Total Recall (1990)

"TOTAL RECALL"

Screen Story and Screenplay

by

Ronald Shusett and Dan O'Bannon

Fifth Revision

by

Ronald Shusett and Steven Pressfield

______________________________________________________________________________

"TOTAL RECALL"

FADE IN:

1      EXT. DESERT - DAY

All we can see, filling the entire frame is a flame-orange sky...almost like the sky from the burning of Atlanta in       "Gone with the Wind".

SUPERIMPOSE: Presenter credit.

PAN DOWN lower and lower until we see the terrain below...       the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in       the process.

SLOW DISOLVE

OPENING CREDITS BEGIN.

ANOTHER SHOT of a barren landscape, once more with bizarre rocks. Dust. Sound of wind. CAMERA MOVES FORWARD again. DISSOLVE.

ANOTHER LANDSCAPE, but this time, in the distance are some enormous plastic domes. Sunlight striking them and reflect- ing causes brilliant rainbows. CAMERA optically tracks toward the dome, seen in tantalizingly indistinct fashion through the red dust. DISSOLVE...

ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is       reminiscent of the Egyptian sphinx, but both body and face,        though gargoyle-like, are different in design.)  There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE.

CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems.

As CAMERA APPROACHES one of the eyes, it appears to be       stained red glass, as in a temple. Suddenly there is a       terrific explosion and the glass shatters into millions of        fragments which hurtle toward the camera...

2      INT. CATACOMB BELOW "SPHINX" - DAY

A MAN wearing a LIGHTWEIGHT THERMAL SUIT is RUNNING THROUGH THIS LABYRINTH of TUNNELS. The GROUND TREMBLES under him, as if in an earthquake. We cannot clearly make out his face, especially since he wears some kind of BREATHING APPARATUS over a portion of it.

The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal.

The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a       SATANIC suggestion to the scene.

Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it.

We are ALMOST UP TO THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to       SAFETY.

ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see --       ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED        BACKGROUND.)  It is much like looking at a tableau made out of molten lava.

SUPERIMPOSE MAIN TITLE:

TOTAL RECALL

HOLD.

DISSOLVE TO:

3      INT. BEDROOM IN SMALL APARTMENT - MORNING

DOUGLAS QUAIL and his wife KRISTEN, are asleep in bed.

Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice.

CLOCK (sweetly) Tick, tock, seven o'clock. Time to rise and open your eyes.

They don't budge. Shortly, the clock CHIMES again.

CLOCK (continuing) Tick, tock, seven-oh-one. Time to get up, the day had begun.

Quail's wife stirs. Maddeningly, the clock CHIMES a third time.

CLOCK (continuing) Tick, tock --

Quail reaches out and shuts the clock off. Then he sits up       in bed.

He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in        thought.

He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is       attractive and rather off-hand towards him.

Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers.

QUAIL I dreamed about Mars again... it                  was bizarre, yet is was so real...

KIRSTEN (casual) It's your time of the month again.

Quail looks at her quizzically.

KIRSTEN (continuing;                           world-weary air) At least once a month. Douglas Quail's obsession. For twelve years you've been talking about Mars.

QUAIL People do go to Mars, you know.

KIRSTEN That's right, Douglas. But not you. Not us.

Quail looks crestfallen.

KIRSTEN (continuing;                           disdainful) As it is, we can barely scrape by                  on your lousy ten thousand a week.

She leaves the room. He meditates on what she said, depressed.

4      INT. KITCHENETTE - MORNING

Quail and Kirsten sit at a small table, eating breakfast. On the WALL is projected the front page of a NEWSPAPER.

Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife.

The newspaper headline reads: "RIOTING ON MARS OVER WATER        TAX."

His wife is reading a different article: "Four Women Rape        Man in Park."

KIRSTEN (mumbling) What do they expect ... the way men dress these days ...                  then they scream rape.

Quail is absorbed in his own paper and doesn't hear her.

QUAIL You know -- let's really do it.

KIRSTEN Rape men in the park?

QUAIL No. Go to Mars.

KIRSTEN (withering) Go to hell.

QUAIL We can pool our savings and I've got some sick leave coming, besides my regular vacation...

KIRSTEN (interrupting;                           corrects herself) ...more of a half-wit. For a start a war could break out there any day ...

She gestures toward the TV screen where Martian police are keeping protesters behind a barrier. Some have signs reading "A FREE MARS", "DOWN WITH COHAAGEN", "EARTH - OUT" etc.

QUAIL That's just media talk. They're... (indicating                           the protesters) ...just a minority. They're                  powerless.

KIRSTEN Well, there's a lot of things we need around here before we waste our money on a trip to Mars. We're broke. I'm                  just a slave around this dump. Now if you were capable of                  finding a better job....

The kitchen clock chimes and talks.

CLOCK It's now eight. You'll be                  late!

QUAIL I'll be late!

He jumps up quickly from the table, picks up his coat and briefcase, kisses KIRSTEN's perfunctorily offered cheek and leaves.

4A     EXT. CITY - EARLY MORNING

CAMERA TRACKS with Quail as he walks along the busy modern street towards a subway station. Modern cars (out of focus) pass noiselessly between the camera and Quail. There is a       plaintive tune being played on violin. Quail pauses and gives a wad of notes to the aged violinist, then walks on       briskly.

5      INT. SUBWAY STATION - EARLY MORNING

Quail enters the station. Everybody must pass through a       weapons check before proceeding to the platforms.

TWO ARMED GUARDS stand at either side, as commuters pass through an electronic beam. On a screen, the entire body of each person is seen in X-ray. All of them are clearly carrying a gun in their inside coat pocket.

GUARD No weapon again, Mr. Quail?

QUAIL I keep forgetting, Herb. They frighten me.

GUARD Yeah? Well, it's the law, Mr. Quail. Has been since 1990 they tell me. Tomorrow - ya carry ya gun or ya get reported.

GUARD gestures to his associate. They've obviously been through this with Quail before.

QUAIL Okay. Herb, okay.

Quail walks on to the track area. The train arrives. Signs above each approaching car say "CAR FULL", "ROOM       FOR 10 PERSONS", etc.  Quail goes to a carriage marked "NEW CAR".

6      INT. URBAN TRANSIT TRAIN - DAY

The doors open and the crowd surges on. Quail grabs a       seat. At intervals throughout the car are VIDEO MONITORS on which a NEWS BROADCAST is showing.

NEWSCASTER (V.O.) -- more violence today from Mars's                  strike-torn ore colonies --

Everyone ignores the broadcast -- except Quail, who perks instantly at the word "Mars."

The NEWSCASTER is a young black man.

NEWSCASTER (continuing) ...but Earth Intelligence Operations Director Vilos Cohaagen, clearly worried about the damage to Mars's                  all important tourist industry was today dismissive of the dissident groups....

TV scene switches to a press conference. COHAAGEN, sur- rounded by AIDES, steps in front of a podium packed with news network microphones and cameras. Cohaagen is a       striking, intense man with an obvious air of power.

COHAAGEN We're dealing with a bunch of                 extremists and unrepresentative lunatics. Mars is a happy and prosperous protectorate of Earth...                 and will remain so.

The train stops at another station and more people pile on. Quail tries to watch the broadcast through the bodies passing in front of him and intermittently blocking the image.

REPORTER (V.O.) There have been some criticisms, sir....

COHAAGEN I have no further comment.

The news conference ends and a bright looking young man comes on the screen. Quail continues to watch, though not as interested, initially, as he was by the Mars story. Few of the other passengers bother looking at the screen.

ANNOUNCER Good morning, commuters. This portion of your trip is brought to you by Rekall, Inc. Do you have a dream that never came true? Do you aspire - but only perspire? Has the great adventure passed you by? Then come to... REKALL, where what might have been will have been. For the memories of a                  lifetime... REKALL.

Quail watches the commercial through to the end, but doesn't       seem to take it very seriously. He glances away as a card comes on the screen with REKALL's numbers.

6B     INT. QUAIL'S OFFICE - DAY

Quail is seated at a computer console in a vast beehive of a room. Numerous people are typing information onto the screens. Quail pauses in his typing, thoughtful. He       then types in a little more information, then pauses again. On the screen, a sentence types itself...

WHY HAVE YOU STOPPED? REQUEST MORE INFORMATION.

Quail read it and continues.

9      INT. McCLANE'S OFFICE - REKALL - DAY

Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man.

McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business.

He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk.

QUAIL But... is the process really that effective? A false memory!?

McCLANE (shaking his head;                           smiling) We prefer the term "extra-                  factual implant". Your memory will be complete in                  every way. You will have gone to Mars. We guarantee that.

QUAIL Is it in any way dangerous? I mean, the medical techniques?

McCLANE Not when you deal with qualified operators - like us.

He presses the button again and the normal office returns. Quail looks around, impressed.

QUAIL It's just - incredible.

McCLANE And look at our follow-up program!

He puts items on the desk as he talks.

McCLANE (continuing) Space-flight ticket stub...                  passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at                  random in the future.

QUAIL But... I'll know I hired you. That'll destroy the whole illusion.

McCLANE (smiling; self-                           satisfied) But you won't remember me, or                  having been here.

QUAIL I won't?

McCLANE Your money back if you do! We've never paid out yet.

Quail slumps backs in his chair, overwhelmed.

McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more.

At the press of a button, a list appears on the wall...

A14 MILLIONAIRE PLAYBOY A15 SPORTS HERO A16 INDUSTRIAL TYCOON A17 INTELLIGENCE AGENT

McCLANE (continuing) You can have a new identity for the duration of the trip. Pick one.

Quail's eyes linger on "Intelligence Agent."

QUAIL "Intelligence Agent"... wouldn't                  that be dangerous? I might attack....

McCLANE (airily) No. No. You're a retired agent. Mars was your last mission and you're never to                  break your cover. But you'll                  have got the girl, killed the baddies, and saved the Universe. Not bad, eh?

QUAIL I don't know... about the whole thing... it's all such a fake. I won't really have gone. I won't really....

McCLANE (kind but firm) Let's face it, Douglas, you, and millions of people like you have no chance of ever getting to Mars and you'd                  never qualify as a secret agent for EIO. This - REKALL - is the only way to achieve your dream.

He gets up and walks around to Quail's chair.

McCLANE (continuing) Think about it, Douglas. Think, too, what a terrible boor a real holiday is. Lost tickets, endless arguments, lousy hotels, missed connections, rotten weather... Rekall will supply you with perfect, happy memories.

Quail is thoughtful, willing to be totally convinced.

9A     INT. QUAIL'S APARTMENT - NIGHT

Quail is sitting, distracted, in an uncomfortable modern chair. Kirsten is watching a near-pornographic film on       TV. She casually lights a cigarette.

QUAIL You know that's illegal.

KIRSTEN Yeah? Who's going to report me? You?... wimp....

She watches a torrid love scene on the video.

KIRSTEN (continuing) Screwing around's illegal, too. But just give me half a chance...

Quail looks at her with distaste. His expression changes to one of resolve.

10     INT. MEMORY STUDIO - DAY

Quail is stretched out on a plush reclining couch, alongside some strange-looking lab equipment, wearing a hospital-type smock. In the b.g. hovers a TECHNICIAN, adjusting some instrumentation (discreet banks of computers, etc.) -- that apparently relates to the lab equipment next to Quail. The room in a dim, soothing booth, lit by indirect lighting.

Quail looks a little concerned as he studies all the instrumentation next to him -- as one always does at the dentist's, looking at the drills.

The door opens abruptly, in walks a cute-looking LITTLE OLD LADY, wearing a JOGGING SUIT. (A RUTH GORDON-TYPE.)

OLD LADY Hi, I'm Doctor Sophie Lull. Sorry I'm late. (walks toward                           coat closet) I'll be right with you.

She dons a white medical smock that covers her jogging suit, then slings on heavy, lead-lined protective vest.

QUAIL (looking at                           instrument                            console) This really going to work?

LULL It the Pope Martian?

Lull's assistant, the TECHNICIAN in b.g., who had been steadily working on the instrumentation, now looks over at Lull.

ERNIE (TECHNICIAN) (at machine) Okay -- that's it.

Now, Lull extends a long rubber tube, a hypodermic needle attached to it. Quail eyes it warily. She swabs the back of his hand in preparation, notices his apprehension.

LULL Now, just relax, kid. This ain't gonna hurt. Just a                  controlled drip of Narkadine. When you're under, I'll just ask ya a few questions, nothin' real personal, just full details of yer private life so's we can tailor the wish-fulfillment program to                  your needs.

She injects the needle into his hand as she speaks, tapes it down.

LULL (continuing) See? Painless. I didn't feel a thing. Hey, you're a nice kid... you like a little somethin' extra?

Quail, embarrassed, starting to go under, nods.

LULL (continuing;                           pleased) Good! Kid -- have I got a                  girl for you! She's gonna like you. You're good-lookin'. (beat) Gettin' sleepy? (he nods) Good. Now, what's the first thing you think of when you're                  thinkin' about Mars?

QUAIL (wistfully) Well... I'd like to see the Martian Sphinx...

LULL Okay -- you will, Dougle! I                  want ya to start counting backwards from a hundred for me.

