《宇宙威龙》Total Recall(1990)

Total Recall (1990)
by Ronald Shusett and Dan O'Bannon and Gary Goldman.
Based on the short story by Philip K. Dick "We Can Remember It For You Wholesale"
Final script, August 22, 1989.
More info about this movie on imdb.com

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. Looking over
the banister, he sees that Quaid and Melina are climbing down
the Dome to the lobby. Richter and Helm dash back down the
corridor.


106 OMITTED 106


107 INT. HILTON - DOME - DAY (LATE) 107

Silhouetted against the vast Dome like flies on a window,
Quaid and Melina swing and slide toward the lobby. On the
way, they pass a WINDOW WASHER in a SPACESUIT on the outside
of the Dome.

QUAID
By the way...ever heard of a company
names Rekall?

MELINA
I used to model for 'em, why?

QUAID
Just wondering.

Quaid and Melina get into position and drop down into the
Lobby.


108 OMITTED 108


109 INT. HILTON - LOUNGE - DAY (LATE) 109

Quaid and Melina jump onto the lobby cat walk and then run to
an exit that leads to the Hub.


110 INT. HILTON - LOBBY/ELEVATORS - DAY (LATE) 110

Richter and Helm charge out of the elevator, run by the
registration desk, and chase Quaid and Melina across the
Lobby, shooting.


111 INT. PEDESTRIAN TUNNEL - DAY (LATE) 111

Quaid and Melina sprint down the ramp.


112 INT. TRANSPORTATION HUB - DAY (LATE) 112

Quaid and Melina run into the street and look for a cab.
Out of nowhere, a TAXI streaks up beside them. The door wings
up. It's Benny.

QUAID
Taxi! Melina! Melina!

They dive inside.

BENNY
Need a ride?

MELINA
The Last Resort! Quick!


113 EXT./INT. BENNY'S CAR/TRANSPORTATION HUB - DAY (LATE) 113

Benny's cab scoots into traffic.

BENNY
You guys are going in circles.

Richter and Helm run into the Hub; see the cab; shoot at it!

The rear window of the taxi SHATTERS!

BENNY (CONT'D)
Jesus! Ya'll in trouble!

RICHTER
Come on!

Richter and Helm jump into their car and take off in pursuit,
hitting a pedestrian.

Benny's cab speed into a tunnel.

MELINA
Shut up and drive!

BENNY (CONT'D)
Whatcha doin' to me, man?! I got six
kids to feed!


114 OMITTED 114


115 EXT./INT. TUNNEL - DAY (LATE) 115

Richter and Helm chase after Melina and Quaid.

RICHTER
Faster! Faster!

Richter knocks out his window and fires at Quaid and Melina.
They shoot back through the empty rear window frame. Melina
shoots the gun out of Richter's hand.

QUAID
Not bad, for a hooker.

MELINA
I'm not a hooker! That's my cover.


116 EXT./INT. MINING HUB - DAY (LATE) 116

Benny's taxi jets out of the tunnel into the Mining Hub and
swerves around a Mole. Richter's car zooms into the Hub.
He leans out the window again, only this time he has a MUCH
BIGGER GUN.

Benny makes a wide turn and fishtails into the Venusville
(Sector G) tube. Helm makes a tighter turn and gains some
ground. Richter blasts away with his Big Gun as his car
enters the tunnel.


117 EXT./INT. VENUSVILLE TUNNEL - DAY (LATE) 117

Benny's front windshield SHATTERS. His taxi swerves out of
control.


118 EXT./INT. VENUSVILLE PLAZA - DAY (LATE) 118

Benny's cab careens out of the tunnel, weaves through the
crowded area, and crashes into Madame Fatima's psychic parlor.


118A INT. SHOPS - DAY (LATE) 118A

Benny's cab plows through the psychic parlor and a STRIP
JOINT, finally coming to a stop in a COURTYARD.

Out in the street, Richter's car screeched to a halt. He
and Helm run out and wade through the wreckage.

HELM
Follow us!

