"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 backward |
