyway. QUAID What are you, my father? HARRY Let me buy you a drink. QUAID No, Harry, I'm already late...See you tomorrow. Suddenly, THREE LARGE MEN grab Quaid and rush him back downstairs to Harry who draws a gun. QUAID Hey! Quaid starts to put up a fight. 25 INT. COMMONS - NIGHT (RAIN) 25 Harry and the Agents march Quaid along an interior corridor. QUAID Harry, what the hell is this? HARRY Come on, let's go have that drink. QUAID (CONT'D) What the fuck did I do wrong?! Tell me! HARRY You blabbed, Quaid! You blabbed about Mars! QUAID Are you crazy?! I don't know anything about Mars. 26 INT. COMMAND - NIGHT (RAIN) 26 The goons throw Quaid against a wall and twist his arms behind his back. HARRY You shoulda listened to me, Quaid. I was there to keep you outta trouble. QUAID Harry, you're making a big mistake! You've got me mixed up with somebody else! HARRY Unh-uh, pal. You've got yourself mixed up with somebody else. Harry starts to pull the trigger. Quaid kicks with both legs -- one to Harry and one to the other Goon facing him. Then he throws the goons holding him against the wall and cracks their heads together before throwing them aside. Then he kicks Harry's gun out of his hand. HARRY Son of a bitch. Then Quaid kicks the goon to his right in the stomach, then knees him in the face. Then he karate chops the goon to his left in the face. Then he steps forward onto Harry's neck. Harry reaches up and Quaid grabs his arms and cracks his neck by pulling up. Then the kicked goon attacks Quaid by grabbing his neck. Quaid gains the advantage and cracks the goon's neck. Then he steps toward the karate chop goon who is attacking with Harry's gun. Quaid wrestles the gun from his and shoots him in the back, drops him and shoots the last Goon and runs away 27 INT. QUAID'S LIVING ROOM/KITCHEN - NIGHT 27 Lori adjusts the HOLO-CONSOLE. The image of a female TENNIS PLAYER pops up and executes a perfect swing. Lori walks to the hologram and gets inside. She imitates the movements of the holo-model, making minor adjustments to her form until they are completely IN SYNC. Bingo! The hologram glows bright red and colors the room. The front door flies open, and Quaid enters, breathless. LORI Hi, honey. Quaid darts around the apartment, crouched below window level, turning off every light in the place. LORI (CONT'D) What are you doing? QUAID Some men just tried to kill me! Quaid turns a switch at the holo-console, and BZZZT! The hologram disappears. Lori stands there, alarmed, as Quaid keeps turning off lights. LORI Muggers?! Doug, are you all right? What happened? QUAID No! Spies or something. And Harry from work...Get down! Lori has stepped in front of a window. Quaid drags her to the floor. QUAID (CONT'D) Harry from work...He was the boss. LORI (bewildered) Take it easy. Tell me exactly what happened? Why would "spies" want to kill you? QUAID I don't know! It had something to do with Mars. LORI Mars? You've never even been to Mars. QUAID I know it sounds crazy, but I went to this Rekall place after work, and... LORI (grabs him) You went to those brain butchers?! QUAID Let me finish! LORI What did they do to you? Tell me! QUAID (embarrassed) --I got a trip to Mars. LORI (disapprovingly) Oh God, Doug. QUAID Forget Rekall, will you! These men were going to kill me... LORI Doug, nobody tried to kill you. QUAID They did! But I killed them! Lori tries to lead Quaid to the sofa. LORI Sweetheart, listen to me. Those assholes at Rekall have fucked up your mind, and you're having paranoid delusions. Quaid holds up his hands, which are covered with blood. QUAID You call this a paranoid delusion?! LORI Doug... Lori is stunned. She doesn't know whether to be afraid for Quaid--or of him. LORI (CONT'D) Doug, I'm calling a doctor. He dashes to the bathroom, keeping low. 28 OMITTED 28 29 INT. QUAID'S LIVING ROOM/KITCHEN - NIGHT 29 Upset, Lori makes a videophone call. QUAID (O.S.) Don't! Don't call anybody! An imposing man appears on the videoscreen. MAN (RICHTER, LIVE FEED) Hello. How can I help? 30 INT. QUAID'S BATHROOM - NIGHT 30 Quaid shuts the door. He looks at himself in the mirror. He twists the faucet and washes the blood off his hands. Quaid splashes water on his face, takes a deep breath, dries off, then opens the bathroom door. Tracer bullets RIP into the dark bathroom, smashing the mirror, walls, and fixtures. The photograph on the dresser explodes. 31 INT. QUAID'S LIVING ROOM/KITCHEN - NIGHT 31 Quaid dives forward and scrambles into the living area, which is also in total darkness. QUAID Lori! Run! Quaid hides behind the BAR, and peeks over the edge.. Bullets shatter bottles and glasses all around him. He creeps around the bar and jumps toward the far wall. His assailant fires and looks for him with a flashlight. Quaid lands behind the dining table and goes for the chair next to the display shelves. As his assailant fires again, Quaid throws a chair and runs after it to attack the assailant. Their fighting silhouettes are visible against the window. A gun SKITTERS across the floor. We hear a few meaty THUDS, then a painful GRUNT as someone's breath WHOOSHES out. A LIGHT comes on, and Quaid is standing there with one hand on the lamp switch and the other arm circling Lori's neck in a chokehold! Quaid is astonished. Devastated. QUAID Lori... Lori elbows him in the ribs, hits him in the balls, then punches him in the face. She then continues her assault on his pushing himbackwards along the kitchen counter. Quaid merely defends himself, unwilling to strike his wife. Under this handicap, he absorbs savage blows that would kill a lesser man. As Lori winds up for the coup de grace, he throws her over the counter. She flies all the way to the kitchen, where she lies, dazed. Quaid recovers his breath. QUAID (CONT'D) Lori, why are you doing this? Lori grabs a carving knife from the wall and charges Quaid. He tumbles away just in time. She pursues him, doing her best to slice him open. He disarms her, and Lori still tries to grab the gun on the floor. Quaid gets to it first and holds the gun to her head. Lori remains stubbornly silent. Crazed, Quaid shoves the gun barrel in her ear. QUAID (CONT'D) Not talk! I said TALK!! LORI I'm not your wife. QUAID The hell you're not. LORI (panicked) I swear to God!...I never saw you before six weeks ago! Our marriage is just a memory implant -- agghh! QUAID You think I'm an idiot? (bitter) Remember our wedding? LORI It was implanted by the Agency. QUAID And falling in love? LORI Implanted. QUAID Our friends, my job, eight years together, I suppose all this was implanted too? LORI The job's real. -- But the Agency set it up. QUAID Bullshit. Quaid pushes Lori away, but keep his gun trained on her. LORI They erased your identity and implanted a new one. I was written in as your wife so I could watch you, make sure the erasure took. -- Sorry, Quaid. Your whole life is just a dream. Quaid tries to defend his sanity with an air of sarcasm. QUAID O.K. then. If I'm not me, then who the hell am I? LORI Beats me. I just work here. Quaid sits in a chair and rubs his forehead, trying to decide what to do -- how to react. Lori is suddenly sweet and intimate. LORI (CONT'D) But Doug...There's something I want you to know. You're the best assignment I ever hand. Really. QUAID I'm honored. LORI You sure you don't wanna...? For old time's sake. If you don't trust me, you can tie me up. QUAID I didn't know you were so kinky. LORI It's time you found out. Quaid catches Lori glancing at the VIDEO MONITOR which displays the lobby of the apartment building (LIVE FEED). AGENTS enter. The leader in RICHTER, the "doctor" Lori called. He radiates malevolence with a dark intensity. His equally vicious partner is HELM. Quaid glares at Lori and holds the gun to her head. QUAID Clever girl. LORI Doug...You wouldn't shoot me, would you? After all we've been through? QUAID Yeah. Some of it was fun. Lori leans seductively toward Quaid, expecting a caress. Instead, he knocks her out with the gun. QUAID (CONT'D) Nice knowing you. Quaid stands and runs to the door. 32 EXT. COMMONS - CORRIDOR - NIGHT 32 Quaid races down the hallway and runs downstairs. A second later, Richter and his men dash across the commons, then up the stairs as Quaid watches and then exits. 