QUAIL (sleepily) One hundred... ninety-nine...                  ninety-eight... ninety-seven...                   ninety-six... ninety-five....

His voice drops off; his eyes close. Lull studies him, adjusts some instruments, then turns to Ernie, glancing briefly at a typed sheet in front of her.

LULL Okay, Ernie, the trip to Mars; number sixty-two... and throw in that blonde... We'll give him a real good time.

ERNIE Sixty-two... and... the blonde...

He takes two discs and inserts the first one into a machine.

ERNIE Boy, is this one wild. He                  won't want to come back.

Ernie inserts the second disk.

LULL Dougie? This Sophie Lull. Can ya hear me?

QUAIL ...Sophie....

LULL Good! ... I'm gonna ask ya                  a few more questions now. Ya                  think you'll be able to                   answer 'em?

QUAIL ...Yes....

LULL Attaboy! To begin with, I                  wanna ask ya; -- You sex life. How many orgasms a                  week?

11     INT. McCLANE'S OFFICE - DAY

McClane has several file drawers open and is removing diverse objects and placing them on his desk.

These items apparently are objects Rekall, Inc. intends to "plant" for some client of theirs to find (perhaps       even Quail) -- as part of his fantasy.

While he is putting these things on his desk, the PHONE BUZZES. He answers it.

McCLANE Yes?

LULL (V.O.) (filtered;                           tense) Howie? Listen, you'd better get in here.

McCLANE (not too                           concerned) Not another schizoid embolism.

LULL (V.O.) (filtered) You'd better get in here.

12     INT. MEMORY STUDIO - DAY

McClane come quickly in, brushing the swinging door open.

Lull and Ernie look up as he enters. Quail lies on the couch, breathing slowly and regularly, his eyes closed. McClane looks queryingly at Lull, who motions him to       silence.

LULL (bends over                           Quail) Quail? Dougie, can you hear me?

QUAIL Yes.

LULL Tell McClane what you told us.

McClane glances sharply at Lull, then turns to Quail.

Quail's eyes open and scan the room. They settle on       McClane. These eyes have changed: they have become cold and steely. In fact, Quail's entire personality seems to have changed -- his face has acquired a flint- edged hardness. He is chillingly menacing.

QUAIL (a deadly                           voice) All of you in this room are dead.

McCLANE (not quite                           taking it                            seriously) What's he talking about?

QUAIL You've broken my cover.

McCLANE What is this?...

McClane's eyes flash angrily at Lull.

LULL The Narkadine cracked a memory cap. Mars -- (she's scared) He's really been there.

There is a chilly silence in the room as McClane digests this.

McCLANE Forced suppression?

ERNIE With spontaneous breakthrough.

McCLANE Holy shit.

They stare at Quail as if he's a ticking bomb.

QUAIL (coldly) You've compromised the Sphinx Project. You'll have to be                  silenced.

Now they're all panicked.

McCLANE Wait a minute. Quail --

QUAIL My name isn't Quail.

McCLANE Listen... whoever you are...                  sir.... (almost                           pleading) ...This is all an accident. We'll destroy all the records. No one will know. I swear it. Believe me.

QUAIL I believe you, but that won't                  stop E.T.O. from killing you.

The Rekall people stare at each other in quiet horror.

QUAIL (continuing) Killing you... killing you...                  killing you....

His voice trails off, his eyes close.

LULL (intensely) He wants a false memory implanted -- of a trip he                  really took. (pause) Someone at Earth Intelligence Operations erased his memory. All he know was going to Mars meant something special to                  him.

ERNIE What do we do? Graft a false memory pattern over the real memory of the same thing?

LULL (shaking her                           head) Uh-uh... That could promote a partial breakthrough of                 the real trip.

McCLANE (overlapping) Revive him without any false memory implantation and get him out of here.

LULL Why don't we just wipe out the memory of his visit here?

McCLANE (nodding;                           relieved) Yes. Good. I'll destroy his file and cancel his fee. I have a feeling that the longer he doesn't know who he is, where he's been, where he's going and who we                  are, the better off we'll                   all be. I'm taking a holiday. A real one.

He leaves. The others stare after him, looking very grim.

12A    INT. RECEPTION AREA OF REKALL - DAY

A dazed and disoriented Douglas Quail comes out of an       inner door and walks through the lobby towards the exit door.

An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress.

12B    INT. ELEVATOR - DAY

Quail travels down. Uncomprehendingly, he looks out at       the city.

12C    INT. BUILDING FOYER - DAY

Quail stumbles through the fairly crowded foyer, oblivious to anything around him. A red-headed man may or may not be       watching him. He makes a phone call from a pocket phone.

12D    INT. ROBOT TAXI CAB - AFTERNOON

Scene open on Quail, in the back of the cab; he looks around, slowly coming to his senses.

QUAIL Where am I?

DRIVER Travelling south along Third Avenue, passing Fourty-third street.

Although the driver's voice is a little mechanical (flat       in tone) he is filmed from Quail's POV, and it isn't        obvious he is anything other than an ordinary cab driver.

QUAIL Where am I going?

DRIVER Thirty-three thirteen "G" Street, Sector "L", Twin Towers, Apartment six-thirty- five.

QUAIL How did I get here?

Camera now cuts to a shot in front of the driver. He is       a fairly human-like robot.

DRIVER I don not understand the question, sir or madam.

QUAIL How did I get into this cab?

DRIVER You stepped into it in the normal manner, sir or madam.

15     INT. CORRIDOR OF QUAIL'S APARTMENT - DAY

The reception area and hallway leading to the elevators is       smart and clean, though not lavish. A uniformed and armed DOORMAN is standing by the entrance door.

Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky.

1ST AGENT Aren't you the man from Mars?

He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him.

2ND AGENT Don't give us a reason to                  kill you.

Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out...

QUAIL Mr. Zimmer...Mr. Zimmer...                  help me... they're...

But the doorman turns calmly away.

16     INT. BASEMENT CAR PARK - DAY

The two men lead Quail past a number of cars to their own vehicle.

QUAIL Where are you taking me?

1ST AGENT You told everyone at Rekall about you trip to Mars. Where you went, who you worked for, what you did --

QUAIL But I didn't... Are you telling me... I did go to Mars? I                  don't remember?

1ST AGENT You've remembered too much. The Sphinx Project, for a                  start....

QUAIL (confused;                           remembers only                            fragments) Sphinx?... No, no, I don't,                  I... What about the people at Rekall? I don't recall Rekall but you said if they know what I did? Why don't                  you ask them? They'll tell you I didn't...

1ST AGENT They've been taken care of.

QUAIL What do you mean?

Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates.

QUAIL (continuing) What are you going to do with me?

1ST AGENT Get in the car.

He slaps Quail hard across the face. Quail is terrified. He is tearful with fear.

QUAIL My God! No! You're going to                   kill me!

He cringes. His hands across his face.

1ST AGENT No one's going to kill you if                  [you do what you're told.] We're visiting E.I.O. for some new tests. Now get in, or do                  we start playing rough?

QUAIL No! It's not my fault! You can't do it!

They start to force him into the car physically.

Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression.

QUAIL (continuing) Wait a minute, I remember --

1ST AGENT What, Quail? What do you remember?

QUAIL On Mars... they tried to kill me... And....

QUAIL TRANSFORMS INTO A HIGHLY SKILLED KILLING MACHINE.

In an instant, he karate-chops both agents across the windpipe, and they crumple to the ground.

Quail steps back. He stares at the two bodies, incredulous; then stares at his own deadly HANDS. It is as though they belong to someone else.

Then, leaving the two agents sprawled across the alley, he       races back into the basement door of his building.

18     INT. QUAIL'S APARTMENT - EVENING

Kirsten is watching another pornographic video when Quail bursts in. He is still disoriented.

QUAIL Did you know I've been to                  Mars?

Kirsten gets up and turns off the movie.

KIRSTEN What! This stupid obsess...

QUAIL (interrupting) I think I've been. I vaguely recall...

KIRSTEN Doug, you've got to forget...

QUAIL (interrupting) Forget? Remembering is the problem I must've been to one of those artificial memory places...

KIRSTEN Oh my God...

QUAIL But something went wrong... something about a real memory... and then those men... tried to kill me.

KIRSTEN What men? Doug, you're crazy.

She starts to mix a drink from a well-stocked cabinet.

KIRSTEN (continuing) You're here now. They didn't                  kill you.

QUAIL No. That's what's so amazing. I killed them. I think...

Kirsten stops pouring her drink and look at him sharply.

KIRSTEN Where? Where are they?

Quail points down with his finger.

KIRSTEN (continuing) Doug! It's something they put into your mind at the memory place. Fantasies. That's their business.

She sips her drink.

KIRSTEN (continuing) You're a computer operator. You're a bore. You're a                  wimp. You're not a killer.

QUAIL I'm involved somehow with E.I.O. It's true. It's no                  fantasy.

He walks around the apartment drawing curtains and putting out the lights.

KIRSTEN Doug, I want you to see a                  doctor. Now Alec and Shirley Turnbull have a good man. He                  helped Alec through his breakdown.

QUAIL For fuck's sake, this is no                  breakdown!

Kirsten is taken aback at his use of language. He strides into the bathroom and slams the door. She turns on one lamp, goes to a telephone and dials.

19     INT. BATHROOM - TWILIGHT

Quail takes a washcloth, turns the hot water up full and soaks the cloth under the steaming water. Using it as a       compress, he presses it against his face and his neck, to        drain off some of the tension.

He turns off the water. Towelling his head dry, he opens the bathroom door.

The instant he does this, a blinding white BURST OF LIGHT comes arcing into the bathroom, and the back wall crinkles and CHARS into a swatch of blackness.

QUAIL DIVES OUT THE DOOR, just as ANOTHER BOLT incinerates the spot where he was standing.

20     INT. LIVING ROOM - TWILIGHT

THE ROOM IS IN TOTAL DARKNESS. The only thing visible is       the pale rectangle of the balcony window, with the curtains drawn over it.

QUAIL and his ASSAILANT cannot be seen -- but they can be       HEARD. There is the sound of a SCUFFLE -- the meaty THUD of a FIST CONNECTING WITH FLESH -- and a painful GRUNT as       someone's breath whooshes out.

The LIGHT COMES ON. Quail is standing with one hand on the lamp, and the other twisting KIRSTEN's arm up behind her back. A pistol lies on the floor. Quail is totally stunned. He releases her arm, shoving her away from him, at the same time scooping up the pistol.

QUAIL My God! Did you say I need a                  psychiatrist?

KIRSTEN (coolly) I haven't seen you move that fast since I've known you.

QUAIL (outraged) How could you do it? After eight years!

KIRSTEN I'm not your wife, Quail.

QUAIL Not my wife! You are out of                  your mind.

KIRSTEN (indifferent;                           nursing her                            arm) It's a false memory implant. I never saw you before six weeks ago.

Quail is totally disoriented.

QUAIL Why are you lying like this?

KIRSTEN No, Quail. It's true. You work for E.I.O. So do I.

As she speaks, she walks to a picture on the wall and from behind it pulls out a small wallet. She flips it open to       show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation".

QUAIL (indicating their                           surroundings) But why all of this?

KIRSTEN (shrugging) We had to watchdog you...make sure the erasure took. A wife seemed like a good idea.

QUAIL But I remember it! All of                  it!... Us!

KIRSTEN All implanted.

QUAIL Our friends... my work...                  eight years.

KIRSTEN The job's real -- you've had is six weeks -- since you got back from Mars.

He sits down, holds his hand to his head.

KIRSTEN (continuing) It's all a fabrication, Quail. Everything you know.

QUAIL This is crazy! If all my                  memories are false, who am                   I?  What am I?  Jesus... it's                  like I don't exist.

KIRSTEN You exist, all right. (very cold) That's the problem.

A pause as Quail mentally gropes frantically, for what to       do next.

QUAIL Why did you try to kill me? Why does E.I.O. want me dead?

KIRSTEN They don't particularly. That was my idea. This assignment was boring me to death. The personality they gave you wasn't too thrilling.

QUAIL Well, what did I do on Mars that they have to keep me from telling?

KIRSTEN I've no idea. I just work here.

QUAIL All right... I'm leaving. Don't try and follow me --

KIRSTEN I don't have to follow you. You can't get away from E.I.O.                  Nobody does.

Quail looks at her as if seeing her for the first time.

QUAIL No wonder you got the role as                  my bitchy wife -- type casting.

He leaves. Kirsten smiles secretively. She goes to a       drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as       the instrument  begins to make BEEPING SOUNDS.

21     EXT. STREET OUTSIDE QUAIL'S APARTMENT - NIGHT

Quail walks briskly out onto the street, controlling his paces, trying not to look suspicious. After a beat, he       heads for the nearest subway entrance.

22     INT. SUBWAY STATION - NIGHT

Now underground, Quail tries to blend in with the other subway people. He heads toward the weapons check.

23     EXT. STREET SUBWAY ENTRANCE - NIGHT

An OFFICIAL VEHICLE slams to a halt next to the subway entrance and a whole load of INTENSE MEN pours out of it.

