Quail looks around him, half-convinced.

                                 MELINA
                           (looking toward
                            space shuttles
                            on video screens)
                   Charles - for Mars's sake.... Quail's obsession.  For twelve
                   years you've been talking about
                   Mars. 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 -- Everyone ignores the broadcast -- except Quail, who perks
        instantly at the word "Mars."

        The NEWSCASTER is a young black man. 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? 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. Quail lunges across the pillows to Kuato's unbreathing
        form.  Quail shakes the ancient mystic, trying to find a
        last flicker of life. BENNIE
                   It's a tough planet, boss.

                                 QUAIL
                   Yeah, right. Kirsten is watching another pornographic video when Quail
        bursts in.  He is still disoriented.

                                 QUAIL
                   Did you know I've been to
                   Mars? QUAIL
                   To combine elements in the
                   Martian core and release
                   them as oxygen, hydrogen
                   and nitrogen.

                                 BENNIE
                   That's air! 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. 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. 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... Quail goes to a viewport and PEERS, transfixed.  He is
        seeing... at last... the object of his obsession. QUAIL
                   People do go to Mars, you know.

                                 KIRSTEN
                   That's right, Douglas.  But not
                   you.  Not us. QUAIL
                           (wistfully)
                   Well... I'd like to see the
                   Martian Sphinx... 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. 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 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. 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.
All the miners are puzzled, apprehensive.  Quail reaches
        toward the one who spoke to him before and pulls off his 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 BENNIE
                   Sorta.  Bunch of miners out
                   here got their own claims, from 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. 93      INT. OLD MINE - NIGHT COHAAGEN
                   With him...
                           (gestures toward
                            the mine) MELINA
                   It's happening.

                                 MINER
                   What is it? THIS LABYRINTH of TUNNELS.  The GROUND TREMBLES under him,
        as if in an earthquake.  We cannot clearly make out his face, All the miners watch in amazement.  They all remove their
        breathing masks. The miners' desert garb, shield goggles and breathers add
        to the surreal nightmare quality of Quail's tortured
        perspective --


        BACK TO QUAIL HEAVES BENEATH HIM ... HUGE STONE BLOCKS CRASH DONW ON
        ALL SIDES!  We hear an EXPLOSION and ANOTHER and ANOTHER, Because of this, the RED GLOW, the air of FEAR to the man,
        and the GROUND HEAVING and BUCKLING, there is almost a The joint is a combination saloon/cathouse/casino.  There
        are slot machines, HOOKERS, MINERS and HOMESTEADERS; it is They walk as they talk - into a room off the main tunnel.
        It is adorned with "FREE MARS" and "MARTIAN LIBERATION to the mine out at Apidalia
                   Planitia.  Got them people
                   you're lookin' for in the
                   back as well. The Mole bores through a sand wall, emerges into a cramped
        horizontal tunnel.  Quail and Melina leap out.  The poor if in an earthquake.  EXPLOSIONS rumble deep in the ground
        below him.  Suddenly we realize -- the man is Quail Far in the distance, a dusty red structure squats amid
        barren dunes.  We see vehicles, scaffolding, a fortified
        perimeter. 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. MINER #4
                           (alarmed)
                   ...well, that killed twelve
                   thousand...

                                 QUAIL
                   What is this, Bennie...
                   Tombstone?
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. He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks QUAIL
                           (outraged)
                   How could you do it?  After
                   eight years!

                                 KIRSTEN
                   I'm not your wife, Quail. 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. 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. 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. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the 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 is sitting, distracted, in an uncomfortable modern
        chair.  Kirsten is watching a near-pornographic film on
        TV.  She casually lights a cigarette. 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. KIRSTEN
                   What men?  Doug, you're crazy.

        She starts to mix a drink from a well-stocked cabinet. LULL
                           (bends over
                            Quail)
                   Quail?  Dougie, can you hear me?

                                 QUAIL
                   Yes. Quail stay.  Plainly he wants to, but he can't.  They kiss
        lingeringly;  then Quail, as if "called to duty," exits. KIRSTEN
                           (shrugging)
                   We had to watchdog you...make
                   sure the erasure took.  A wife
                   seemed like a good idea. KIRSTEN
                   Oh my God...

                                 QUAIL
                   But something went wrong...
                   something about a real
                   memory... and then those
                   men...  tried to kill me. Melina bursts into tears.  Quail rather tentatively puts
        his arms around her.  She welcomes this at first, but then
        pushes him away. LULL
                   Dougie?  This Sophie Lull.
                   Can ya hear me?

                                 QUAIL
                   ...Sophie.... Suddenly, she slaps him hard across the face.

                                 MELINA
                           (quietly)
                   You bastard...

        He rubs his painful cheek. 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." QUAIL
                   I don't have a wife.  Well,
                   I do - but not a real wife.
                           (getting
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. McCLANE
                           (continuing)
                   You can have a new identity
                   for the duration of the trip.
                   Pick one.

        Quail's eyes linger on "Intelligence Agent." 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. 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. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the 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. QUAIL
                   Who is it?

                                 VOICE (O.S.)
                   Mr. Hauser, I want to talk to
                   you... about Douglas Quail. 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. Everyone ignores the broadcast -- except Quail, who perks
        instantly at the word "Mars."

        The NEWSCASTER is a young black man. Quail looks around him, half-convinced.