33 INT. QUAID'S LIVING ROOM/KITCHEN - NIGHT 33 Richter finds Lori, unconscious, on the floor. 34 EXT. COMMONS - STAIRWELL - NIGHT 34 Quaid runs downstairs and into the subway. 35 INT. QUAID'S LIVING ROOM/KITCHEN - NIGHT 35 Helm activates a futuristic TRACKING DEVICE and pans it around like a Geiger counter. Other agents search the apartment. ONe agent tries to help Lori, Richter kicks him away. RICHTER Don't touch her. She's comes to, groggy. RICHTER (CONT'D) You all right? Lori gingerly checks out her bruise. LORI Sorry, guess I blew it. RICHTER What's he remember? LORI Nothing, so far. HELM I got him! Helm shows Richter the tracking device. CLOSE ON: A FLASHING RED DOT moving through a SCHEMATIC REPRESENTATION of the building. RICHTER AND HELM run to a window and look outside. They see Quaid running down an inclined rooftop toward the Commons. RICHTER Shit, he's going for the subway. Let's get him. Go! Helm and the other agents storm out. Richter lags behind and walks over to Lori. They kiss passionately. RICHTER Pack your stuff and get out of here. He heads for the door. LORI What if they bring him back? RICHTER (turns around) Not a chance. Richter leaves. 36 EXT. COMMONS - ENTRANCE TO SUBWAY - NIGHT 36 Richter, Helm and the agents run downstairs into the subway after Quaid. RICHTER The subway....Go! 37 INT. SUBWAY STATION - SECURITY AREA - NIGHT 37 Quaid arrives at the SECURITY AREA and passes behind the X-Ray screen. He's a SKELETON. Suddenly ALARMS WAIL!! RED LIGHTS FLASH!! The skeleton is surprised. Then he remembers the gun, which GLOWS BRIGHT RED in his bony hand! Guards spring forward to intercept him. Quaid's SKULL sees them coming. The skull turns and looks behind him. Richter and Company rush toward him at full speed. The Guards, now skeletons, storm closer. Trapped, his skull looks straight ahead (through X-ray screen, at camera), and runs forward. Quaid CRASHES THROUGH the X-ray screen, emerging from the image of his skeleton in a shower of glass. He races toward the subway platforms followed by Richter, Helm, the agents and guards. 38 38 thru OMITTED thru 40 40 41 INT. SUBWAY - INTERSECTION OF CORRIDORS AND STAIRCASES - NIGHTT 41 Quaid arrives at the intersection and barrels down the stairs. RICHTER Move! Move! A moment later, Richter arrives at the same place and consults the Tracking Device, which indicates Quaid's location. Richter signals everyone but Helm to continue on the same level. RICHTER Go, go, go. You come with me. Helm and Richter dash down the stairs. 42 OMITTED 42 43 INT. SUBWAY - LOWER LEVEL ESCALATOR - NIGHT 43 Quaid turns a corner and runs onto an escalator flowing up. As he rises, he looks behind him, then AHEAD -- and there they are! Four agents arrive at the upper escalator landing. They look down; see him; shoot! Most of the commuters crouch to the ground, but an UNLUCKY BUSINESSMAN catches a bullet in the face. Dead, he falls backwards onto Quaid. Quaid grabs Unlucky's body and, using it as a shield, mounts the escalator. The Agents keep firing, blasting the body to bits. Quaid fires up at this enemies, killing one, two, three four! But the gunshots continue! Richter and Helm, now behind him, shoot as they run up the escalator. Quaid hurls the remains of the corpse at them, knocking them down. He arrives at the top of the escalator and runs away. Richter and Helm struggle out from under the corpse. They run after Quaid from the escalator. HELM Platform! 44 INT. SUBWAY PLATFORM/TRAIN - NIGHT 44 Quaid runs to the subway platform followed by Richter and Helm. RICHTER Where? HELM Up to the right. Quaid fights his way through the exiting passengers to a train that is leaving. He runs along the side of the train, breaks a window and dives into the train, bowling down passengers. Richter and Helm charge into the area, see Quaid, and shoot at his with total disregard for innocent bystanders. Richter and Helm get a clearer shot at Quaid. Their bullets are coming closer. They only manage to shoot out the windows and the train leaves the station. 45 INT. SUBWAY CAR - NIGHT 45 Suddenly, it's quiet. In shock, no one says a word. The only VOICE comes from a line of TEN TELEVISIONS, all playing the same commercial. ON TV, A HUCKSTER delivers a sales pitch in CLOSE UP. ZOOM OUT and reveal that he stands in front of a gargantuan rocket ship on a launching pad. HUCKSTER Don't settle for pale memories! Don't fall for fake implants! Experience space travel the old-fashioned way on a real-live holiday you can afford. The rocket sails through space past the Earth orbit. Quaid shakes his head and sighs. 46 EXT. COMMONS - NIGHT 46 Richter and Helm angrily stride out of the station and gets in their CAR. RICHTER I want that fucker dead. HELM I don't blame you man. I wouldn't want Quaid porkin' my old lady. RICHTER Are you saying she liked it? HELM I'm sure she hated every fuckin' minute of it. 47 INT. RICHTER'S CAR - NIGHT 47 The dashboard is filled with elaborate tracking devices, electronic maps, and communications equipment. In the passenger seat, Richter furiously turns knobs and punches buttons, unsuccessfully trying to get a reading on Quaid. RADIO (O.S.) Six beta nine, we have a live transmission from Mr. Cohaagen. RICHTER Richter here. Patch it through. A video monitor lights up with a grainy image of Cohaagen's angry face. COHAAGEN (LIVE FEED) What the fuck is going on down there?! RICHTER I'm trying to neutralize a traitor. COHAAGEN If I wanted him dead, you moron, I wouldn't have dumped him on Earth. RICHTER We can't let him run around. He knows too much. COHAAGEN Lori says he can't remember jack shit! RICHTER That's now. In an hour, he could have total recall. COHAAGEN Listen to me, Richter, I want Quaid delivered alive for re-implantation. Have you got that? I want him back in place with Lori. Richter is mortified. COHAAGEN (CONT'D) Did you hear me? Richter turns a dial, causing the reception to break up. RICHTER What was that? I couldn't hear you. HELM I've got Quaid. COHAAGEN I said I want him back in place with Lori... Richter deliberately intensifies the interference. Cohaagen makes vituperative threats which we can't decipher. RICHTER Hello? We've got sunspots. I'm switching to another channel. Helm nudges Richter. A blinking red dot flashes on the Tracking Device on a map filled with large CIRCLES. Richter is happy to see it. He snaps his fingers and points Helm forward. RICHTER (CONT'D) I'm losing you sir. Richter ends the transmission as Helm guns the car into traffic, splashing water on commuters. RICHTER Where is he? HELM Level 2. Galleria. RICHTER (CONT'D) He shoulda killed Quaid back on Mars. 48 EXT. SUBWAY/MALL - NIGHT 48 Quaid walks out of a Subway Station and emerges in a round shopping plaza sunk in the middle of a traffic circle. Cars whiz around the periphery of the plaza, which has degenerated into a slum, complete with bars, flophouses, pimps, prostitutes, gangs, motorcycles, peddlers, and drunks sleeping in doorways. In the distance, he sees a flashing sign on a flophouse, HOTEL RITZ. 49 EXT./INT. RICHTER'S CAR - NIGHT 49 Richter fulminates as Helm zigs in and out of traffic, HONKING. Helm looks away at the TRACKING DEVICE, which zooms to a more detailed map section. HELM Circle twenty-eight. Top level. 