24     INT. SUBWAY - NIGHT

Quail now shuffles along in a lineup of people waiting to get through the WEAPONS CHECK. He tries to control his nervousness. He passes. The guard smiles at him, pleased to see he has remembered his gun.

25     INT. SUBWAY - NIGHT

All the men with guns drawn come pouring down the subway stairs. The SUBWAY COPS and WEAPONS CHECK are stunned to       see four large men brandishing guns push their way through the weapons check gate without seeming to notice them. One gunman flashes a HOLOGRAPHIC BADGE ENCASED IN PLASTIC at       them.

The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly.

FIRST GUNMAN Fuck it!

The second gunman adjusts a small plug - a radio receiver - in his ear.

SECOND GUNMAN (EARPLUG WEARER) We won't be able to track him again until he comes up above ground!

26     INT. SUBWAY CAR - NIGHT

Quail sits in the subway car as it barrels through the night, not knowing exactly where he will go. He is       confused, distraught. A commercial comes onto the video.

TV AS VOICE OVER Tired? Exhausted? Need a                  vacation? Don't settle for memories, experience the real thing. Daily departures on the space shuttle to Mars. Visit the wonders of....

27     EXT. SUBWAY STOP - NIGHT

Quail emerges from underground and looks around. The streets are almost deserted.

28     INT. MOVING OFFICAL VEHICLE - NIGHT

THE GUNMEN SIT IN THE OV. The one with the ear plug [suddenly talks.]

EARPLUG WEARER Coming in again. Loud and clear.

He looks down at an illuminated street map built into the car's dashboard.

28A    EXT. SUBWAY STOP - NIGHT

A cab comes into view. Quail quickly hails it and jumps in. Cab moves off.

28B    INT. CAB - NIGHT

Quail is still pondering what to do next. He glances out one window, though not at anything in particular. Suddenly, the silence is shattered as bullets rip through the window on the other side. Quail ducks to the floor.

28C    EXT. CAB - NIGHT

A wide shot shows that the cab is being fired on by a man leaning from the window of an official patrol vehicle. He       is aiming at the tires and driver, rather than directly at        Quail.

28D    INT. CAB - NIGHT

Bullets are still pouring in.

ROBOT DRIVER (unemotionally) You are being fired on, sir or madam, please leave the cab at once.

From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to       notice his exit.

28E    EXT. STREETS - NIGHT

Cars continue, as Quail picks himself up from the gutter and moves off down a narrow side street.

28F    INT. CAB - NIGHT

ROBOT DRIVER [Please....]

Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking.

ROBOT DRIVER (continuing) ...leave the cab as bullets are hitting the vehicle in                  considerable quantities.

28G    EXT. STREETS - NIGHT

The taxi mounts the footpath and smashes through the display window of a store. Clothes models are scattered and broken. When the noise abates, the severed head of the robot driver is lying among the dummies.

ROBOT DRIVER This company, sir or madam, will institute legal action for damages...

29     EXT. STREET - "END OF THE LINE" HOTEL - NIGHT

Quail emerges from the side street and sees "End of the       Line" Hotel. It is clean, bland, middle class. He quickly crosses the road and enters.

29A    INT. "END OF THE LINE" HOTEL LOBBY - NIGHT

The foyer is brightly lit and empty. Quail approaches the DESK CLERK, who is reading a book. "Dr. No", marked, in       flowing script, "from the classic series".

DESK CLERK (without looking                           up) Help you, sir?

QUAIL (handing over                           money) A room for the night.

DESK CLERK (reluctantly                           putting down                            the book) ID.

QUAIL (handing over                           money) Here's ten thousand. Forget the ID.

DESK CLERK looks up at him, with interest. His hand hovers over the money.

QUAIL (continuing) I have a liaison with a                  lady... and I'm married...

DESK CLERK I understand, sir. Nothing like a bit on the side, eh? Bit of fugitive flesh. The greatest aphrodisiac is a new body, wouldn't you say, sir?

Quail looks at him with distaste but is only anxious to       be given the key to his room. He says nothing.

30     INT. "END OF THE LINE" HOTEL ROOM - NIGHT

Quail unlocks the door and enters. No sooner does he       relock the door then THE PHONE RINGS. He freezes, stares at it for three rings, then picks it up.

QUAIL (into receiver) I told you, I don't want to                  be disturbed.

TELEPHONE VOICE (filtered) If you want to live, don't                  hand up.

Quail is stunned. He says nothing, but doesn't hang up.

TELEPHONE VOICE (continuing;                           filtered) They've got you bugged...                  They're gonna find you. Faster than you can say "Back                  Rodgers". (quickly) And don't bother shaking down your clothes -- the monitor is embedded in your skull.

QUAIL (reeling) Who are you? What the hell is this?

30A    INT. BAR BASEMENT - NIGHT

The man telephoning Quail is calling from a bar. Occasion- ally people pass him on their way to the toilets. He is       youngish and conservatively dressed. He speaks rapidly and urgently.

TELEPHONE VOICE Take a wet towel and wrap it                  around your head. That will deaden the signal. It'll                  take longer for them to                   pinpoint you.

30B    INT QUAIL'S ROOM - NIGHT

QUAIL Why should I trust you?

TELEPHONE VOICE (filtered) There's a real old saying - "Beggars can't be choosers". Go and soak your head!

Quail puts the phone down and rushes to the bathroom.

30B1   INT. PATROL CAR - NIGHT

The earphone wearer and driver are moving in on the signal generated by Quail's bug. Suddenly, the small illuminated cross on the dashboard map cuts out.

EARPHONE WEARER Shit!

DRIVER Cut the language, will ya?

EARPHONE WEARER It's gone! Some...malfunction...

Unscientifically, he prod the screen.

DRIVER (world-weary air) Toldya the Martian assembled [stuff don't work.]

30B2   INT. QUAIL'S ROOM - NIGHT

Quail rushes back into the room with a wet towel, turban-like, wrapped around his head. He rapidly picks up the phone.

QUAIL Keep talking.

TELEPHONE VOICE (filtered) Head over to Skid Row -- to                  the Lucky Stub Pawnshop -- corner of Park Avenue and Fifty-eighth. Tell the man you're Mr. Hotchkiss; you came for your Grecian candlesticks.

QUAIL (infuriated) What do I want with Grecian candlesticks!

30C    INT. BAR BASEMENT - NIGHT

The man on the phone looks around anxiously.

TELEPHONE VOICE Just do it! This is no time for small talk.

QUAIL (V.O.) (filtered; not                           quite convinced) How did you know where to                  find me?

TELEPHONE VOICE I've been tailing you since you get back from Mars.

30D    INT. QUAIL'S ROOM - NIGHT

QUAIL You're E.I.O. You're on the other team.

TELEPHONE VOICE (filtered) I'm E.I.O. But I was your best friend. Scott Stevens - we arranged this...

QUAIL (trying to                           recall) I can't remember - only bits...

TELEPHONE VOICE (filtered;                           overlapping) I was your fail-safe -- if and when the shooting started. Good luck. Look me up if you remember me.

30E    INT. BAR BASEMENT - NIGHT

Scott Stevens hangs up the phone. He looks around cautiously, then walks a few steps to the mens room.

30F    INT. MENS ROOM - NIGHT

Scott Stevens walks to the row of troughs and begins to       urinate. The room is empty. He hears a noise and looks around. Two EIO men are standing there aiming lethal-looking high-velocity weapons at him. One of them is the red-headed man we've already seen.

1ST MAN (RED-HEADED) Well, look at that. He's                  really got his hands full.

2ND MAN Not so full, so I've heard.

Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. He collapses in an undignified heap, his head in the water at the base of the trough.

31     INT. "END OF THE LINE" CORRIDOR - NIGHT

Quail, with towel around his head, glances up and down the corridor -- spots a sign that says "FIRE EXIT". He races towards it.

32     EXT. "END OF THE LINE" FRONT ENTRANCE - NIGHT

The OV slams up in front of the hotel and a carload of       MEN tear out of it and barge into the hotel.

32A    INT. "END OF THE LINE" HOTEL LOBBY - NIGHT

The startled clerk jumps to his feet as the group of       armed men enter rapidly.

EARPHONE WEARER Quick. The guy who checked in fifteen minutes ago.

CLERK (nervous) Room...thirty-six.

Most of the armed men instantly head off up the stairs, their weapons at the ready. Clerk watches, astonished.

CLERK (continuing) He was only meeting a lady... Aren't you guys overdoing it                  a bit?

32B    EXT. STREET - NIGHT

Quail is walking along briskly, still with the towel around his head. A few passers-by look at him curiously. He puts his hand together and greets them Indian-style.

33     EXT. PARK AVENUE - NIGHT - CLOSE ON STREET SIGN

which reads: "PARK AVENUE / 58TH STREET".

PULL BACK to reveal "The Lucky Stub Pawnshop". WINOS lurk on the corner. Park Avenue has deteriorated into a slum.

QUAIL ENTERS FRAME, and approaching the pawnshop, stepping over a BUM in a doorway.

34     INT. PAWNSHOP - NIGHT

Quail is just entering; an old-fashioned BELL overhead, tripped by the door opening, announces his entrance.

At once, an immense FAT MAN emerges from the back room.

PAWNBROKER You wanta camera? I got some good, top-quality ones. You want silk rugs? Handmade last century in Iran...all perfect. You want videos? Old movies... classics...all those Vietnam war ones...real quaint stuff...                  you want...

QUAIL (interrupting;                           awkwardly) I'm Hotchkiss...I came for the...Grecian candlesticks...

The Fat Man studies him warily for a long moment; then he disappears through the curtain.

In a brief moment, he emerges again, carrying a small, "makeup-sized" case, as well as two large candelabra.

The Pawnbroker puts the case on the counter. Quail looks at the case with curiosity.

QUAIL (continuing) I wonder if you could tell me...

They both look around as someone enters.

PAWNBROKER I trust these will look well in you... mosque.

35     INT. FLOP HOUSE - NIGHT - CLOSE ON HANDS

Opening up the small case.

PULL BACK to reveal they are Quail's hands. The hotel room he's now in is obviously a different one than the last one we saw him in. The room is large but run-down, the walls are peeling, the architecture is much older, etc.

Quail examines the contents of the case: there are CREDIT CARDS and also MONEY, several stacks of bills, neatly tied -- some of it the conventional green, but most of       it red.

CLOSE ON RED MONEY

On the face of it is printed: "MARS FEDERAL COLONY".

QUAIL (mutters) Martian money....

Quail thumbs through the money, and whistles softly to       himself as he sees how much there is.

Also in the case are: TWO PASSPORTS;  a small CASSETTE RECORDER; a rolled-up LEATHER POUCH and a spray can of        some sort;  and a strange thing that looks like a silver mask. He examines the face mask, studies BLACK LETTERS WRITTEN ACROSS IT (which we are not close enough to read) and then puts it aside. Another item now catches his eye: a wristwatch. He sees a conspicuous red button on       the side of the watch, and PRESSES IT. INSTANTLY, TO HIS SHOCK, QUAIL SEES A MAN MANIFEST HIMSELF HIMSELF OUT OF       THIN AIR AND STAND THERE IN THE ROOM A FEW FEET AWAY FROM QUAIL: he's an EXACT HOLOGRAPHIC DUPLICATE of Quail -- down to the clothes Quail is wearing now.

The image stands and watches Quail.

QUAIL (continuing) What the hell...?

Quail smiles, presses the red button again. There is a       HUMMING SOUND -- and the man FADES INTO THIN AIR -- like a television set being turned off.

Quail looks bemused.

Now he unrolls the leather pouch and looks inside. There he finds what look like SURGICAL INSTRUMENTS; a sponge, a long piece of wire doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve.

He turns on the cassette recorder.

The VOICE he hears on the cassette TAPE is HIS OWN!

CASSETTE VOICE (V.O.) (Quail's voice) "Hauser, this is Hauser -- or                  whatever you think your name                   is now.  If you're listening                   to this, I'm talking to myself.                   Your memory's been erased and                   you've got a wet towel around                   your head.                           (he does)                   "The first thing you've got to                   do is get rid of that bug in                   your head."

36     INT. HOTEL BATHROOM - NIGHT

The sound of the tape continues as Quail follows instructions - pushing the wire up into a bloody portion of his neck, just below the ear.

CASSETTE VOICE (V.O.) The monitoring device is                  located in your left maxillary sinus cavity. Make a small incision in your neck just below the left ear, and insert the wire up into the sinus. The head is                  self-guiding. Just shove.

Quail makes a face.

CASSETTE VOICE (V.O.) (continuing) You won't feel a thing. The spray cartridge contains a                  local anesthetic and a blood coagulant. Careful, it's my                  neck, too.

Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter.

37     INT. MOVING OFFICIAL VEHICLE - NIGHT

The man with the ear plug suddenly reacts.

EARPLUG WEARER It's come on again.

DRIVER Where?

The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing.

EARPLUG WEARER He's in that old flophouse. Plaza Hotel. Central Park South.

37A    INT. HOTEL BEDROOM - NIGHT

Quail is anxious to get rid of the transmitter. He looks around and notices a rat trap near a rat hole in the skirting board.

He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He       then throws the cheese into the rat hole.

38     INT. MOVING OFFICIAL VEHICLE - NIGHT

The car is moving swiftly through the streets.