Quaid, Melina and Benny scramble out of the cab and start
running down a narrow alley.

BENNY
Aw, Christ! Now they're after me!


118B EXT./INT. VENUSVILLE STREET - DAY (LATE) 118B

Melina, Quaid and Benny turn out of the alley onto a street.
Richter and Helm follow a short distance back. Before they
can shoot, Melina, Quaid and Benny round the corner into the
dead-end alley that leads to the Last Resort.


119 EXT. LAST RESORT - DAY (LATE) 119

The Bartender holds open the door. Melina, Quaid, and Benny
dash inside.


120 INT. LAST RESORT - DAY (LATE) 120

Melina leads Quaid and Benny through the crowd to the back of
the brothel.

MELINA
Tony!

With rehearsed precision, Tony opens a concealed panel in the
rear wall. Melina, Quaid and Benny charge through the secret
doorway. Quaid stops for just a moment, and faces Tony.

QUAID
Thank you Tony.

Immediately, Tony and the Bartender close the panel, move the
table into place, sit down, and manage to act non-chalant just
as Richter and Helm charge inside, guns drawn.

HELM
Spread out.

The room falls quiet. Richter and Helm wade into the club and
look around. SOLDIERS arrive and stand by the door. Richter
comes across Mary who's descending the stairs.

MARY
What to have some fun?

RICHTER
Where are they?

MARY
What are you talking about. I don't
know...

BANG! Richter shoots Mary in the back. Then he points his
gun at Thumbelina and holds it on her.

RICHTER
Maybe you know.

Before she can respond, Tony comes from behind Richter and
kicks the gun away. Helm pivots to shoot Tony, when
Thumbelina reaches up with a Bowie knife and guts Helm like a
fish.

RICHTER
Kill 'em!

Richter runs from the stairs to the front of the Last Resort
through the crowd and kicking and hitting two miners on his
way to the window. He reaches the window and jumps through
and escapes.

121 121
thru OMITTED thru
122 122

123 EXT. LAST RESORT - DAY (LATE) 123

TEN SOLDIERS rush up just as Richter tumbles into the street.
They cover his retreat with a rain of bullets.

Richter dashes for cover behind a car The soldiers exchange
fire with rebels who snipe at them from inside the Last
Resort. Everett calls to Richter to come to the car and take
a call on the videophone.

EVERETT
Richter! Call from Cohaagen.

RICHTER
This is Richter sir...I've got them
pinned down.

COHAAGEN
Stop fighting and get out.

RICHTER
They've got Quaid! They're protecting
him!

COHAAGEN
Perfect!...Get out of Sector G. Now.
Don't think. Do it.

RICHTER
Yes, sir.

Cohaagen hangs up. Richter just shakes his head.

RICHTER
(to Everett)
Pull them out.

EVERETT
O.K., everybody pull out!

124 124
thru OMITTED thru
125 125

125A INT. MINING HUB - DAY (LATE) 125A

Quaid, Melina and Benny arrive at the hub and head toward a
tunnel on the far side of the plaza....SQURRCHANG!! Down
comes a fire door. They rush to the next
tunnel...SQURRCHANG!!! Too late. Now they really pour it on,
and crouch, roll, and dive under the last door
before...SQURRCHANG!! The whole hub is sealed off.


126 EXT. VENUSVILLE PLAZA - DAY (LATE) 126

Soldiers finish backing into tunnels that lead to town.
SQURRCHANG!!! SQURRCHANG!!! SQURRCHANG!! Richter and his
group back out last. SQURRCHANG!!

Venusville is sealed off. The streets are empty and quiet.

The rebels from the Last Resort cautiously come out of hiding
and mill about the eerily deserted area. Slowly, gradually,
others join them. Madame Fatima and her Little Girl stand in
front of the giant fans.

A mechanical SHUDDER startles everyone, and the ambient noise
level of the area grows MARKEDLY QUIETER. The breeze of the
fans stops blowing Madame Fatima's hair.