50 INT. RITZ HOTEL ROOM - NIGHT 50 Quaid no sooner enters and closes the curtains than the videophone RINGS. He doesn't answer. On the fourth ring, he steps to the side of the screen, so he can't be seen, and lets the call through without saying anything. The videophone screen shows a man's hand blocking the lens. CALLER (LIVE FEED) If you want to live, don't hang up. Quaid doesn't hang up. QUAID What do you want? CALLER (CONT'D) They've got you bugged, and they'll be busting down the door in about three minutes unless you do exactly what I say. Out of sight, Quaid searches his clothes for the bug. CALLER (CONT'D) Don't bother looking. It's in your skull. QUAID (looks around, spooked) Who are you? CALLER Never mind. Wet a towel and wrap it around your head. That'll muffle the signal. QUAID How'd you find me? CALLER I'd advise you to hurry. Quaid sees the sink on the other side of the room. Once he walks in front of the videophone to get there, the caller continues. CALLER (CONT'D) This'll buy you some time. They won't be able to pinpoint you. Quaid feels like a fool, but he wets a large towel and begins to wrap it around his head. STEVENS And hurry. 51 INT. RICHTER'S CAR - CROSS STREETS - NIGHT 51 CLOSE ON: TRACKING DEVICE. The frame ZOOMS OUT six levels of detail to general map of the area. The blinking light grows dim. RICHTER Shit! HELM What is it? Richter fiddles with the tracking device, then whacks it a few times. RICHTER We lost him! 52 INT. RITZ HOTEL ROOM - NIGHT 52 Quaid finishes wrapping the wet towel around his head like a turban. CALLER Now go to the window. Quaid pulls aside a curtain and peeks outside. CALLER (CONT'D) Can you see me down there? 52A EXT. RITZ HOTEL/PHONE BOOTH - NIGHT 52A Quaid looks out and SEES the phone booth. (INTERCUT VIDEOPHONE/PHONE BOOTH/HOTEL ROOM) STEVENS, a mustachioed soldier-of-fortune, holds up a DOCTOR'S SATCHEL. Quaid can't clearly see the man's face. STEVENS This is the suitcase you gave me. QUAID I gave you? STEVENS (CONT'D) I'm leaving it here. Come get it and keep moving. Quaid see Stevens begins to hang up. QUAID Wait! STEVENS (impatient) What? QUAID ...Who are you? STEVENS (abrupt, irritated) We were buddies in the Agency back on Mars. You asked me to find you if you disappeared. So here I am, good-bye. QUAID What was I doing on Mars?! Damn! The line goes dead. Stevens leaves the phone booth. Quaid dashes out of the hotel room. 53 53 thru OMITTED thru 54A 54A 55 EXT. RITZ HOTEL/PHONE BOOTH - NIGHT 55 Quaid runs out of the hotel, glances around for Stevens, then hustles over to the phone booth, where a sweet LITTLE OLD LADY is pulling out the suitcase. QUAID Excuse me, ma'am. That's mine. LITTLE OLD LADY I don't see your name on it. Quaid takes hold of the suitcase and pulls gently, but the Old Lady won't let go. QUAID Somebody left it for me. LITTLE OLD LADY Go find your own bag! The Little Old Lady clutches the suitcase to her chest with all her might. At a loss, Quaid rips it away from her. QUAID Sorry, ma'am. I need it. Quaid turns and walks off. LITTLE OLD LADY Fuck you, asshole! 56 56 thru OMITTED thru 64 64 64A INT./EXT. RICHTER'S CAR/OUTSIDE THE MALL - NIGHT 64A Richter and Helm drive up to the Mall, looking for Quaid. Helm consults the Tracking Device, which displays only a vague map of the whole area. Suddenly the red dot gets brighter. He looks around and sees Quaid approaching a Johnnycab. HELM That son of a bitch got to be around here somewhere. RICHTER I've got him. The guy in the turban. Helm slams on the brakes and brings the car to a SCREECHING halt. Quaid turns to the sound and sees Richter and Helm. 65 INT. JOHNNYCAB/MALL - NIGHT 65 Quaid jumps in the Johnnycab. Johnny turns around and addresses him. JOHNNY Welcome to JohnnyCab. Where can I...? QUAID Drive! DRIVE!! Quaid sees Richter and Helm leave their car and rush straight at him. JOHNNY Would you please repeat the destination? QUAID Anywhere! Go!..Just go -- OH SHIT!! SHIT!! Richter and Helm take aim through the crowd. JOHNNY I'm sorry. I'm not familiar with that address. Quaid furiously wrenches Johnny (an armless torso) from his console, drags him into the back seat and takes off in the Johnnycab just as Richter and Helm run up. Richter and Helm fire. A window shatters in the Johnnycab. Quaid leans over the driver's seat and awkwardly turns the steering joystick. The cab starts spinning. As Richter and Helm keep shooting, the windows blow out in sequence. JOHNNY'S HEAD Please fasten your seat belt. Quaid fiddles with the joystick. When he reaches the limit of his frustration, Johnnycab suddenly straightens out. Richter and Helm run after it. 66 66 thru OMITTED thru 69 69 70 EXT. CEMENT FACTORY - NIGHT 70 Quaid drives Johnnycab up to an abandoned factory and exits, taking the case with him. JOHNNY The fare is eighteen credits, please. QUAID Quit while you're ahead. JOHNNY (spewing sparks) Thanks for taking Johnnycab. Johnnycab starts forward after Quaid who is walking away. Quaid jumps out of the way just in time as Johnny goes past and crashes into a wall and explodes. JOHNNY We hope you enjoyed the ride. Quaid runs away from the explosion and up some stairs, entering the factory. 71 INT. CEMENT FACTORY - NIGHT 71 Quaid enters into the MACHINE ROOM, a huge space filled with rusted equipment. Rats scurry out of his way. Quaid sets the satchel on an assembly line apparatus and removes the contents: Packets of MARTIAN MONEY. Quaid whistles to himself as he flips through the RED BANK NOTES. A few false IDENTITY CARDS with photos we can't clearly see. A SPACE SHUTTLE TICKET TO MARS, FIRST CLASS. A weird SURGICAL INSTRUMENT sealed in clear plastic. A WRIST WATCH. As Quaid examines the watch, he is startled by a fearsome INTRUDER who stares at him from the shadows about thirty feet away. Quaid draws his gun and FIRES. The Man simultaneously SHOOTS at Quaid. Who's going to drop? Neither. Guns extended, they have each other in check. Quaid takes a step forward. The Intruder also steps into the light. Quaid can now see the Intruder. It's himself! Or rather, a mirror image HOLOGRAM of extremely high fidelity. He walks toward the hologram, which matches him step for step. Like the Marx Brothers routine, Quaid makes a sudden movement. The hologram isn't fooled. Quaid presses a button. BZZZT. The hologram disappears. He reaches into the satchel and removes a miniature VIDEODISC PLAYER/TV SET. Quaid turns it on. ON THE TV SCREEN Quaid himself appears in close-up and addresses the camera. HAUSER Howdy, Stranger; this is Hauser. If things have gone wrong, I'm talking to myself--and you've got a wet towel wrapped around your head. Hauser laughs heartily. He has an air of complete self-confidence. Quaid watches, fascinated. HAUSER (CONT'D) Now whatever your name is, get ready for the big surprise.--You're not you. You're me. Quaid stares at Hauser's face. QUAID No shit. 72 EXT./INT. RICHTER'S CAR - DRIVING - NIGHT 72 Richter and Helm drive around, looking for Quaid and trying to pick him up on the tracking device. AGENT Six beta nine, six beta nine, come in. Richter punches a button, and the agent appears on the videophone screen. RICHTER You found him? AGENT No. We picked up an explosion at the old cement factory. RICHTER Send two units. We'll meet them there. AGENT Roger. The car accelerates. 