EARPLUG WEARER Boy, he's really moving around.

A CU of the screen shows the small 'x' moving in circles.

38A    EXT. HOTEL SIDE ENTRANCE - NIGHT

The car pulls up. Another follows it. Armed men leap out from both. The EARPLUG WEARER indicates they should go down an alley at the side of a service door. They advance cautiously, guns at the ready. They see no one. The EARPLUG WEARER indicates another, even narrower, alley leading off to one side. Two of the men sneak cautiously up to it, their guns at the ready.

A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to       shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief.

EARPLUG WEARER Ya dirty rat!

40     INT. E.I.O. HEADQUARTERS - MEMORY LAB - NIGHT

OPENING CLOSE on a MONITOR SCREEN slated "HAUSER/QUAIL" followed by a serial number and some dates. The slate vanishes, replaced by a scene of Quail -- undergoing some KIND OF MILITARY TRAINING.

PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc.

TECHNICIANS man the monitors, scrolling through them in       fast-forward and fast reverse as if searching files.

The technicians turn as Cohaagen and his aides enter.

COHAAGEN (demands) Anything?

SUPERVISOR We're running every one of                  his memory tapes for the past fifteen years. Nothing yet, sir.

COHAAGEN There must be something -- some place he would go, some friend he would run to.

The red-haired E.I.O. man joins them.

RED-HEADED MAN (to Cohaagen;                           quietly) They lost him.

COHAAGEN Again?!

The red-headed man nods.

COHAAGEN (continuing) Are you sure the original suppression took?

SUPERVISOR Absolutely, sir. He thinks he's Quail, a computer...

COHAAGEN (interrupting) Then how do you explain what he's doing?

SUPERVISOR Just his instincts. He was well trained by E.I.O.... Maybe the memory cap's fractured. Portions of his prior identity could be leaking through.

COHAAGEN (very anxious) He'll remember Mars? The Sphinx Project?

SUPERVISOR Fragments. Nothing more. Nothing he could piece together. I did advise terminating him, rather than implanting an                  identify alternative.

COHAAGEN What do you think I am? A                  barbarian? We're not living in the twentieth century!

He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl.

COHAAGEN (continuing) Hold it there.

He studies the picture, which changes to show the same girl from different angles.

42     INT. SPACE PORT - DAY

Passengers are boarding a COMMERCIAL SPACECRAFT. In       addition to the STEWARDESSES checking their tickets, there are two PLAINCLOTHES MEN checking every passenger. They carry some kind of small, portable ELECTRONIC DEVICE that they shine in the face of each passenger going through. (It gives off a BLUE BEAM and HUMS.)

The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is       carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP".

The last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close.

PLAINCLOTHES MAN #1 If he had to travel to Mars with that bunch, I'd be sorry for him.

PLAINCLOTHES MAN #2 We couldn't have missed him?

PLAINCLOTHES MAN #1 No way. Let's get a coffee before the next shuttle.

43     INT. SPACELINER - IN FLIGHT

One of the PASSENGERS -- a middle-aged WOMAN - unbuckles her seat belt and heads for the restroom, carrying her handbag, and some clothes on a hanger.

44     INT. LAVATORY - IN FLIGHT

The woman locks the door and turns to the mirror. She opens her bag, takes out a spray container, SPRAYS HER FACE with it, and takes out -- the SILVER FACE MASK we       saw in Quail's emergency kit.

She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask.

She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute.

He reaches inside his dress, starts to REMOVE his "FALSIES."

CLOSE ON MASK

We can read the BLACK LETTERING written across it now: "LASER FACIAL".

45     INT. SPACELINER - IN FLIGHT

Quail exits from the lavatory and glances toward the ebullient tour crowd. He turns and looks in the other direction and sees a video theater advertising "ROCKY 36" with Sylvester Stallone III, Jnr. He isn't too excited, but heads towards it. He pauses a little when an       announcement comes over the intercom.

A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up.

CAPTAIN'S VOICE (V.O.) Ladies and gentlemen, if you'll                  glance out the starboard viewports, you'll behold an                  indeed awesome sight --

Quail goes to a viewport and PEERS, transfixed. He is       seeing... at last... the object of his obsession.

46     EXT. SPACELINER - IN ORBIT AROUND MARS

The SPACELINER -- which we have deliberately not seen before this moment for dramatic effect -- banks and turns, suddenly bringing into view -- MARS.

AN IMMENSE ORANGE GLOBE -- so close it looks like it's       going to fall on us. It dwarfs the spaceliner.

CAPTAIN'S VOICE (V.O.) Those long gorges you see, clearly are the legendary canals of Mars....

The liner drops toward the surface of Mars. Below: a        NETWORK OF INTERSECTING LINES crisscross the planet.

CAPTAIN'S VOICE (V.O.) (continuing) Of course, they are not manmade canals, but vast natural chasms ...many deeper and larger than the Grand Canyon. Though utterly without moisture now, scientists have determined that they were formed by                  massive flooding millions of                   years ago.

47     INT. SPACELINER

Quail stares, his brow furrowing as if with some deep hidden memory he can't quite recall.

CAPTAIN'S VOICE (V.O.) (continuing) Surface temperatures at the Martian equator is minus one-hundred and twenty degrees Centigrade -- in winter. Fortunately, this time of year it's slightly more seasonable: Sixty degrees, Fahrenheit, outside the domes. (beat) Please remember, folks, that outside the domes you'll need to carry your own personal oxygen supply at all times. The atmosphere of Mars is                  almost a vacuum. Thank you for flying with Interstellar and we hope your stay will be                  a pleasant one.

48     EXT. MARS - OUTER SPACE

CAMERA follows the spaceliner until the ENTIRE FRAME is       filled with the RED-ORANGE sands of MARS.

49     EXT. MARTIAN DESERT - DAY

An endless expanse of boulder-studded red sand, under a red-orange sky.

The desert is cut by a ROAD, which snakes across the rocky terrain. Some surface TRAFFIC moves along the road (all pressurized vehicles since the atmosphere       of Mars is almost a pure vacuum) - including the MARSPORT BUS.

PAN WITH THE BUS - TO REVEAL

A CITY UNDER A DOME.

In the midst of the stark, trackless landscape -- it's       midday, scorching -- rises a huge weatherbeaten GEODESIC STRUCTURE, its glass surface scarred by sandstorm damage. Its feeling is like an old Western, when Clint Eastwood rides into Tombstone -- the raw, forbidding vistas, with a tough town carved out of the wilderness.

50     INT. MARSPORT - DAY

Quail is looking out at the desolate landscape. The TOUR ORGANISER, an amiable middle-aged man sits beside him. It is possible he is not a married man.

QUAIL It's no Garden of Eden.

TOUR ORGANISER No. Quite a bit to see, though. The canyons, the old Sphinx...

QUAIL What do you know about that?

TOUR ORANISER Not much, really. Millions of years old. Bit like the one that used to be in Egypt, you know...

QUAIL Yeah. Got destroyed in the Arab wars... What about this independence movement?

TOUR ORGANISER (dismissive) Not worth worrying about. Mostly descendants of the original colonists from Earth. Now they want self-rule so they can sell us all the minerals...                  I don't think we've met. You with our group? Takes me a                  while to know everyone.

QUAIL Sure. Douglas Quail.

TOUR ORGANISER Richard Toltz. (they shake hands) Well, Doug, I hope we'll see a lot more of each other.

55     EXT. CITY (UNDER THE DOOM) - DAY

The bus pulls up outside a modern tourist hotel. The buildings surrounding it have a much more improvised, temporary look. Most are pre-fabricated structures. The streets are crowded and there is a "frontier-town" atmosphere. Stalls sell fruit and vegetables, also water and air containers.

A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome.

Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away....

BOY Smogpsucker!

From the other side of the street, a gang of URCHINS with a harmonica start singing some kind of defiant PATRIOTIC SONG.

DOORMAN You know how it is, sir. Some of these red-asses are a bit prejudiced.

QUAIL Prejudiced? Against what?

DOORMAN Earthmen.

The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus.

QUAIL What are they singing?

DOORMAN The Martian National Anthem.

Quail tips the doorman, enter the hotel.

57     INT. MARS HILTON LOBBY - DAY

Quail passes several kiosks -- a magazine stand, currency exchange, clothing store, shoeshine stand. A SHOESHINE BOY looks up at Quail.

Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in       spotless linen fill the lobby.

Quail stops to examine a large ROTATING DISPLAY sitting on       a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE FIRST WONDER       OF MARS". A recorded VOICE repeats a canned speech --

CANNED VOICE "...the Martian Sphinx...                  only evidence of non-human                   civilization ever discovered                   ...age estimated at over                   eighteen million years...

CLOSE - SHOESHINE BOY

He stares at Quail.

BACK TO SCENE

Quail approaches the Registration Desk.

CLERK Nice to have you back with us, Mr. Hauser.

Quail is startled to be recognized -- particularly by       this name. He tries to stay casual.

QUAIL Nice to be back. (pick up pen) I'm flattered you remember me.

CLERK Part of my job, sir.

QUAIL (starts to sign;                           hesitates) Do you remember my first name, too?

CLERK Charles. Charles Hauser, right?

QUAIL I'm impressed. (now he signs) Listen. I need transportation to the... uh... the Sphinx. Can you arrange it for me?

CLERK I'm sorry, sir. But Earth government has sealed off the excavation site completely. No one but survey teams and archaeologists are allowed closer than twenty miles.

The Clerk taps a few keys on a computer.

CLERK Oh... (spots something                           on the computer) Do you want the item you left with us?

QUAIL What item? Oh... yes, please.

The Clerk turns to the safe, retrieves an envelope. He       hands it -- and an ELECTRONIC ROOM KEY -- to Quail.

58     P.O.V. - THROUGH BINOCULARS - THE SPHINX

Far in the distance, a dusty red structure squats amid barren dunes. We see vehicles, scaffolding, a fortified perimeter.

59     INT. QUAIL'S HOTEL ROOM - DAY

Quail stands at the window, looking through binoculars. He lowers them irritably, tosses them on the bed.

Quail tugs the envelope from his pocket, tears it open. Inside is a single slip of paper, on which is written in longhand:

"MELINA NOEL                          Last Chance Air Station                        Kilometer 61   Gird Square T9"

60     EXT. MARS HILTON - SUNSET

It is now sunset on Mars and it's literally of inearthly beauty. The sun is bold and blood red; the foggy, drip- ping glass of the Dome tints the light into strange colors.

Quail emerges from the hotel, properly attired now in a       white tropical suit, and starts for the taxi stand.

Behind him, also emerging from the hotel, is the Shoeshine Boy. He keeps out of sight -- but is definitely tailing Quail.

As Quail nears the first solar-powered taxi in line, he is       approached by an amiable-looking CALYPSO GUY wearing a West Indian shirt and bright straw hat.

CALYPSO GUY (BENNIE) Need a cab, boss mon?

Quail hesitates, unsure of the protocol.

BENNIE (continuing) Mine's right around the corner.

QUAIL (indicating first                           cab in line) That one's closer.

BENNIE But I out-hustle him, right?

QUAIL (smiling) Right.

TWO CABBIES exchange curses as Quail, wary, follows the Calypso Guy around a corner, climbs into the small solar car.

62     EXT. CITY DOME - AIR LOCK - SUNSET

An AIR LOCK whooshes open underneath a Checker Cab sign. Bennie and Quail emerge in the solar-powered car -- set off into the desert.

63     EXT. DESERT - SUNSET

The taxi traverses the same type desert that Quail crossed a few hours ago. Only now is looks completely different. The late light tints everything in pastel shades, Quail is       awed by the grandeur of the Lawrence-of-Arabia-like setting.

68     EXT. DESERT TRUCK STOP - NIGHT

Quail and Bennie's taxi approaches a brightly-lit oasis in       the middle of the desert. There's a cafe, repair facilities and a huge parking lot -- all under a garish neon sign: "LAST CHANCE AIR STATION AND ASLOON - EAT HERE AND GET GAS".

Quail and Bennie's taxi pulls in and parks. In the lot is       a collection of strange and colorful vehicles:  huge ore trucks that pull eight trailers, mountain prospecting jeeps, Grapes-of-Wrath jalopies. Quail and Bennie disembark, wear- ing breathing masks, and enter the main building.

69     INT. LAST CHANCE AIR STATION - NIGHT

The joint is a combination saloon/cathouse/casino. There are slot machines, HOOKERS, MINERS and HOMESTEADERS; it is       like a Nevada brothel -- packed with wild and woolly indi- vidualists, the equivalent of Old West trappers, prospectors and cowboys -- but with a space-age look.

Quail and Bennie elbow their way to the bar. Fragments of       conversation are overheard.

MINER #1 ...if that intergalactic little Napoleon thinks I'm sellin' and clearin' outta here, he can think again!

MINER #2 (with a laugh) ...watcha gonna do when he cuts off the air, Luke?

MINER #3 ...you'll be breathin' red dust and shittin' bricks.

Bennie and Quail pass another group.

MINER #4 ...my wife ain't goin' on                  one of those space shuttles...                   she hates flyin'...