The fan blades slow down, condensing from a blur of motion
into hard metal. They come to a stop.

Silence. Dread.


127 127
thru OMITTED thru
128 128

129 INT. CATACOMBS - NIGHT 129

DARKNESS. A circle of light slides into frame, illuminating
MUMMIFIED CORPSES that lie in niches in a tunnel wall.


130 INT. CATACOMBS - VARIOUS - NIGHT 130

Melina leads Quaid and Benny through a labyrinth of narrow
corridors honeycombed with open tombs.

Benny lingers behind, examining the dried bodies.

MELINA
The first settlers are buried here.
They worked themselves to death, but
Cohaagen ended up with all the money.
He built cheap domes and watched their
kids turn into freaks.

QUAID
I saw them.

BENNY
(from a distance)
And if you wanna breathe, you gotta
but his air.

MELINA
But maybe you can change all that.

BENNY (O.S.)
I think my grampa might be here.

While Benny stops to inspect a mummy, Melina and Quaid proceed
alone into the next chamber.


131 INT. CATACOMBS/SITUATION ROOM ENTRANCE - NIGHT 131

QUAID
What can I do?

MELINA
Kuato's gonna make you remember a few
things you knew when you were Hauser.

QUAID
Like what?

MELINA
All sorts of things.
(off-handed)
You might even remember you loved me.

QUAID
I don't need Kuato for that.

MELINA
(glances back, dubious)
Oh, since when?

Quaid pulls Melina to him and stares into her eyes.

QUAID
Melina, I've been dreaming about you
every night ...till I couldn't go on
with my life.

He kisses her passionately. And they keep kissing.

Behind them, some of the corpses start to move! Slowly, they
slide out of their niches and converge on Quaid and Melina,
who are oblivious to their danger. The zombies get closer
and closer.

Quaid and Melina opens their eyes and see the zombies!

MUTANT LIEUTENANT (O.S.)
Freeze...

A MUTANT LIEUTENANT and another rebel walk out through a bank
of niches which is actually a concealed door.

MUTANT LIEUTENANT
Come on Melina. Kuato's waiting.

The zombies pulls of their masks, revealing normal rebel
fighters with rifles slung behind them.

At this point, Benny blithely rounds the corner and catches
up.

BENNY
Well I didn't find him, but...Oh, shit!

The rebels point their rifles at Benny, who freezes.

MUTANT LIEUTENANT
Who's this?

MELINA
He helped us get away.

BENNY
(nervous)
Don't worry. I'm on your side.

Benny grabs his right arm and twists it off! Underneath his
prosthetic limb is a DEFORMED NUB with a few vestigial
fingers. The mutant Lieutenant and the others look with
sympathy at Benny's handicap. Benny then stretches out his
arm, and an ADDITIONAL FOREARM unhinges like a Pterodactyl
wing.

Even the mutant Lieutenant is grossed out -- and convinced.

LIEUTENANT
All right. Let's go.

The Lieutenant leads them through a narrow tunnel into the...


132 INT. SITUATION ROOM - NIGHT 132

A large force of armed Rebels has assembled in platoons.
The mood is very dark. They stare at Quaid.

LIEUTENANT
(to Benny)
You wait here.
(to Quaid and Melina)
Follow me.

The Lieutenant escorts Quaid and Melina across the room to
a table where the COMMANDING OFFICER and several other
OFFICERS are gathered around a VIDEOPHONE.

The Commanding Officer is George! He communicates with Tony
at the Last Resort. Tony breathes with difficulty, as do
the customers, staff, and children in the background.

GEORGE
Drill through to Section M.

TONY
We can't. Cohaagen depressurized the
tunnels. And they're rigged to blow
up.

George looks over the monitor and sees that Quaid and Melina
are being led over to him.

GEORGE
Okay, sit tight. Melina just got here
with Quaid.

TONY
(gasps for a breath)
I hope he was worth it.

GEORGE
So do I.

They exchange a solemn look, then George ends the call. He
turns to Melina and manages a fain