73 INT. CEMENT FACTORY - MACHINE ROOM - NIGHT 73 Fascinated, Quaid continues watching his alter ego. HAUSER All my life I worked for Mars Intelligence. I did Cohaagen's dirty work. Then a few weeks ago, I met somebody--a women. And I learned a few things; like I've been playing for the wrong team. (sighs) All I can do now is try to make up for it (taps on his forehead) There's enough shit in here to fuck Cohaagen good. Unfortunately, if you're listening to this, that means he got to me first. And here comes the hard part, old buddy: now it's all up to you. Quaid's not so sure he likes this idea. QUAID Great. HAUSER (CONT'D) Sorry to drag you into it, but you're the only one I can trust. 74 EXT. CEMENT FACTORY COMPOUND - NIGHT 74 Richter's car and two other Agency vehicles cruise down the alleys between the various buildings, alert for any sign of Quaid. They drive to the burning Johnnycab and exit their cars. RICHTER What do we got? AGENT He's not here. He's gone. HELM I've got a weak signal over there. RICHTER Split up. Find him. 75 INT. CEMENT FACTORY - MACHINE ROOM - NIGHT 75 ON TV: Hauser reaches into the same satchel that Quaid picked up at the pawn shop. HAUSER First, let's get rid of that bug in your head. (holds up plastic bag) Take this thing out of the case and stick it up your nose. Don't worry; it's self guiding. Just shove real hard... Quaid throws the remainder of his Mars bar to the rats and takes out "the thingy in the plastic bag". He tears it open and removes a surgical instrument that looks like the metallic tentacle of an alien. HAUSER (CONT'D) When you hear the crunch, you're there. Just pull it out. He sticks the tentacle up his nose and shoves. Whoa! Quaid grimaces with pain. HAUSER (CONT'D) And be careful. It's my head, too. The recorded message freeze-frames. Quaid warily sits down and continues with the procedure. As the instrument winds through his sinuses, Quaid's face bulges and distorts. The pain grows more and more intense until CRUNCH! The instrument breaks through cartilage and stops. Quaid pulls the large device from his nose. The homing device glistens like an aluminum pea in a tiny claw at the end of the tentacle. Quaid takes the bloody pea, rolls it between his thumb and forefinger, then shoves it into a Mars bar. 76 EXT. CEMENT FACTORY COMPOUND - NIGHT 76 Richter, Helm and the agents continue their search among the buildings of the factory. Helm studies the tracking device. HELM He's not at ground level. RICHTER (signals to agents) Up! They all climb ladders and staircases to the second story of various buildings. They split up at the top of the stairs. Richter, Helm and two agents continue across a catwalk. Helm is consulting the tracking device. HELM I've got a lock! There! RICHTER Come on! They head toward the building where Quaid is hiding. 77 INT. CEMENT FACTORY - MACHINE ROOM - NIGHT 77 Recovering from the pain, Quaid presses a button on the Videodisc player, and the recorded message continues. HAUSER Now this is the plan. Get your ass to Mars. Then go the Hilton and flash the Brubaker I.D. at the desk. That's all there is to it. Just do what I tell you, and we can nail that sonovabitch who fucked you and me and millions of other poor bastards here on Mars. (personal) I'm counting on you, buddy. Don't let me down. The TV automatically turns off. Quaid is left in the silent darkness. He hears Richter and his men nearby, sees a beam from their flashlights and springs to his feet. Quaid races back to his things, throws them into the case, smashes the videoplayer with his case and runs. He stops, and returns to put the bug in a piece of candy. 78 INT. CEMENT FACTORY - ADJOINING ROOM - NIGHT 78 Richter and his men juke left and right like heat-seeking missiles. The Tracking Device shows Quaid's exact location. HELM Straight ahead...in there. Richter spins through a door into the... 79 INT. CEMENT FACTORY - MACHINE ROOM - NIGHT 79 Flashlight beams cut through the dusty air Richter and the others unleash a FIRE STORM in the general direction of Quaid's remains. HELM There! Another fire storm ensues. No luck. HELM There! They all point in another direction. Another fire storm. HELM There! And they point in yet another direction. And yet another fire storm. Richter now understands how they were tricked. Infuriated, he BLASTS THE RAT TO A PULP. HAUSER (O.S.) ...ass to Mars squrtrk Get your ass to Mars squrtrk... In the midst of the barrage, Helm walks up to Richter with the broken videoplayer which SQUAWKS like a broken record. Distracted, Richter stops shooting, turns and watches a static-ridden snippet of the recorded message on the CRACKED SCREEN. Only a small shard of the videodisc remains inside. HAUSER ...Get your ass to Mars squrtrk Get your ass to... 80 EXT. MARS - DAY (WEEKS LATER) 80 RED! A vacant, epic expanse of glowing crimson. A space ship drops into frame, retro rockets burning. PAN DOWN with space ship as it descends in front of two moons, the Pyramid Mine, a distant city -- and prepares to land at the Mars SPACE PORT. 81 INT. MARS SPACEPORT/IMMIGRATION HALL - DAY 81 CLOSE ON PASSPORT: BAM! An official seal stamps down on the document, leaving the circular imprint: MARS FEDERAL COLONY/CONFEDERATION OF NORTHERN NATIONS. An IMMIGRATION OFFICER hands the passport back to its OWNER, who takes it and moves on. IMMIGRATION OFFICER Next! The Immigration Hall is filled with passengers arriving from Earth, queued up in three long lines. SOLDIERS on a high state of alert stand guard with AUTOMATIC RIFLES. QUAID'S SATCHEL sits on the floor behind a white line. A hand reaches down, picks it up, and carries it forward. FROM THE BACK, we see that the person carrying the satchel is a tall FAT LADY in a loose-fitting dress. She steps up to the Immigration Officer at his desk. IMMIGRATION OFFICER (CONT'D) Passport. As the Fat Lady hands over her passport, SOLDIERS rush directly towards her from the rear of the hall, shoving people aside. Richter, Helm, and EVERETT, a stern military officer, urgently follow in the path cleared by the Soldiers. They get closer and closer to the Fat Lady...and pass right behind her without noticing anything in the least suspicious. EVERETT Mr. Cohaagen wants to see you right away. RICHTER Any news of Quaid? EVERETT Not since you lost him. RICHTER Watch your mouth, Captain. The group walks past the Immigration desks and exits the frame. HOLD ON the back of the Fat Lady. The Immigration Officer studies her passport. CLOSE ON her PHOTO. He looks up. CLOSE ON her FACE. She bears no resemblance to Quaid. IMMIGRATION OFFICER How long do you plan to stay on Mars? FAT LADY Two weeks. HELM Look at this shit. RICHTER (O.S.) What the hell is this? BEHIND THE DESKS, Richter stops at a wall defaced with graffiti: "KUATO LIVES!". EVERETT The Martians all love Kuato. They think he's fuckin' George Washington. HELM Kill the bastard. EVERETT Nobody knows who he is. The Immigration Officer picks up the seal, ready to stamp the Fat Lady's passport after one last perfunctory question. IMMIGRATION OFFICER Have you brought any fruits or vegetables onto the planet? FAT LADY Two weeks. He stops himself from hammering down with the seal. IMMIGRATION OFFICER Excuse me...? Fat Lady covers her mouth, embarrassed. FAT LADY (loud) Two weeks. Richter glances at the Fat Lady but keeps walking toward the exit. EVERETT And things are getting hot around here. The rebels took over the refinery last night. No turbinium's going out. THE FAT LADY is having some kind of fit. She keeps repeating the same phrase over and over, each time SLOWER and MORE DISTORTED, like a phonograph record running down. Everybody stares at the poor