MINER #5 ...aw, come on... flyin's                  safer'n crossin' the road...

MINER #6 ...yeah, there ain't been a                  real disaster since that collision off Phobos, nigh on                  twenty years ago...

MINER #4 (alarmed) ...well, that killed twelve thousand...

QUAIL What is this, Bennie...                  Tombstone?

BENNIE Sorta. Bunch of miners out here got their own claims, from way back. Cohaagen's buyin' em                  all up, says he's gonna cut off the air an' water if they won't                  sell...

Quail attracts the attention of the BARTENDER.

QUAIL I'm looking for Melina Noel.

BARTENDER You've found her.

His nod indicates an area behind Quail. He turns to see an attractive waitress placing drinks on tables. She doesn't notice Quail. He walks toward her through the crowd. Bennie watches, then tactfully slips away.

MELINA turns to return to the bar and runs straight into Quail. She stops, obviously astonished to see him.

MELINA You bastard!

Almost in tears, she pushes her way through the crowd to a       billiard room, which is separated from the main bar by        swinging doors.

There are no occupants and it is almost in darkness. Quail, bewildered, follows her. Inside the billiard room he turns on the lights which illuminates the area of the table.

(NOTE: As Quail and Melina speak, the activity in the                outside bar can be seen above the swinging doors.)

Melina is still fighting back tears. Quail stops in front of her, unsure about what to do. He has no recollection of how well he might have known this woman.

Suddenly, she slaps him hard across the face.

MELINA (quietly) You bastard...

He rubs his painful cheek.

MELINA (continuing) That's new -- the innocent look. (bitter sarcasm) You didn't have that one before. (beat) Well?

Quail is speechless.

QUAIL Well, uh... I...

MELINA All right, I'll say it for you.

He looks relieved (but tries to cover).

MELINA (continuing) Don't worry. I got the note. You discharged your obligation.

QUAIL What note?

MELINA Oh, the usual one. "Must                  return immediately to Earth...                   the wife needs me..."

QUAIL I don't have a wife. Well, I do - but not a real wife. (getting                           desperate) Hell... look... someone else sent that note. Someone who --

MELINA What are you here for?!

QUAIL For you! I don't even know why --

Melina bursts into tears. Quail rather tentatively puts his arms around her. She welcomes this at first, but then pushes him away.

QUAIL (continuing) Whoever I was, I must have been a helluva guy.

MELINA "Whoever you were"???

QUAIL Listen. I've for to tell you something. I beg you to                  believe me... help me --

All Melina's suspicions come rushing back.

QUAIL (continuing) Something happened to my mind. Memory suppression, false implant, I don't know what --

Melina backs off. Quail grows more desperate.

QUAIL (continuing) What I'm saying is... I don't                  remember you. I don't remember us. I don't remember me --

Melina's expression grows dead hard.

MELINA [And I thought...]

QUAIL Who is us?

MELINA (ignoring the                           question) Memory erasure is what they use on agents. Go away.

QUAIL Wait... I was an agent -- I'm                  not now -- just tell me who I am! How did we know each other? Why are they trying to kill me?!

He takes a step toward her, nearly frantic.

MELINA I'm not trusting you again.

QUAIL You loved me once, you must have --

MELINA That you was a liar. Who you are now I don't even know.

QUAIL Please, Melina --

MELINA (tears starting) Get out!

QUAIL I need your help --

MELINA (crying quietly) Get out! Get the hell away from me!

Quail gives up; goes through the doors and leaves. Melina slumps her shoulder against the table and cries.

77     INT. LAST CHANCE AIR STATION GARAGE - NIGHT

Quail enters from the cafe. Bennie is kneeling beside his taxi, repairing a tire. He look up, sees Quail approach.

On his right hand, Bennie has a mechanical device capable of spinning 360 degrees. He uses it to twirl a lug nut tight on his tire. As Quail approaches, Bennie removes the TOOL ATTACHMENT from his HAND, tosses it into a kit beside the taxi.

BENNIE You don't look so good, boss. All over the Universe, women is an awful curse.

He opens the door for Quail, beams.

80     INT. SOLAR-POWERED CAR - NIGHT - MOVING - DESERT BACKGROUND

Quail still broods, Bennie tries to cheer him up.

BENNIE It's a tough planet, boss.

QUAIL Yeah, right.

BENNIE Some guy really screwed her - screwed her up real good. Some Earthman. Just hopped on a space shuttle.

Bennie bright tone isn't improving Quail's mood.

QUAIL Listen, Bennie. You're pretty well informed?

BENNIE If that means I know it all, you're right, boss.

QUAIL What do you know about the Sphinx?

BENNIE I don't know nothin'. Not about the Sphinx. That's out of the ball park.

QUAIL I have to get there. Can't                  you help me?

BENNIE No can do, mon. You want women, cigarettes, red-market money, booze, even air or                  water... Bennie's your man. But the Sphinx... that's                  E.I.O. --

80A    INT. CITY UNDER THE DOME - NIGHT

The solar car is moving through the crowd, when suddenly SIRENS approach on a cross street. Bennie brakes and stops. He and Quail watch as POLICE MOTORCYCLES clear a path for a       huge, GAS-POWERED LIMO. MINERS on the sidewalks shout CURSES, OBSCENITIES --

BENNIE Well... look at that one, eh?

QUAIL What?

BENNIE Big cheese in town. Big smelly cheese.

QUAIL Cohaagen? But isn't he often here?

BENNIE No way. That cat just cheat the Martian workers without ever leavin' his place in                  Beverly Hills. Somethin' must be cookin'.

Quail keeps his face in shadow and watches Cohaagen with curiosity as he passes. Cohaagen is lit up briefly by a       street lamp. His face makes an impression on Quail, who perhaps faintly remembers him in the past.

82     INT. QUAIL'S HOTEL ROOM - NIGHT

Quail enters, turns on the lights, locks the door. He       checks all the rooms. Then he crosses to the dresser, studies himself in the mirror. He looks haggard.

Quail opens a drawer, takes out his "emergency case," sets it on top and opens it. He removes a shoulder holster and pistol, sets them aside. He takes out a tape recorder.

He sets the recorder down gingerly, as if somewhere in       there were contained the answers to all his questions. He's just about to activate it, when he hears a KNOCK at       the door.

Quail freezes. Another KNOCK.

VOICE (O.S.) (through door) Mr. Hauser...

QUAIL Who is it?

VOICE (O.S.) Mr. Hauser, I want to talk to                  you... about Douglas Quail.

Quail ditches the recorder and the "emergency case" into the drawer -- everything except the PISTOL.

Quail approaches the door very cautiously (from the side --       out of the line of fire).

QUAIL (tensely) Who are you?

VOICE (O.S.) My name is George Edgemar. I work for Rekall, Incorporated.

QUAIL (stunned;                           incredulous) Rekall??

VOICE (O.S.) Yes. It's difficult to                  explain... Could you open the door, please? I'm not armed.

Quail opens it carefully, his gun at the ready, but out of view of the person at the door.

A dignified-looking GENTLEMAN stands there, calm and pleasant, wearing an Earth-style business suit.

EDGEMAR Hello, Mr. Quail. May I come in? I won't be offended if                  you prefer to keep the gun you're holding trained on me.

He can't see the gun, but somehow knows.

QUAIL All right... come in.

Quail does keep his gun trained on the man. The man enters, holding in his outstretched hand -- a business card.

EDGEMAR My card, Mr. Quail.

Quail frisks him, then takes the card, glances at it.

QUAIL Okay -- so you're Doctor George Edgemar of 'Rekall, Inc.' So?

EDGEMAR As I said... this is going to                  be very difficult -- for both of us.

QUAIL I'm listening.

EDGEMAR Mr. Quail... I'm afraid you're                  not really standing here at                   this moment.

QUAIL Sat that again.

EDGEMAR I said, you're not really here. Neither am I. We're                   both in the Memory Studio -- in the offices of Rekall, Inc. On Earth.

Long pause.

QUAIL Are you trying to tell me that this is all part of some...                  artificially injected fantasy? That I never really left Earth?

EDGEMAR No, not quite. We didn't give you this. You're creating it                  yourself -- (pauses, choosing                           his words) Remember the option we offered you? Intelligence agent? Something inside you liked that idea, fastened on it. What you're experiencing now is a free-form delusion that you yourself are fabricating.

QUAIL What is this shit you're                  giving me?

EDGEMAR This is not -- shit, Mr. Quail. It's the truth. (beat) I know it's very hard for you to accept, but you're having a schizophrenic reaction... we can't snap you out of the Narkadine. You're in a world of your own fantasy.

QUAIL Then how the hell can you be                  in my dream -- if you know it's                   just a dream?

EDGEMAR I've been artificially implanted -- like the first part of your fantasy. I'm                  actually monitoring your dream at a psychoprobe console. This is a last resort. When somebody gets stuck in their own fantasy, we send in                  someone after them. A                  specialist, like myself.

QUAIL I don't believe a word you're                  saying.

EDGEMAR I was afraid you'd think that. I'm sorry to have to do this, but you really are stuck. (calls out) Doctor Noel, would you come in                  now please?

The door starts to open. Quail pivots and points his gun at the opening door.

MELINA walks in, carrying a CLIPBOARD. She looks at Quail with professional detachment.

MELINA Yes, Mr. Quail, I'm afraid it's all true.

Quail is staggered.

MELINA (continuing) I tried to break through to                  you earlier, but you just molded me into your fantasy. Sometimes it takes Dr. Edgemar to get through to a client as                  tough as you.

QUAIL (wavering) So what's supposed to happen now?

EDGEMAR Just do exactly as we tell you.

QUAIL (stares at him                           coldly) Somehow that doesn't appeal to me.

MELINA Please, Mr. Quail... try to                  cooperate. You're having a                  schizophrenic embolism.

EDGEMAR If we can't get you out now...                  you may never come out of it. Your wife calls every day --

CLOSE - QUAIL

Even more suspicious.

TWO SHOT - QUAIL AND EDGEMAR

QUAIL If this is a fantasy, there'll                  be no real consequences when I pull this trigger.

EDGEMAR But there will by consequences inside your mind. Consequences that won't hurt me... but could be fatal to you. (beat) If you shoot me, you'll wipe me out of your fantasy -- I                  can't come back again. Because to you, I'll be dead. I can't                  help you get back to reality. You'll be stuck in permanent psychosis.

CLOSE - QUAIL

Trembling, holding the gun point blank in Edgemar's face.

CLOSE - EDGEMAR

Showing no fear of tension whatever.

EDGEMAR You're going to lower the gun, Mr. Quail. You're going to                  hand it to me --

CLOSE - QUAIL

Straining desperately to find the true "reality."

EXTREME CLOSEUP - TRIGGER OF GUN

Quail's finger on it.

TWO SHOT - QUAIL AND EDGEMAR

EDGEMAR You're going to do exactly what I tell you --

Quail PULLS THE TRIGGER!

REVERSE ANGLE - BACK OF EDGEMAR'S HEAD

We SEE the results of the gunshot from this angle only, and so BRIEFLY as to produce an almost SUBLIMINAL effect: the back of Edgemar's head blows off --

He collapses to the floor.

Melina LEAPS at Edgemar's falling form and CLAMPS HER HANDS over Edgemar's RIGHT HAND!

MELINA Watch out, Charles! There's                  more of them in the hall!

Quail spins toward the door just as it BURSTS OPEN. A man enters, firing, but Quail has fallen to the floor and returns the fire. He staggers back out into the corridor and slams against the wall, dead.

VOICE (O.S.) (from hall) You've had it, Hauser! Throw out your weapon if you want a past!

Melina is still crouched by Edgemar's body, holding his HAND for some reason. Her CLIPBOARD dangles by her side.

MELINA (whispering) There's an explosive in the clipboard! He has a dead-man switch in his hand!

Squeezing Edgemar's hand shut with one of hers, she holds up her other wrist -- to show that the CLIPBOARD IS BOUND TO HER WRIST BY A CHAIN!

VOICE (O.S.) What do you say, Hauser? We                  haven't got all night! Hauser?

Quail (Hauser) SHOOTS OFF the chain.

QUAIL What happens it I come out?

Quail takes the CLIPBOARD from Melina and eases himself to       the side of the doorway.

VOICE (O.S.) We'll put in a word with the big boys. Maybe you'll just get exile to Venus.

QUAIL All right. Here comes the weapon.

Quail reaches around the corner and SAILS THE CLIPBOARD into the hallway. Melina lets go of Edgemar's hand --

There is a TREMENDOUS EXPLOSION in the hallway,

83     INT. HALLWAY - NIGHT

Quail comes out in crouch, ready to shoot. On the floor lies a DEAD MAN and the body of the Shoeshine Boy, sprawled grotesquely. The hallway is filled with smoke. The floor covered with debris. Plaster falling from the ceiling.

All over the hotel, ALARMS begin BLARING.

84     INT. QUAIL'S ROOM - NIGHT

Quail strides back in, icy-furious. He seizes Melina by       the wrist and drags her after him into the corridor.

84A    INT. CORRIDOR - NIGHT

Two more E.I.O. men appear but Quail shoots them while dragging Melina down the hall in the opposite direction. He pushes open the door leading to the staircase.

84B    INT. STAIRCASE - NIGHT

Quail and Melina run down the stairs. On the next landing is a service elevator, from which a waiter is emerging carefully carrying a tray with hors d'oeuvres and champagne.

QUAIL Back in, quick!

WAITER Wouldn't you prefer your order in your room, sir?

QUAIL In!

Quail bundles the waiter unceremoniously back inside the elevator.

84C    INT. LIFT - NIGHT

Quail presses the basement button. As he talks to Melina he opens the champagne and pours two glasses. The waiter is too frightened to protest.

QUAIL Okay. Answers! Now!

MELINA They kidnapped me. Said they'd kill you if I didn't                  cooperate. I told them I                  didn't care, but then when I realized they meant it...

QUAIL I don't know why they're                  after me, but what's your connection with all this?

MELINA We were together before.

QUAIL Believe me, I'm really sorry I can't recall the details of that encounter.

The elevator has reached the basement. They rush out.

85     EXT. ALLEY BEHIND HILTON - NIGHT

Quail and Melina run from a basement door into an alley.

A solar car whips out in front of them. Quail and Melina leap aboard.

MELINA Go, Bennie, for God's sake!

86     INT. BENNIE'S SOLAR CAR - NIGHT

Bennie weaves as fast as he can in and out of the traffic, Quail and Melina ducking out of view in the passenger seat.

BENNIE (glances in                           mirror) Bad news, boss lady.

MELINA What?

BENNIE Black cruiser just pull out behind us.

86A    EXT. CITY STREET - NIGHT

A large gas-powered official-looking car is pushing its way through the crowds and traffic behind them.

86B    INT. BENNIE'S CAR - NIGHT

Quail is aiming his gun at the following car.

BENNIE Forget the shooter, boss. I                  lose 'em for you.

QUAIL Lose them? In this?

BENNIE Hang on!

Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life.

Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat.

87     EXT. STREETS - NIGHT

GUNFIRE blazes all around the car. Quail FIRES back at       the pursuing car.

QUAIL (shouts over                           GUNFIRE) You're gonna get a ticket for that engine, Bennie --

BENNIE Yutani 650 -- you like it, boss? Nothing like the old gas when you want a bit of                  speed.

BULLETS from the cruiser rip through the car.

MELINA You better have two aces, Bennie. (glances behind) There's a second cruiser -- and it's gaining --

87A    EXT. CITY STREETS - NIGHT

Bennie's car hurtles through the crowds with the official car gaining on it. Bennie takes a corner sharply near a       huge water selling stand. The official car brakes to make the same turn, but clips the side of the water stand. The water container tips and empties water through the open roof (i.e. through which one of the Agents has been firing) so that the car completely fills. The driver continues the chase, but the occupants are now submerged. They frantic- ally open the windows while continuing to follow Bennie's       car.

88     EXT. ALLEY - NIGHT

The solar car rushes down what appears to be a dead-end street, with the official vehicle (water pouring out of       the windows) in pursuit.

At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening.

The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds.

COHAAGEN I take it, then, you've failed to get him again.

Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type.

COHAAGEN (continuing) Proceed with Operation Sphinx.

EMILE But, sir...

COHAAGEN With him... (gestures toward                           the mine) ...on the lose, I'm not taking any more chances. Operation Sphinx will flush him out.

93     INT. OLD MINE - NIGHT

The solar car proceeds along the tunnel. It enters an area full of smoke. Dozens of men are sitting around smoking cigarettes, pipes and cigars. Quail looks at them in       amazement.

QUAIL What's all this?

BENNIE Nothin', boss. Just old smokies. Only place they can come for a puff. It's                  all banned topside.

They have now climbed out of the car. Quail looks searchingly at Melina and Bennie.

QUAIL So you two are into something a bit more serious than the taxi and truck-stop business.

BENNIE That's right, boss.

He unzips his jacket to reveal a T-shirt with "MARTIAN       LIBERATION FRONT" (and an appropriate symbol) emblazoned on it.

QUAIL My God!... T-shirts. They died out on Earth years ago.

BENNIE (hurt) Well, maybe we ain't fashion leaders, boss.

MELINA No. But we still believe in                   a free Mars.

They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION       FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie.

QUAIL So where did I fit into all this?

MELINA You - when you were Charles Hauser with E.I.O - infiltrated our group. I                  guess Cohaagen didn't trust you any more when you and I...

Her gesture suggests their liaison.

QUAIL Yeah. And I can't even remember it. We'll have to                  arrange a return bout.

MELINA ...so he had your memory wiped and fixed you up with a new identity.

QUAIL But - the Sphinx. Why is                  that stuck in my mind? Why's                  it so important?

MELINA I don't know.

BENNIE Just an ole heap o' stone, boss.

QUAIL It's more than that, Bennie, I know it's more. Somehow it's connected.

He slumps into a chair with frustration.

MELINA (reflecting) Maybe there's a way you can get your memory back.

QUAIL How? What? Where? When?

MELINA A bit of Martian Wisdom. We're not all stupid colonists.

99     EXT. CITY - NIGHT

Bennie, Quail and Melina are walking in a crowded area of town. Water sellers and food stalls are everywhere. An ARMORED LOUDSPEAKER VEHICLE appears, broadcasting to       the crowd. It is also swinging a powerful searchlight along the footpaths and streets.

VOICE FROM LOUDSPEAKER ...all residents are to                  report to their nearest space-travel agent within twelve hours, all residents will be departing on shuttles within twenty-four hours. Air and water supplies will be cut off at that time. I repeat...

MELINA He's doing it!

QUAIL What? Why?

MELINA Clearing everyone out! It's                  been rumored for months...

The searchlight approaches Bennie, Quail and Melina. Bennie ducks into a doorway, while Quail grabs Melina and kisses her passionately. The light sees only the back of his head. She responds warmly to his kiss.

QUAIL Wow. I can see why I was willing to betray E.I.O.

MELINA I though you believed in                  our cause?

QUAIL Yes. Of course. That, too.

They move into the crowd. The message on the loudspeaker is repeated.

101    INT. KUATO'S SANCTUARY - NIGHT

The interior of the room is an amazing contrast to its ghetto exterior. The decor is a baroque combination of       Middle Eastern opulence and 21st century flash. It looks like something out of "The Arabian Nights".

A man enters from another room. Although the man's features are East Indian, he is very much a Peter Lorre type; he        wears a small fez cap and a white linen robe with a cowl draped around the back of his neck.

STRANGE MAN (nodding to                           Quail) Your servant, Fahreem Kuato. I greet you by the twenty-seven names that still remain, praying that you cast jewels into the darkness and given them to glow with the colors of life.

As Kuato speaks, Quail, unimpressed, talks, sotto voce, to Melina.

QUAIL What use is this weirdo?

MELINA Ssssh...there are skills on                  mars that Earth has forgotten.

KUATO No need to introduce yourself, Mr. Quail. (smiles at Quail's                           surprise) Tolerate my presumption, but it does not tax my powers to                  know that you are the most sought-after man on two worlds.

From the street the sound of loudspeakers giving information about Quail and Co. can be heard. Searchlight beams occasionally sweep past the windows.

KUATO (continuing) This way, my dear man. We                  have much to accomplish -- (ominously) -- and very little time.

102    INT. KUATO'S INNER SANCTUM - NIGHT

A Bysantine salon filled with enormous Oriental pillows.

(NOTE: In the scenes inside Kuato's sanctum, the loudspeaker                vans in the outside streets can be heard from time to                to time.  They are repeating the evacuation message                from scene 99, but alternating it with a call for the                apprehension of Quail and Melina...

VOICE FROM LOUDSPEAKER ...for information leading to                  these arrests, first-class travel to Earth will be                  provided plus a weekend at                   the Leningrad Disneyworld, all expenses paid. I repeat, an Oriental girl and Earthman, possibly to be found in the company of a black taxi driver. These are dangerous subversives and sworn enemies of the glorious Peoples Republic of                  Mars...)

KUATO The turbulence you hear outside is but a reflection of the turmoil within you. You have brought it to Mars in your search for yourself.

Kuato takes a seat on the pillows, invites the others to       join him. Quail hesitates.

QUAIL And you're going to help me                  by reading my mind?

KUATO Indubitably. There is only small matter of a fee.

THREE RESPONSES COME TOGETHER.

QUAIL A fee!

KAUTO Naturally.

MELINA This is for our cause!

KUATO (soothingly) Income before ideals. Shall we say five-hundred-thousand dollars?

QUAIL (appalled) Five-hundred-thousand Martian dollars, that's... (think,                           calculating the                            exchange rate)

KUATO Not Martian dollars, Mr. Quail - Earth dollars.

MELINA That's interplanetary robbery!

QUAIL With today's exchange rate... that's over two million Martian dollars!

KUATO (suave) What price do you put, Mr.                  Quail, on the future of the solar system?

BENNIE Aw, come off it, man. Just for a bit of mumbo-jumbo with a crystal ball.

KUATO (his manner                           slipping) Listen, buster, we're talking heavy stuff here. You try and work out what's with this guy!

He jerks his thumb toward Quail.

QUAIL Okay! Okay! I'll pay it, but the Interstellar Trade Practices Commission might be interested in this.

Everyone calms down.

Kuato smiles. He extinguishes all the lights save one small blue one, which illuminates the room eerily, like a seance.

KUATO Retrieving the past is like walking backwards along a                  perilous road. The half-recalled, the half-forgotten, the repressed, the fantasies, the triumphs, joys, failures, betrayals...

He closes his eyes and concentrates.

KUATO (continuing) Yes... I can feel it... a                  wall. Erasure techniques are so brutal. (frowns; scans                           harder) Blocks. Side channels. Future and past all jumbled. I shall have to enter deep trance to break through. (rising) I will be scanning you through the Oracle Head.

Kauto turns around and sits down with back toward Quail. He reaches up and lowers his cowl, REVEALING:

A TINY LITTLE HEAD GROWING OUT OF THE BACK OF HIS NECK!

The head's eyes are closed in sleep. It is utterly hairless and looks like one of those dolls made from dried apples; a       shriveled, ancient-looking yellow little ball.

The LITTLE FACE TWITCHED, YAWNS and OPENS ITS EYES, BLINKS. It looks at Melina, then at Quail.

It opens its toothless little mouth and SPEAKS.

ORACLE HEAD Do not fear me. I need your openness...

ZOOM IN ON QUAIL'S EYES.

ORACLE HEAD (continuing) Open you thoughts to my                  presence...

CONTINUE ZOOM UNTIL ENTIRE FRAME is filled by QUAIL'S EYE.

ORACLE HEAD (continuing) Open...

DISSOLVE TO:

BLACKNESS BROKEN BY PULSES OF WHITE LIGHT

The alternations between dark (ACTION) and white (LIGHT) are RHYTHMICAL so as to create a hypnotic, dream-like feeling.

103    WHITE LIGHT

Fades to reveal a dramatic CLOSE UP of the SPHINX. We see its face, shoulders and behind it the red Martian sky --

103A   PULL BACK

to reveal the Sphinx is a PROJECTION on a screen in a       windowless briefing room. Quail is seated across from Cohaagen and other SENIOR E.I.O. OFFICERS. On the walls are numerous satellite photos, recon maps and excavation drawings -- all relating to the Sphinx.

107    EXT. MARTIAN SPHINX - SUNSET

Scaffolding and excavation works cover a wall of the Sphinx; the Sphinx's huge CARVED FACE visible in the background.

Quail and several other E.I.O. agents stand poised, wearing breathing masks and protective gear, as a powerful excavation device prizes back a huge stone, revealing an ENTRANCE TO SOME KIND OF HIDDEN CHAMBER.

The other agents are fearful, don't want to proceed. Quail ignores them, enters the chamber --

107A   CLOSE - QUAIL'S FACE

As he enters. We read awe, shock and fascination on his features. He approaches something we can't see. His hand reaches out.

Suddenly, a bolt of incredible powerful energy flashes out, striking Quail like a bolt of lightning.

WHITE LIGHT.

105    INT. LAST CHANCE SALOON - NIGHT

Quail and Melina are dancing. The faceted mirror ball on       the ceiling become the --

WHITE LIGHT.

106    INT. BEDROOM - DAY

Melina watches from the bed as Quail dresses. She rises, with only the sheet around her, tries desperately to make Quail stay. Plainly he wants to, but he can't. They kiss lingeringly; then Quail, as if "called to duty," exits.

WHITE LIGHT.

108    INT. DETENTION CELL - WINDOWLESS

Quail alone, hands bound, in a holding chamber. Suddenly, the door opens and THREE BEEFY E.I.O. AGENTS enter. They grab Quail to haul him out. Quail battles them with amazing skill and resourcefulness. With his bound hands he SLUGS ONE MAN, hurling him into a wall; he RABBIT- PUNCHES a second man with a two-handed blow and KNOCKS HIM UNCONSCIOUS. The third man sneaks around behind Quail and DROPS HIM WITH A BLACKJACK to the back of the head.

WHITE LIGHT.

109    INT. HOSPITAL ROOM - WINDOWLESS

Quail on his back, all four limbs pinned by some futuristic version of "the rack," his head held imobile by a FEARSOME DEVICE similar to the one we glimpsed on Earth, in the van the two agents tried to shove him into.