woman. She holds her mouth and tries to shut herself up. FAT LADY Twooo weeeks. Twoooooo weeeks. Twooooooo weeeeeeks. Richter stops and looks suspiciously at the Fat Lady. The Fat Lady sees him staring. They lock eyes. Richter knows! He points! RICHTER Quaid! That's Quaid! EVERETT Where? RICHTER There! The woman! The Fat Lady edges to the side along a wall. RICHTER Get him! Everett and his men are confused. RICHTER (CONT'D) HER! EVERETT Arrest that woman! FAT LADY Twoooooo! Weeeeeks! Richter, Helm, Everett and soldiers run over. The Fat Lady twists her ear. She is shaking radically. Her face splits down the middle, revealing Quaid inside! QUAID Catch! Quaid throws the split face at a SOLDIER near a window. The Soldier instinctively catches the face, which snaps together and addresses him in a normal voice. FAT LADY FACE Get ready for a big surprise. Just as the Soldier reacts, BOOM! The face explodes. Everett, Richter and Helm fire at Quaid. The gunfire bursts a window. The near-vacuum outside creates an INSTANT TYPHOON in the station. WHRRRRRR! Loose objects are sucked out through the broken window. Richter, Helm, Everett and all the soldiers hold on for dear life. Quaid pulls himself along a stair railing toward a doorway. ALARMS sound and METAL BARRIERS slide down over windows and doorways, sealing off the depressurized area: SQQRRCHANG! SQQQRRCHANG! SQQQRRCHANG! Quaid thrusts out from a wall and rolls under a falling barrier. SQQQRRCHANG! A metal sheet covers the shattered window. SQQQRRCHANG! Instantly, the air is still and quiet. Richter sprints to Quaid's doorway and tries to pull up the metal barrier. It won't give. He YELLS at a young, frightened SOLDIER. RICHTER Open it!!! The Soldier is speechless. Furious, Richter backhands him with his gun. RICHTER (CONT'D) Open the goddamn door! Now! Everett grabs Richter's arm as he is about to strike again. EVERETT I can't--they're all connected. Richter and Everett stare at each other with mutual hatred. 82 INT. MARTIAN SUBWAY CAR - DAY 82 The train CLATTERS through a dark tunnel. The CROWDING AND FLASHING OF LIGHTS create a feeling of anxiety. REWARD POSTERS for KUATO are posted throughout the train. They contain no likeness of the wanted man. Quaid looks around, alert to potential danger. He overhears snippets of various private conversations. MARTIAN WIFE Then a few days later, Cohaagen raised the price of air. MARTIAN HUSBAND Again? MARTIAN #3 Nobody on Earth gives a damn what happens up here. MARTIAN HUSBAND They just want our turbinium, so they can zap things from space. RED LIGHT floods the car and the REVERBERATED CLATTERING DIMINISHES. The subway emerges onto the surface of Mars. Through a window behind Quaid, we see the Pyramid Mine from his recurrent dream. Quaid turns, and sees the object of his obsession. Fascinated, he addresses a BURLY MINER standing next to him. QUAID Excuse me. (nods to mountain) What's that? BURLY MINER You mean the Pyramid Mine? (sees Quaid staring at it) I used to work there, till they found that alien shit inside. QUAID (dismisses the idea) Well, that's a rumor, isn't it? BURLY MINER Think so? Quaid's eyes are rivited the object of his obsession. 83 EXT. SURFACE OF MARS - DAY 83 The train worms into a tunnel leading to the domed city of CHRYSE, perched on the side of a steep canyon. High on the other ledge looms COHAAGEN'S HEADQUARTERS. 84 INT. COHAAGEN'S OFFICE - DAY 84 Cohaagen sits in his high-backed executive chair in front of a wall-sized picture window which overlooks a majestic panorama of the Pyramid Mine. We hear doors slide open, then footsteps. Richter enters the frame. RICHTER Mr. Cohaagen...You wanted to see me? Cohaagen swivels around in his chair. He's smiling. COHAAGEN Richter, do you know why I'm such a happy person? RICHTER No, sir. COHAAGEN Because I've got the greatest job in the solar system. As long as the turbinium keeps flowing, I can do anything I want. Anything. (stands) If fact, the only thing I ever worry about is that one day, if the rebels win, it all might end. Cohaagen explodes, pounding his fist on the desk. COHAAGEN (CONT'D) AND YOU'RE FUCKIN' MAKING IT HAPPEN!!!! FIRST YOU TRY AND KILL QUAID AND THEN YOU LET HIM GET AWAY!! Richter survives the barrage, shaken but not cowed. RICHTER He had help. From our side, sir. COHAAGEN (as if totally obvious) I know that. RICHTER (caught off guard) But I thought... COHAAGEN Who told you to think?! I don't give you enough information to think! (points) You do what you're told!! That's what you do! RICHTER Yes, sir. Cohaagen feeds his GOLDFISH who swim around in a large spherical bowl. COHAAGEN (CONT'D) Now let's get down to business. Kuato wants what's in Quaid's head. And he might be able to get it, cause they say he's psychic. Now I have a little plan to keep this from happening. --Do you think you can play along? RICHTER Yes, sir. COHAAGEN Great! Because, otherwise I'll erase your ass. 85 INT. TRANSPORTATION HUB - DAY 85 A mob of passengers disembark from a commuter train. Amid the crowd, we find Quaid, doing his best to be inconspicuous. He moves through a broad underground plaza hewn from solid rock. The railway platform is on one side, across from a large scale, bustling MINE OPERATION. PUNK CABBIE Taxi! Sir! Taxi! Sir! Magazines! BENNY Man! Around the Hub, OTHER TUNNELS lead to various neighborhoods (labeled SECTORS A-D, SECTOR E-F, etc.) and hotels. Quaid walks into the tunnel labeled "HILTON". 86 INT. HILTON HOTEL LOBBY/LOUNGE/RECEPTION - DAY 86 Quaid comes out of the inclined underground walkway into a spacious atrium under a glass dome. The Pyramid Mine is visible straight ahead, through a high wall of glass. Red sunlight bathes the lobby in a weird rosy glow. Quaid crosses the lobby and walks up to the REGISTRATION DESK. A CLERK addresses him. CLERK Good afternoon. Can I help you? Quaid hands his ID card to the Clerk. QUAID I'd like a room, please. The Clerk takes the ID card and plugs it into a slot. The "Brubaker" file shows up on the monitor. CLERK Nice to have you back with us, Mr. Brubaker. QUAID Thank you. CLERK Would you like the same suite? QUAID Definitely. The Clerk sees something unusual on the monitor. CLERK Hmm. It seems you left something in our safe. QUAID Get it, please. CLERK Identification? They press their thumbs to a safe-opener box. A small SAFE DEPOSIT BOX slides smoothly out of a wall. He pulls the box from its track and sets it in front of Quaid. The clerk politely leaves Quaid alone. CLERK I'll go encode your room key. QUAID (opens box) Thank you. The Clerk steps away, and Quaid look inside the box. It's empty....except in the back, there's a piece of red paper folded in eighths. Quaid grabs the paper and hurriedly unfolds it. CLOSE ON: RED PAPER. It's an advertising FLIER for a bar, THE LAST RESORT in VENUSVILLE, featuring a drawing of a naked woman. Quaid turns the paper over. On the other side is a handwritten message: "For a GOOD TIME, ask for Melina". The Clerk returns with a plastic key card, which he hands to Quaid. CLERK There you go, Mr. Brubaker. Suite 610 in the East Wing. QUAID (reaching for a pen) May I use your pen? CLOSE ON: BACK OF FLIER. Quaid scribbles "Melina" under the written message. The handwriting matches. 87 INT. TRANSPORTATION HUB - DAY 87 Quaid comes out of the driveway from the Hilton and strides toward the cab stand. On the way, he's approached by BENNY, an amiable black hustler in his early-thirties. BENNY Hey, man...need a cab? Quaid nods toward the first taxi in line. QUAID What's wrong with this one? BENNY He ain't got five kids to feed. Quaid sees that the other cabbie is a PUNK in his early twenties. He takes mercy on Benny. QUAID Where's yours? BENNY Over there man. QUAID You got the job. As Benny leads Quaid away, the Punk Cabbie runs after them. PUNK CABBIE That's my fare, you asshole! Hey mister...goddamn it..fuck off man...shit! Suddenly, BOOM! A HUGE EXPLOSION destroys the upper level of the mine. Windows shatter. The blast throws Benny to the ground and almost topples Quaid. ALARMS go off. Benny staggers to his feet, slightly dazed. BENNY Welcome to Mars. QUAID What was that? An accident? SOLDIERS dash from all directions and engage in a shootout with REBEL GUERRILLAS. BENNY The rebels. They're trying to shut down the mines. BENNY (CONT'D) Let's get out of here...before they arrest us. Benny swings up the gullwing door of HIS MINI-CAB, and Quaid squeezes himself into the tiny vehicle. 88 EXT./INT. BENNY'S CAB/TRANSPORTATION HUB - DAY 88 Benny quickly pulls into traffic. QUAID What to the rebels want? BENNY Oh, the usual. More money, more freedom, more air. Benny cuts off several cars and drives into a dark tunnel. 89 INT. TUNNEL - DAY 89 Benny drives through the narrow tube. Occasionally, a patch of red light hits the cab through a ceiling panel. BENNY So, where to? QUAID The Last Resort. BENNY (suggestive) You're getting off to an early start. The cab emerges into a plaza, immersed in red light. 90 EXT./INT. MINING HUB - DAY 90 Various tunnels lead to different SECTORS and different MINES. Benny's cab swerves out of the path of a stampeding mining MOLE. BENNY First time on Mars? QUAID Yeah...Well, actually no...Sort of. BENNY (to himself) Man don't know if he's been to Mars or not The cab zigs into a tunnel marked, "Sector G/VENUSVILLE". 91 EXT./INT. VENUSVILLE PLAZA - DAY 91 Benny's taxi emerges from a tunnel in the bustling adult entertainment district, filled with bars, brothels, cafes, strip joints, t-shirt shops, cheap hotels, and PSYCHIC PARLORS. Most of the buildings are dilapidated and covered with ads, signs, and graffiti. REWARD POSTERS for KUATO are posted up everywhere. BENNY Voila! Venusville. Porters push handcarts and carry goods on their backs. SOLDIERS patrol the streets in pairs. Huge fans blow air into Venusville. Quaid stares out the window, engrossed in the spectacle of the strange planet. Benny parks the taxi by a pedestrian alley which is too narrow for cars. BENNY Crazy Martian drivers. (exasperated, to Quaid) We're going to have to walk from here. MUTANT Would you like to know the future? BENNY Come on. It's around the corner. Benny leads Quaid down a crowded, narrow alley. Barkers and hookers try to lure them inside. MADAME FATIMA stands in front of a psychic parlor with her LITTLE GIRL. She looks like a knockout. Benny nudges Quaid to look. Hair covers half her face. BENNY (CONT'D) Not bad, eh? MADAME FATIMA Read your palm? Read your aura? Probe the secrets of your heart. As Madame Fatima steps forward, the fan blows her hair, revealing a horrible disfigurement on the concealed side of her face. Quaid is shocked and disturbed to see that Madame Fatima's little girl had the same congenital defect. LITTLE GIRL I bet I can guess your birthday. QUAID (bends low) What is it? LITTLE GIRL You're a Taurus, right? QUAID (impressed, smiles) How'd you guess? Quaid gives the little girl a coin. She smiles in gratitude. He walks on and turns to Benny. QUAID (CONT'D) Tell me something; are all psychics, uh....? BENNY Freaks?...'Fraid so, man. Goes with the territory. QUAID What happened to them? BENNY Cheap domes. And no air to screen out the rays. Arriving at a corner, Benny points into a dead-end alley at a seedy dive. BENNY (CONT'D) Well, there it is; the Last Resort. (grimaces) Sure you wanna go in? QUAID Why not? BENNY I know a much better place down the block -- the girls are clean; the liquor ain't watered down... QUAID And you get a kickback. Benny pleads guilty with a broad smile. He has a mouth full of bad teeth, including two gold caps, one with a crescent moon design, the other with a star. BENNY Hey, I got five kids to feed. Quaid peels a few large bills into Benny's hand. QUAID Take 'em to the dentist. Benny counts the money, his eyes wide with amazement. By the time is looks up, Quaid is walking away. BENNY Hey, mister!...thanks! I'll be waiting for you; take your time. Benny's the name. Benny! Quaid walks into the Last Resort. 92 INT. LAST RESORT - DAY 92 Quaid stops just inside the door and cases the joint. It's a low-down whorehouse for miners. Girls walk in and out, picking up clients and bringing them upstairs. Some of the men play cards. Quaid walks to the bar and approaches the BARTENDER. BARTENDER What do you want? QUAID I'm looking for Melina. BARTENDER She's busy. --But Mary here, she's free. Mary, a sexy, well-built prostitute, rubs against Quaid. MARY Not "free" honey, but available. Quaid notices that Mary has THREE BREASTS, prominently displayed in a special bikini top. QUAID I'll wait for Melina. Insulted, Mary farts and oozes over to another customer. MARY Earth slime. BARTENDER Thing is, friend, Mel's real picky. She kinda sticks to her regulars. Quaid presses a red banknote into the Bartender's hand. QUAID Don't worry. She will like me. The Bartender calls toward a table near the stairs. BARTENDER Mel! Hey, Mel! A woman carouses with a bunch of miners at a table. She sits on the knee of a sullen, unshaven fellow named TONY. GEORGE, who's relaxed and confident, sees the Bartender trying to get Melina's attention. He signals her, and she turns around, laughing. When she sees Quaid, her laugh fades to shock. Melina bears an uncanny resemblance to Quaid's fantasy composite at Rekall. Melina sashays over to Quaid and looks him up and down. MELINA Hello there, Hauser. Still bulging, I see. She kisses him wet and sloppy and rubs up against him. MELINA (CONT'D) Ooo, whatcha been feeding that thing? QUAID Blondes. MELINA (looks down) I think it's still hungry. Melina leads Quaid toward the stairs. Tony sticks his leg out, blocking the way. TONY You got a lotta nerve showin' your face around here. QUAID Look who's talking. Tony grabs Quaid's arm, and they're about to come to blows when George defuses the situation. GEORGE (to Tony) Hey, hey Tony. Give the big guy a break. QUAID Relax, you'll live longer. With some relief, Tony lets go of Quaid. Melina takes Quaid by the hand and leads him up the stairs. 93 INT. LAST RESORT - STAIRWAY - DAY 93 They pass THUMBELINA, a beautiful midget in a push-up corset. She's going down. MELINA Honey, take care of Tony, will ya? THUMBELINA surveys Quaid appreciatively. MIDGET As usual. (eyes Quaid) You need and help with this one gimme a holler. 