Several DOCTORS stand over him. INTO FRAME moves...       Cohaagen!

Cohaagen orders the doctors to attach electrodes to PROBES already inserted into Quail's brain. As they turn up the power, Quail's face contorts in a grimace of agony --

ORACLE HEAD'S VOICE You have seen your past. Now read the future...

WHITE LIGHT.

110    INT. SURREAL TUNNEL - DAY OR NIGHT

The same scene we saw during the film's OPENING SEQUENCE.

A man wearing a LIGHT-WEIGHT THERMAL SUIT races through a       LABYRINTH OF TUNNELS. The GROUND TREMBLES beneath him, as       if in an earthquake. EXPLOSIONS rumble deep in the ground below him. Suddenly we realize -- the man is Quail

INSERT - CLOSE - QUAIL

He throws a backward glance over his shoulder, fearfully, as he runs. Suddenly a BRILLIANT WHITE LIGHT floods in       from ahead of him;  he puts up his hands to protect his eyes -- and sees his hands are SPLATTERED WITH BLOOD!

Quail runs even faster -- ahead the BRILLIANT LIGHT seems to promise safety. He battles toward it. SOUNDS OF       EXPLOSIONS increase, building urgency. Up ahead, emerging from the light, HANDS REACH OUT TO HELP QUAIL. He seems almost to safety. But just as he REACHES THE HANDS --

TWO GUNSHOTS RING OUT!

SHOCK CUT TO:

111    INT. KUATO'S INNER SANCTUM - NIGHT

Quail awakens with a jolt. White as a sheet... sweating like he's just run ten miles. Then: a transformation seems to come over him. He LOOKS -- and SEES:

KUATO slumped across the cushions -- MELINA beside Kuato -- BENNIE standing holding a smoking GUN trained on Kuato.

MELINA (rushes to Quail) Charles! Are you all right?

Quail stares at her, as if an entire bank of lost memories were suddenly clicking back into place --

MELINA (continuing) He kept dragging you deeper and deeper into the trance! We couldn't wake either of                  you!

BENNIE You stopped breathing!

Quail gives Bennie that same eerie look, then turns to       Kuato, who is sprawled motionless across the pillows, a        curl of smoke rising from two entry wounds in his spine.

QUAIL Why did you kill him? It                  was the next bit I really...

BENNIE No choice, boss. It was him or you.

Quail lunges across the pillows to Kuato's unbreathing form. Quail shakes the ancient mystic, trying to find a       last flicker of life.

Kuato's body is dead white. Quail releases his grip; he about to give up when --

A MUFFLED CHOCKED SOUND comes from behind Kuato's neck. It's the Oracle Head! Quail instantly rolls Kuato's body over. The Head is still alive!

Quail bends closer, kneeling.

ORACLE HEAD (whispers) -- the vengence you seek...                  and the salvation of Mars... are waiting for you in the crown of the Sphinx. (sags, gasping)

The Oracle Head lets out a LONG SIGH and goes limp, a       small trickle of blood oozing from the corner of its mouth.

BENNIE Phobos and Demos! What was that all about?

Quail ignores him, still kneeling -- deep in thought -- over the Oracle Head.

MELINA Are you okay?... Charles? Doug? Whoever?

Quail reaches out and closes the Oracle Head's tiny eyelids. Melina and Bennie exchange a glance. Then:

QUAIL

Stands. For a moment his back is to Melina and Bennie. Then he turns.

He has become a different man. His eyes gleam. He is       forceful, purposeful, contained. Once again the ace E.I.O.       agent. Melina senses immediately that this is the man she knew before

QUAIL (even his voice                           has changed) I'm fine... only I'm not Doug -- I'm Charles Hauser... and I know everything Hauser knew.

He turns to Bennie

QUAIL (continuing) Bennie, where's your depot?

BENNIE (working it out) Well... you go outta here... take a left, then down past the first... no second...                  water bureau you...

QUAIL (briskly) Can you get us there?

BENNIE No problem.

MELINA But why?

QUAIL We're going to the Sphinx.

He strides off. The others follow, still full of questions.

BENNIE Impossible, man. Guards everywhere.

MELINA The Oracle... what did you learn?

QUAIL Only everything. I've got total recall.

They are now heading down the stairs toward the street.

114    EXT. STREET - EARLY MORNING

Quail, Melina and Bennie make their way through the crowds to Bennie's depot. The streets are even busier then before - people are now beginning to evacuate the city. Everyone is       carrying their possessions - bundles, suitcases, pets, etc., etc. The loudspeaker vans are still touring and broad- casting the same message.

Bennie indicates a building on their left.

115    INT. CAR POOL - EARLY MORNING

Bennie and Melina follow Quail as he walks up and down the rows of vehicles in the vast building. There are bull- dozers and ore haulers as well as solar taxis.

BENNIE We'll never get near the Sphinx! They'll blow us                  apart!

Quail ignores him as he continues to mumble to himself. He rapidly but carefully inspects each vehicle as they pass. Camera tracks rapidly with them.

MELINA What are we doing, Charles? For God's sake, tell us.

QUAIL The Sphinx... it's not some useless artifact, it's a                  machine built by some alien race eighteen millions years ago. The same race that built the on one Earth...                  for the same purpose.

He stops in front of a large, odd-shaped vehicle with a       large scoop or propeller on the front.

QUAIL (continuing) This is what we need.

He begins to climb in; the others follow.

BENNIE (referring to the                           Sphinx) It's a hunk of old stone, man.

MELINA (ditto) Purpose? What purpose?

Bennie starts the engine.

QUAIL Come on, Bennie, move it. (then, to Melina) Have you heard the word, "terriform"?

Melina shakes her head. The vehicle moves off.

115A   EXT. AIR LOCK - MORNING

GUARDS are carefully checking every vehicle leaving the city, though this has to be done fairly rapidly because of the inhabitants leaving for the Space Ports.

The vehicle with Bennie, Quail and Melina arrives.

115B   INT. VEHICLE - AIR LOCK - MORNING

Bennie is nervous. Melina and Quail are in the back, but cannot be seen. Guards are checking all vehicles exiting, looking for Quail and Melina.

BENNIE (calling to                           Guards) Just deliverin' some old junk to the mine out at Apidalia Planitia. Got them people you're lookin' for in the back as well.

The Guards laugh and signal him on.

Once through the second door of the air lock (i.e. to the       area outside the city), Quail and Melina emerge and sit up on the rear seats.

QUAIL The machine in the Sphinx is                  tapped straight down to the molten core of this planet. There are tunnels and ducts everywhere, all powered by                  fusion generators...

BENNIE You sure the little man didn't fry your brain, Quail?

MELINA (overlapping) For what? To do what?

QUAIL To combine elements in the Martian core and release them as oxygen, hydrogen and nitrogen.

BENNIE That's air!

116B   EXT. DESERT - MORNING

In a wide shot, the vehicle is traversing the desert. The domed city is some distance in the background. Voices are heard in false perspective. Emphasis is on the dry and hostile natural landscape of Mars.

QUAIL That's right. Air and water. Terriforming will create a                  permanent livable environment for Mars. No more pressurized cities, no more containers in                  the desert. There'll be                  rivers, vegetation - life - the same as Earth.

MELINA (baffled) So why is Cohaagen shipping everyone out?

QUAIL Don't you see?! From being a pile of red dirt with minerals, Mars is going to                  change into  a chunk of                   priceless real estate.

MELINA And Cohaagen's going to own it all!

QUAIL Right! He can start selling it off to well-heeled investors from Earth. Beach condos, ski resorts, you name it.

MELINA No wonder he wanted you to...                  penetrate... out group.

QUAIL (nods) Once word of this gets out, the whole planet will support you.

117    EXT. DESERT - DAY

The vehicle is now approaching the Sphinx. Both it and the pyramids can be seen some distance away.

Voice are heard in CU perspective.

MELINA So what can we do?

QUAIL Ruin his little scheme by                  terriforming ahead of                   schedule - while the inhabitants are still here.

Melina is amazed.

MELINA But who'll work the machine? Do you know how?

QUAIL I'm the only one who does. Why do you think Cohaagen's                  left me alone all this time?

118    EXT. DESERT - DAY

The vehicle is even closer to the Sphinx.

QUAIL I was the first one inside when they cracked the riddle of the Sphinx. It must've                  been programmed. Some kind of...force...shot into me.

MELINA But Cohaagen wiped your memory!!!

QUAIL (smoothly) Just a way of putting me on                  ice. He'd of reversed it                  once the planet was evacuated.

BENNIE Man! This is real complicated. Go over it again, real slow.

119    INT. VEHICLE - DAY

QUAIL (ignoring Bennie's                           aside) What he hadn't counted on was your effect on me.

MELINA (smiling) And all without the marvels of modern science!

Quail looks out the back window, his attention attracted by two patrol vehicles. They are some distance away, but approaching steadily.

119A   EXT. DESERT - DAY

A wide shot shows a total of four patrol vehicles approach- ing the vehicle with Quail, Melina and Bennie. Suddenly, it stops moving.

120    INT. VEHICLE - DAY

The vehicle had just stopped.

QUAIL Bennie, don't stop now, take it...

He turns to see Bennie is covering him and Melina with a       pistol.

MELINA You bastard.

BENNIE Like I said. It's a tough planet. I'm a baddie, not a goodie.

QUAIL I should have known, you were just too helpful.

BENNIE EIO Rule One, man. Trust Nobody. Now you can do                  your terriforming stuff right when those space shuttles are gone.

MELINA But what about the Martian people? Out cause? I thought you believed in it.

BENNIE Your cause? That bunch of                  dead beat radicals! When I                  hand in this little number... (flicks his gun                           in Quail's face) ...I'll get real estate rights on the whole of Chryse Planitia...

At that instant, Melina lunges, PUNCHES A RED EMERGENCY BUTTON. The VENT beside Bennie's hand BLOWS OPEN, [causing] a powerful suction caused by Mars's vacuum atmosphere. Bennie's gun hand is PLANTED AGAINST THE VENT [OPENING.]

Simultaneously, the air in the vehicle starts rushing out! All three parties begin choking. As Bennie's mechanical hand claws for the lever that seals the vent, Quail has a moment to jump him. He pounds Bennie's gun hand, the PISTOL IS SUCKED, CLATTERING, OUT THE VENT!

Quail delivers a roundhouse punch to Bennie, knocking him clear across the bus.

Melina seals the vent, REPRESSURIZES THE CABIN.

Bennie gets up off the floor, shaking off Quail's punch--

121    EXT. DESERT - DAY

The E.I.O. vehicle are a half mile off -- and closing in.

122    INT. SAND MOLE - DAY

Quail glances at the vehicles, turns to Bennie -- ready to jump him. But stops short at what he sees Bennie doing.

Bennie is clipping on his MECHANICAL ARM. It sprouts several rows of vicious-looking STEEL BLADES --

BENNIE This makes Bennie a cut above anyone else.

Bennie presses another button and the BLADES START SPINNING. Bennie's mechanical arm is in effect now a BUZZ SAW!

The fight begins. Bennie attacks Quail with his buzz-saw arm; Quail dodges. Bennie's arm shreds various articles in the cabin -- and keeps Melina at bay with well-timed swipes. Finally Bennie gets in a roundhouse punch to       Quail's jaw with his real hand. Quail sprawls, dazed.

Now Bennie goes for the kill. But Melina leaps onto him. Bennie grabs her by the hair and moves his SPINNING HAND in for the quick kill. Melina clutches the terrifying appendage with both hands, desperately keeping it at bay. But her strength is no match for Bennie; the whirring blades are just about to bite into Melina's neck when --

Quail comes back, lands a ferocious rabbit punch to       Bennie's spine. Quail lunges at him, grabs the blade weapon; he and Bennie crash into the cabin wall and --

The BLADE RIPS CLEAR THROUGH THE MOLE'S WALL! Alarms sound as a GAPING HOLE IS BLOWN IN THE SIDE OF THE CABIN! ALL THE AIR IS SUCKED OUT BY MARS'S EXTERNAL VACUUM!

Now no one can breathe. They all claw for their masks, [still] in place. Bennie is first; he recovers, lunges with his SPINNING ARM for Quail. Quail barely dodges, grabs the arm, muscles it back toward Bennie --

The SPINNING BLADES SEVER BENNIE'S OWN OXYGEN LINE! Gasp- ing, he falters. Quail aims a titanic blow, PUNCHES BENNIE out through the hole in the mole's wall!

Quail and Melina, masks on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers --

122AA  EXT. DESERT - DAY

Bennie is beside the vehicle. He implodes like a balloon with all its air gone.

122AB  INT/EXT. VEHICLE - DAY

Melina hides her face in horror. At that instant --

122A   EXT. DESERT - DAY

Bullets dig into the sand all around the vehicle. The patrol cars are only a few hundred yards away! Loud- speakers call for Quail's surrender.

122B   INT. VEHICLE - DAY

Quail lunges for the vehicle controls. Presses a button marked "Dive". The vehicle tilts.