94 OMITTED 94 95 INT. LAST RESORT - MELINA'S CRIB - DAY 95 Quaid enters first, then Melina pulls the door closed behind her. She turns to Quaid, smiles seductively, then SLAPS him hard across the face! MELINA You son of a bitch! You're alive! Quaid is stunned. MELINA (CONT'D) I thought Cohaagen tortured you to death! QUAID I guess he didn't. MELINA You couldn't get me a message? You never wondered what happened to me? Melina's tone of voice and bearing are suddenly completely different: intelligent, dignified. Quaid doesn't know what to say. He looks at her, guilty yet innocent. Seeing Quaid's lost expression, Melina's wrath evaporates. MELINA (CONT'D) Oh, Hauser...Thank God you're alive. She kisses him with deep feeling, engulfing him in a flood of chaste passion. He makes half-hearted resistance. QUAID Melina...Melina... Quaid summons the strength to push her away. QUAID (CONT'D) Melina! Melina is flushed and panting. MELINA ...What? QUAID There's something I have to tell you... Melina waits, curious. Quaid continues with difficulty. QUAID (CONT'D) I don't remember you. MELINA What are you talking about? QUAID I don't remember you. I don't remember us. I don't even remember me. Melina half-laughs, not really believing him. MELINA What, did you get amnesia?...How'd you get here? QUAID Hauser left me a note. MELINA Hauser? You're Hauser. QUAID Not any more. Melina looks at him with puzzlement. QUAID Now I'm Quaid. Douglas Quaid. She breaks into a grin. MELINA Hauser, you're lost your mind. QUAID I didn't lose it. Cohaagen stole it. He found out that Hauser switched sides,-so he turned him into somebody else. Me. MELINA This is too weird. QUAID Then he dumped me on Earth with a wife and a lousy job and ... MELINA Wait, did you say wife?...Are you fuckin' married!!? Quaid realizes he's stuck his foot in his mouth. QUAID She wasn't really my wife. MELINA Oh, she isn't really your wife. How stupid of me...She was Hauser's wife. QUAID Forget I said wife. MELINA No. Let's forget everything! I've had it with you and your goddamn lies. QUAID (exasperated, innocent) Why would I lie to you? MELINA Because you're still working for Cohaagen. QUAID Don't be ridiculous. MELINA You never loved me, Hauser! You just used me to get inside. QUAID Inside what? Quaid's curiosity seems to confirm Melina's suspicions. She becomes cold and distant. MELINA I think you better leave. QUAID Melina, Hauser sent me to do something. MELINA I'm not falling for it. QUAID (points to his head) He said there's enough in here to nail Cohaagen for good. MELINA Get out! Quaid steps forward. QUAID You've got to help me remember. Melina backs toward the bed. MELINA I said get out! QUAID (closes in) Melina, please...People are trying to kill me. Melina pulls a HUGE AUTOMATIC PISTOL from under her mattress, and Quaid finds himself staring down the barrel. MELINA Really? Quaid studies her steely eyes. QUAID All right. I'm leaving. Quaid backs out of the room. Melina holds back tears. 96 INT. LAST RESORT - DAY 96 Benny sits at the bar and feels up Mary. BENNY Oh, baby, you make me wish I had three hands. MARY You're doing okay with two. Over her shoulder, Benny sees Quaid coming down from upstairs. BENNY 'Scuse me, babe. We'll pick this up later. To Mary's surprise, Benny slips out of her embrace and pushes through the crowd. He meets Quaid at the bottom of the stairs. BENNY That didn't take long. Quaid ignores Benny and heads for the door. Benny chases after him. BENNY (CONT'D) Lemme ask you a question. Ever fuck a mutant? QUAID Take me to the hotel. Quaid walks out of the brothel. CAMERA watches them through a window as they disappear into the sights and sounds of Venusville. BENNY I know these Siamese twins...Man, you don't know if you're comin' or goin'. George appears in the foreground in front of the window. He looks from the window to the top of the stairs, where Melina stands. 97 OMITTED 97 98 INT. HILTON - QUAID'S ROOM - DAY (LATE) 98 Quaid lies forlorn on his bed in the dark, staring at the TV, but not really watching. The blue light of the television flickers against the somber red of the setting sun. ON TV: COHAAGEN delivers a speech from his office. COHAAGEN This afternoon at 4:30pm, I signed an order declaring martial law throughout the Mars Federal Colony. I will not tolerate any further damage to our mineral export operations. Mr. Kuato and his terrorists must understand that their self-defeating efforts will only bring misery and suffering to the people of Mars. Quaid turns off the TV and stares at the ceiling. He is startled by a KNOCK AT THE DOOR. Quaid sits up slowly, on alert. VOICE (O.S.) (through door) Mr. Quaid...? Quaid picks up his gun. QUAID What? VOICE (O.S.) I need to talk to you--about Mr. Hauser. Quaid COCKS his gun and approaches the door very cautiously, from the side. QUAID Who are you? VOICE (O.S.) Dr. Edgemar. From Rekall. QUAID (stunned, incredulous) How did you find me? EDGEMAR (O.S.) It's difficult to explain...Could you open the door, please. I'm not armed. All of a sudden, Quaid flings opens the door and takes hair-trigger aim at...Dr. Edgemar from the Rekall commercial!!! He's dresses in the same tweed jacket. Quaid keeps the gun on Edgemar and glances up and down the hall. EDGEMAR Don't worry; I'm alone. --May I come in? Quaid roughly pulls Edgemar into the hotel room and closes the door. He frisks Edgemar and find to weapon. QUAID What do you want? EDGEMAR This is going to be very difficult for you at accept, Mr. Quaid. QUAID I'm listening. EDGEMAR I'm afraid you're not really standing here right now. Quaid can't repress a chuckle. QUAID Ya know, Doc, you could have folled me. EDGEMAR I'm quite serious. You're not here, and neither am I. Quaid squeezes Edgemar's shoulder, verifying its solidity. QUAID Amazing. Where are we? EDGEMAR At Rekall. Quaid's cockiness wavers. EDGEMAR (CONT'D) You're strapped into an implant chair, and I'm monitoring you at a psycho-probe console. QUAID Oh, I get it; I'm dreaming! And this is all part of that delightful vacation your company sold me. EDGEMAR Not exactly. What you're experiencing is a free-form delusion based on our memory tapes. But you're inventing it yourself as you go along. QUAID Well, if this is my delusion, who invited you? EDGEMAR I've been artificially implanted as an emergency measure. (gravely) I'm sorry to tell you this, Mr. Quaid, but you've suffered a schizoid embolism. We can't snap you out of your fantasy. I've been sent in to try to talk you down. QUAID How much is Cohaagen paying you for this? EDGEMAR Think about it. Your dream started in the middle of the implant procedure. Everything after that--the chases, the trip to Mars, your suite here at the Hilton--these are all elements of your Rekall Holiday. And Ego Trip: You paid to be a secret agent. QUAID Bullshit. It's all coincidence. EDGEMAR What about the girl? Brunette, athletic, sleazy and demure; just like you specified. Is that a coincidence? QUAID She's real. I dreamed about her before I even went to Rekall. EDGEMAR Mr. Quaid, can you hear yourself? "She's real because you dreamed her?" QUAID That's right. Edgemar sighs, discouraged. EDGEMAR Maybe this'll convince you. Would you mind opening the door? Quaid jabs his gun into Edgemar's ribs. QUAID You open it. EDGEMAR No need to be rude. I'll do it. Quaid shadows Edgemar as he opens the door. Lori stands in the threshold! Quaid does his best to absorb another shock. Lori puts on a brave face, like holding back tears in front of a sick child. There is not the slightest indication that she has even been anything but Quaid's adoring wife. LORI Sweetheart... EDGEMAR Come in, Mrs. Quaid. Lori walks in hesitantly. Quaid pulls her to him and roughly frisks her. QUAID I suppose you're not here either. LORI I'm here at Rekall. Quaid laughs and roughly pushes her away. LORI (CONT'D) (crushed) I love you. QUAID Right. That's why you tried to kill me. LORI Nooo! I would never do anything to hurt you. I want you to come back to me. QUAID Bullshit. Lori's heart is breaking, but Quaid's is cold as ice. EDGEMAR What's bullshit, Mr. Quaid? (reasonable) That you're having a paranoid episode triggered by acute neuro-chemical trauma? (derisive) Or that you're really an invincible secret agent from Mars who's the victim of an interplanetary conspiracy to make him think he's a lowly construction worker? Quaid's certainty in undermined. Edgemar looks at him with great sympathy and kindness. EDGEMAR (CONT'D) Stop punishing yourself, Doug. You're a fine, upstanding man. You have a beautiful wife who loves you. LORI I do. Lori beams at him with pure affection. EDGEMAR (CONT'D) Your whole life is ahead of you... But you've got to want to return to reality. Quaid is half-convinced, but doesn't want to show it. QUAID Suppose I do...then what? EDGEMAR Swallow this. Edgemar opens his hand, revealing a small pill. QUAID What is it? EDGEMAR It's a symbol. Of your desire to return to reality. --Inside your dream, you'll fall asleep. Quaid picks up the pill and examines it. QUAID All right. Let's say you're telling the truth, and this is all a dream... Realizing something, Quaid raises his gun to Edgemar's head. QUAID (CONT'D) Then I can pull this trigger, and it won't matter. LORI Doug, don't! Edgemar remains preternaturally calm. His eyes and voice express his unselfish concern for Quaid. EDGEMAR It won't make the slightest difference to me, Doug, but the consequences to you would be devastating. In your mind, I'll be dead. And with no one to guide you out, you'll be stuck in permanent psychosis. LORI Doug, let Dr. Edgemar help you. Finger on the trigger, Quaid is torn with doubt. EDGEMAR The walls of reality will come crashing down. One minute you'll be the savior of the rebel cause, then, next thing you know, you'll be Cohaagen's bosom buddy. You'll even have ridiculous fantasies about alien civilizations--as you requested. But in the end, back on Earth...You'll be lobotomized. Quaid becomes totally demoralized. EDGEMAR (CONT'D) (firm) So get a grip on yourself, Doug. And put down the gun. Edgemar stares hard. Quaid hesitantly lowers the gun. EDGEMAR (CONT'D) Good... Now take the pill and put it in your mouth. Quaid puts the pill in his mouth. EDGEMAR (CONT'D) Swallow it. Quaid hesitates. Edgemar and Lori watch with great anticipation. LORI Go ahead, sweetheart. Quaid is wracked with indecision. Then he sees a single drop of sweat trickle down Edgemar's brow. Abruptly, he swings his gun at Edgemar and fires. Edgemar's blood splatters in a dense circle on the wall. Quaid spits the pill out onto Edgemar's blood-stained body. LORI Now you've done it! Now you've done it! BOOM! The blood stain EXPLODES, blasting Quaid backwards through the air. FOUR MARS AGENTS storm through the big hole. Quaid ducks, turns, and starts to rise, facing toward the wall. Agent #1 rushes Quaid. Quaid ducks as Agent #1 goes to hit Quaid with his gun, but goes over Quaid's shoulder. Quaid rises and flips #1 over his right shoulder. #1 lands on bed. As Quaid recovers, Agent #2 grabs Quaid's right arm. Agent #3 grabs Quaid's left arm, and Agent #4 comes in to hit Quaid. Quaid kicks #4 in the chest. #4 flies backward. Quaid then elbows #2 in the chest then backhands #2 across the face. #2 falls backwards. Quaid then throws a right cross at #3, who falls backwards, as Quaid follows through with his punch. #4 comes in and kicks Quaid in the stomach with his right foot. Quaid reacts, then backhands #4 across the face. #4 hits the ground. #2 comes in with a right leg kick at Quaid's left shoulder/head. Quaid grabs the leg and throws him. Instantly, #3 is rising up behind Quaid and hits him on the back of the head with his gun. Quaid collapses and tries to crawl away towards the door. #1 grabs Quaid by the collar and shirt. #4 grabs his left leg, and they try and restrain him. Then Lori steps in and kicks across the face, moves around to the other side and kicks him in the balls. He stops resisting. Lori kicks him across the face again, Quaid falls backwards, unconscious. LORI That's for making me come to Mars. You know how much I hate this fucking planet. Cuff him. Lori looks down triumphantly and speaks into a wireless MINI-VIDEOPHONE. LORI (CONT'D) I've got him. 99 INT. HILTON - LOUNGE - DAY (LATE) 99 At the other end of the line, Richter sits at a bar next to Helm. A panorama of Mars is visible behind them through the dome. RICHTER Bring him down by the service elevator. Lori blows him a kiss. End of call. Richter and Helm slide off their stools, and run through the lobby to the service elevator. 100 INT. HILTON - CORRIDOR/SERVICE ELEVATOR - 6TH FL. - DAY (LATE) 100 Four agents drag Quaid, semi-conscious, to the SERVICE ELEVATOR, Lori follows. An agent presses the call button. They wait. The doors slide open. Melina stands inside and professionally assassinates the four agents who have their hands full with Quaid. Lori drops to the floor, swings her legs, and swipes Melina's feet out from under her. Her gun goes flying. Then Lori kicks Melina in the face and the stomach and then flips her over her head. They stand and face off, then Melina hits Lori in the face and kicks her in the stomach. Lori blocks Melina's next punch and elbows Melina in the ribs and flips Melina again, then elbows Melina in the face. Quaid squirms groggily over a pile of corpses and wrests a gun from a dead hand. Lori positions herself on top of Melina and pulls her head back. Lori pulls a knife from an ankle sheath and prepares to plunge it into Melina's throat. PIYUNG! The knife flies from Lori's hand. Quaid sprawls on the floor, hands cuffed in front of him. He holds a smoking pistol aimed at Lori. LORI Doug...you wouldn't hurt me, would you, honey? She sees his expression. LORI (CONT'D) Sweetheart, be reasonable...We're married. Lori stealthily reaches behind her back for a concealed gun. and pulls it on him. Quaid shoots Lori in the forehead, leaving a clean, small hole between her eyes. QUAID (rising, to Melina) Consider that a divorce. She falls backwards toward the elevator. A beat... MELINA That was your wife? He nods blankly. MELINA (CONT'D) What a bitch. 101 INT. HILTON - LOBBY SIDE/SERVICE ELEVATOR - DAY (LATE) 101 Richter and Helm wait impatiently for the service elevator to arrive. It's stuck on the sixth floor. They realize something is wrong, and they run back to the passenger elevator in the lobby. RICHTER Get out of the way! 102 INT. HILTON - CORRIDOR/SERVICE-PASSENGER ELEVATORS - DAY (LATE) 102 Melina hastily searches through the pockets of the dead agents. QUAID I thought you didn't like me. MELINA If Cohaagen wants you dead, you might be okay. Melina finds the key and starts unlocking Quaid's handcuffs. QUAID So you dropped by to apologize? MELINA Kuato wants to see you. (off come the cuffs) Come on! She pulls him to his feet, and they run toward the passenger elevators. The doors slide open: Richter and Helm are inside! Melina pulls Quaid toward an adjacent corridor. Richter and Helm charge out of the elevator, shooting. They chase after Quaid and Melina, until they almost trip over Lori's dead body. Helm keeps going, but Richter, stunned and bereaved, kneels down and strokes her face. RICHTER Oh, baby. 103 INT. HILTON - CORRIDOR/BALCONY/DOME - DAY (LATE) 103 Quaid and Melina approach the end of the corridor: A BALCONY which overlooks the lobby, far below. The glass DOME stretches away at an incline, seemingly out of reach. QUAID Now what? MELINA Jump! Without missing a step, Melina and Quaid jump onto the balustrade and LEAP into the void. 104 INT. HILTON - DOME - DAY (LATE) 104 Quaid and Melina grab onto metal girders which form the matrix for the glass panes of the Dome. 105 INT. HILTON - CORRIDOR/BALCONY/DOME - DAY (LATE) 105 Helm arrives at the balcony and takes aim, but he decides not to shoot. Richter walks up a moment later, in a rage, and gets ready to fire. Just as he pulls the trigger, Helm slams his arm down. The gun discharges into the floor. HELM No! You're crack the fucking dome! Are you trying to kill us?! The dome'll crack! Furious, Richter hits Helm and tries to shoot again. Helm struggles fiercely with his much larger boss. Richter comes to his senses and stops fighting.