122C   EXT. DESERT - DAY

The vehicle burrows powerfully into the sand. As the patrol cars close in and rake the desert with gunfire, the vehicle vanishes from sight. In the distance, the Sphinx looms ominously.

A driver in one of the patrol vehicles (filmed from outside       the windscreen) is speaking into a microphone. He can't       be heard but can only be radioing a report.

123    INT. SAND MOLE - MOVING - UNDERGROUND

The little mining vehicle moves powerfully, propelled by       its BORER NOSE.

Quail mans the controls while Melina struggles to shore up       the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in       the control panel. He makes a correction.

QUAIL (shouts over                           engine noise) Hope I've got this direction right.

Sand pours over him from bullet holes resulting from the encounter with patrol cars.

CU speedometer: 22 MPH.  Every other gauge is overheating, flashing WARNING LIGHTS --

124    INT. SPHINX CONTROL ROOM - DAY

Cohaagen and a number of his associates, plus scientists and heavily arms troops are present.

COHAAGEN The air supply is off under the domes?

EMILE Yes, sir. In a couple of                   hours it'll be all gone.

COHAAGEN Any trouble with the rabble?

EMILE Not much, sir. A lot of                   complaining. But they're                  all heading towards the shuttle areas.

On some of the video screens a number of space shuttles can be seen, ready for departure to Earth.

123    INT. TUNNEL BENEATH SPHINX

The Mole bores through a sand wall, emerges into a cramped horizontal tunnel. Quail and Melina leap out. The poor Mole is smoking like an overheated drill bit. Its nose is worn to a nub.

MELINA We got in with this thing, but we'll never get back out.

QUAIL A shame. Such a pleasant trip.

There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to       the wall.

126B   INT. MAIN DOWNSHAFT

They draw up an abyss -- where their tunnel intersects the MAIN DOWNSHAFT. Melina gasps at the colossal scale of the drilling, hundreds of yards across, deeper than the eye can see, and crisscrossed by catwalks, buttresses and super-sophisticated technology.

Quail and Melina are forty feet below the upper end of       the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself.

QUAIL (points down                           shaft) This is the main tap -- straight down to the core of Mars. When we trigger the mechanism, fusion reactors will detonate down there -- four hundred miles deep.

MELINA Remind me not to slip.

QUAIL The new elements will come booming up through this shaft -- and six thousand others all around the planet.

He's right at home -- and full of confidence.

Quail climbs onto the ladder, which links various top levels.

He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity.

127    INT. CORRIDOR AT TOP OF SHAFT - LOWEST MANNED LEVEL (LEVEL ONE)

A patrol of NINE HEAVILY-ARMED GUARDS appear from a corridor in Level One -- directly above where Quail and Melina are climbing.

128    ON THE WALL OF THE SHAFT

Quail and Melina's heads inch into view at floor level. They take one peek at these formidable warriors and duck back swiftly out of sight.

129    INT. TOP OF SHAFT - LOWEST MANNED LEVEL (LEVEL ONE)

GUARD LEADER (to two of his                           men) Stay in contact. I want to                  hear from this checkpoint every four minutes.

Seven of the Guards move off, two remain in position.

We HEAR the FOOTSTEPS of the seven guards recede.

The two remaining guards realize their isolation; they glance tensely to one another.

GUARD #1 Did you hear something?

GUARD #2 No. Where?

GUARD #1 Over there.

The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously forward. Just as       they're about to peer over the brink, guns at the ready:

QUAIL'S VOICE (O.S.) (from behind the                           guards) I'm not there, boys. I'm                  here.

The guards spin around, weapons poised. Standing in the shadows, near the corridor, is Quail! (Still with no       gun)

Both guards walk quickly toward Quail, covering him with their weapons.

GUARD #1 (to Guard #2) Watch him. He was EIO trained. They're all full of tricks.

GUARD #2 Yeah? Like...who was that guy? -- Fred Bond?? (to Quail) Keep 'em up, Fred, keep 'em                  up.

Quail has his arms raised high. Just as the Guards reach him, he fizzes electronically, emitting a humming sound, then disappears.

GUARD #1 A hologram!

Before either Guard can react, the real Quail appears -- one foot behind them. With two LIGHTNING BLOWS, he       dispatches the Guards. (Apparently Quail has climbed out       of the shaft while the Guards were distracted.)

Quail snatches both Guards' weapons, grenades and ammo belts. Melina climbs out of the shaft. Quail tosses her one of the Guard's guns.

130    INT. CORRIDOR - LEVEL ONE

ALARMS go off everywhere. Quail -- carrying a gun and all the grenades and ammo belts -- and Melina (just carrying a       gun) bolt down a corridor past a sign: "LEVEL ONE".

MELINA (running) Where'd you get that little trick?

QUAIL (running) Mail-order company. It's a                  great one for fooling the wife.

131    INT. CONTROL ROOM (LEVEL THIRTEEN)

Cohaagen and his Aides hear the ALARMS, see Quail and Melina on MONITORS as they race down the corridor on       Level One.

COHAAGEN How the hell did they get in?

SECURITY AIDE Up the fusion core.

COHAAGEN Up the fusion core??

He exhibits begrudging admiration for Quail.

SECURITY AIDE (studies monitor                           more carefully) They're on Level One.

A wall sign behind Cohaagen reads: "LEVEL THIRTEEN".

COHAAGEN Seal all upper levels.

A button is pressed and huge doors slide across in front of the formidable doors already closing the Control Room off from the outside corridors.

133    INT. LEVEL ONE CORRIDOR

Quail and Melina are still racing through the corridors. He passes her a fresh ammo belt.

QUAIL (indicates                           weapons) Know how to use one of these?

Melina expertly ejects her spent clip (that Guards fired       at Quail), slams in a fresh clip and cocks the gun.

Quail has a half-second to react, impressed, then -- FOUR GUARDS pound into view at the end of the corridor.

Melina opens fire, nails two. Quail heaves a grenade; as       it EXPLODES, he and Melina bolt down a side corridor --

134    INT. VARIOUS CORRIDORS, CATWALKS, STAIRS

ALARMS continue as Quail and Melina dash down the side passageway. MORE GUARDS cut them off; Melina's machine gun sends them scattering --

Quail pauses at a corner. He looks around quickly and sees that an elevator is arriving. He motions Melina back. The doors of the elevator begin to open. Very quickly, Quail bobs his head and arm around the corner. He calls out, loudly...

QUAIL Catch! He hurls something toward the armed men in the elevator. Instinctively one of them reaches for the thrown object. It is an explosive device of some sort. Quail and Melina press themselves against the wall just around a corner from the elevator. There is a tremendous explosion.

Quail, followed by Melina, rounds a corner. The elevator is in ruins; bodies are scattered everywhere.

MELINA Great stuff, but how do we                  get up?

She points toward the upper levels.

135    INT. CONTROL ROOM (LEVEL THIRTEEN)

Melina and Quail can be seen on the security monitor from a high angle. Quail looks up, spots the monitor, and shoots is to pieces. The image on the screen goes black.

COHAAGEN Forget them. We'll pick up                  Quail once the shuttles have left for Earth.

137    INT. CORRIDOR

Quail spots a large WINDOWED AIR LOCK at the end of the corridor. He and Melina race to it. Quail starts to open the inner door of the air lock.

QUAIL If you're afraid of the heights, you better get over it real quick.

He is pulling Melina through the inner air lock door just as --

GUARDS stampede around the corner of the corridor toward them.

Quail is out of sight, but they see Melina poised near the window. She waves and smiles to them, hiding her gun behind her body. They slow down and approach less cautiously, beguiled by her manner and attractiveness. As they get close, she suddenly lifts her gun and opens fire, mowing them down.

140    EXT. SPHINX'S FACE - DAY

Quail and Melina climb through the outer air lock door. They are at the Sphinx's shoulder, with a dizzying drop beneath them. Melina looks down. She's sorry she did: the fall is at least 200 feet. (Both are wearing their       breathing apparatus.)

Quail and Melina start to climb. Up the Sphinx's shoulder, along its Egyptian-like headdress --

141    INT. CONTROL ROOM - DAY

Cohaagen's chief aide, Emile, addresses him quietly.

EMILE If Quail's the only one who can operate all this... (gestures toward                           Sphinx's controls) ...then he can call all the shots.

COHAAGEN We'll tell him the computer's                  worked out the operational details so we don't really need him. We're just doing him a favor.

EMILE And if that doesn't work?

COHAAGEN We offer him rewards.

EMILE What if that doesn't work?

COHAAGEN We'll torture him. You don't                  think I got this far by being a nice guy?

142    EXT. SPHINX'S FACE - DAY

Quail and Melina traverse across the cheekbones, haul themselves up at the base of the red translucent eyes --

142A   INT. CONTROL ROOM - DAY

The video monitors show the space shuttles. An operator, with earphones, turns to Cohaagen.

OPERATOR First of the shuttles ready for departure, sir. Two minute countdown.

142B   EXT. SPHINX - DAY

Quail jams THREE GRENADES against the glass of the eyes, pulls Melina back behind the stone cheeks --

143    INT. SPHINX CONTROL ROOM

A MUFFLED EXPLOSION (due to the thin Martian atmosphere) detonates overhead. THE SPHINX'S RIGHT EYE BLOWS IN a       storm of shards and shrapnell.

Instantly, the room turns into a hurricane as the Martian vacuum sucks out all air! Everyone panics, grabbing their

COHAAGEN Seal the breach! Repressurize!

An aide dives for an EMERGENCY SWITCH. But now --

Quail and Melina, wearing breather masks, bursts in onto an overhead catwalk. They OPEN FIRE on the Guards, who are choking, struggling with their masks.

An EMERGENCY PRESSURE SEAL powers into place, sealing the breach in the eye. REPRESSURIZATION comes up, the internal atmosphere stabilizes --

None of the men inside the control room still moves. The victors tug off their masks, spring down to the main level. Melina hurries to the main control panel.

Melina looks towards the video monitors showing half a       dozen huge space shuttles lined up for departure.

MELINA Those shuttles are starting up                  any minute. If you know how to work this thing, you better do it now.

Quail tentatively approaches the imposingly complex machinery.

QUAIL Yes...

He hesitates.

MELINA Don't you know how?

Transfixed, mesmerized, Quail moves closer to the control panel.

QUAIL Yes... there's a vital connection missing...

He approaches even closer. He begins to raise his arm towards a blank area a little above his head.

QUAIL (continuing) ...me...

COHAAGEN Wait!

MELINA Don't wait!

COHAAGEN If you activate the mechanism you'll die...there were glimpses of it in your memory.

QUAIL Wrong, Cohaagen, there's a                  long tunnel, a brilliant white light, hands reaching for me...

COHAAGEN (assured) That's your death. That's                  what it looks like. That's                  what is always looks like.

Quail looks around him, half-convinced.

MELINA (looking toward                           space shuttles                            on video screens) Charles - for Mars's sake....

Quail hesitates. He looks from Melina to Cohaagen.

COHAAGEN It's not too late. Join us                  again. U've a lot to offer. A whole world.

Quail continues to look at him, thoughtfully.

QUAIL You don't deserve a new world, you and people like you made too big a mess of the old one. Time someone else had a                  chance.

He turns back to the machine and slowly raises his arm again. His fingers reach towards the blank section on       the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of       the two hands touch.

The entire control room begins to rumble and shudder. As       Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them.

The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him.

144    INT. SURREAL TUNNEL

A reprise of the sequence that opened the movie.

Quail RUNS THROUGH A LABYRINTH OF TUNNELS. THE GROUND HEAVES BENEATH HIM ... HUGE STONE BLOCKS CRASH DONW ON       ALL SIDES! We hear an EXPLOSION and ANOTHER and ANOTHER, each one SOUNDING CLOSER than the last --

Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina?

The tunnel walls are just like the ones in Quail's       original nightmare -- bright reddish-orange, clay and quartz.

Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly --

Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but --

Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles --

HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as --

A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to --

145    EXT. MARTIAN DESERT - DAY

The hands belong to breather-masked MINERS, dismounting rapidly from an overloaded transport vehicle which was taking them to the Space Port. Quail looks from them to       Melina, who is walking towards the group.

QUAIL'S P.O.V. - MINERS' MASKED FACES

The miners' desert garb, shield goggles and breathers add to the surreal nightmare quality of Quail's tortured perspective --

BACK TO QUAIL

In terror, lost, disoriented totally.

QUAIL Am I dying?

MASKED MINER I won't lie to you, pal. You are.

MINER (from Melina's bar) I'd say in about forty years... (he and others                           help Quail to                            his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's                  switched off the air.

2ND MINER Shippin' us all out. Mars is finished.

A MINER'S WIFE watches them. She is crying.

Quail looks up at the sky. Melina follows his glance. So do the others.

Slowly, but perceptibly, the color is changing from yellow to blue.

MELINA It's happening.

MINER What is it?

All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's

All the miners watch in amazement. They all remove their breathing masks.

QUAIL That's just the start. Next there'll be rain and growth and ... life.

Melina embraces him.

QUAIL (continuing) Rekall could never have come up with anything like this.

Melina looks oddly at him, smiling, mysterious.

As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem.

The music swells. Quail puts his arm around Melina. They both join in the chorus.

It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen.

THE END