                                 MELINA
                           (looking toward
                            space shuttles
                            on video screens)
                   Charles - for Mars's sake.... Kirsten is watching another pornographic video when Quail
        bursts in.  He is still disoriented.

                                 QUAIL
                   Did you know I've been to
                   Mars? Quail tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand: 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. VOICE (O.S.)
                   My name is George Edgemar.
                   I work for Rekall, Incorporated. Filmed from the elevator end of the area, we see the cab
        pull up and Quail alight and enter the building.  He nods 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." CASSETTE VOICE (V.O.)
                           (Quail's voice)
                   "Hauser, this is Hauser -- or 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. 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. 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...
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. Holding the wet towel against his neck, Quail slowly
        withdraws the wire.  On the end of it is a tiny, metal
        bead, the Transmitter. 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. 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 -- QUAIL
                   But I remember it!  All of
                   it!... Us!

                                 KIRSTEN
                   All implanted. 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. 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. 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. 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
                           (continuing)
                   Killing you... killing you...
                   killing you....

        His voice trails off, his eyes close. 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. 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 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. 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 lunges across the pillows to Kuato's unbreathing
        form.  Quail shakes the ancient mystic, trying to find a
        last flicker of life. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the 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. 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 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 tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand:
Now no one can breathe.  They all claw for their masks,
        [still] in place.  Bennie is first;  he recovers, lunges way back.  Cohaagen's buyin' em
                   all up, says he's gonna cut off
                   the air an' water if they won't BENNIE
                   Some guy really screwed her -
                   screwed her up real good.
                   Some Earthman.  Just hopped
                   on a space shuttle. 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. twelve hours, all residents
                   will be departing on shuttles
                   within twenty-four hours.  Air
                   and water supplies will be cut BENNIE
                   Nothin', boss.  Just old
                   smokies.  Only place they
                   can come for a puff.  It's
                   all banned topside. 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. MELINA
                   So what can we do?

                                 QUAIL
                   Ruin his little scheme by
                   terriforming ahead of
                   schedule - while the
                   inhabitants are still here. The streets are crowded and there is a "frontier-town"
        atmosphere.  Stalls sell fruit and vegetables, also water
        and air containers. Because of this, the RED GLOW, the air of FEAR to the man,
        and the GROUND HEAVING and BUCKLING, there is almost a 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. shreds, scattering refuse everywhere.  The rat is killed.
        They all stare in disbelief. 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. Cohaagen and a number of his associates, plus scientists
        and heavily arms troops are present.

                                 COHAAGEN
                   The air supply is off under
                   the domes? The fight begins.  Bennie attacks Quail with his buzz-saw
        arm;  Quail dodges.  Bennie's arm shreds various articles Simultaneously, the air in the vehicle starts rushing out!
        All three parties begin choking.  As Bennie's mechanical 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 Quail delivers a roundhouse punch to Bennie, knocking him
        clear across the bus.

        Melina seals the vent, REPRESSURIZES THE CABIN. 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 -- 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.
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 strides back in, icy-furious.  He seizes Melina by
        the wrist and drags her after him into the corridor.


84A     INT. CORRIDOR - NIGHT 85      EXT. ALLEY BEHIND HILTON - NIGHT

        Quail and Melina run from a basement door into an alley. 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. 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". 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. 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. 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 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 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. Quail snatches both Guards' weapons, grenades and ammo
        belts.  Melina climbs out of the shaft.  Quail tosses her
        one of the Guard's guns. The searchlight approaches Bennie, Quail and Melina.  Bennie
        ducks into a doorway, while Quail grabs Melina and kisses Melina opens fire, nails two.  Quail heaves a grenade; as
        it EXPLODES, he and Melina bolt down a side corridor -- 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. The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. 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 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, followed by Melina, rounds a corner.  The elevator
        is in ruins; bodies are scattered everywhere.

                                 MELINA
                   Great stuff, but how do we
                   get up? ALARMS continue as Quail and Melina dash down the side
        passageway.  MORE GUARDS cut them off;  Melina's machine
        gun sends them scattering -- (NOTE:  As Quail and Melina speak, the activity in the
                outside bar can be seen above the swinging doors.)
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. MELINA
                           (whispering)
                   There's an explosive in the
                   clipboard!  He has a dead-man
                   switch in his hand! Simultaneously, the air in the vehicle starts rushing out!
        All three parties begin choking.  As Bennie's mechanical 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. of Mars.  When we trigger
                   the mechanism, fusion
                   reactors will detonate down
                   there -- four hundred miles
                   deep. 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". 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. 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. At that instant, Melina lunges, PUNCHES A RED EMERGENCY
        BUTTON.  The VENT beside Bennie's hand BLOWS OPEN, [causing] Now no one can breathe.  They all claw for their masks,
        [still] in place.  Bennie is first;  he recovers, lunges The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. shreds, scattering refuse everywhere.  The rat is killed.
        They all stare in disbelief. 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 Quail throws a backward glance fearfully over his shoulder.
        The EXPLOSIONS are closer.  Suddenly -- returns the fire.  He staggers back out into the corridor
        and slams against the wall, dead. riddling him with bullets.  He collapses in an undignified
        heap, his head in the water at the base of the trough. ERNIE
                   With spontaneous breakthrough.

                                 McCLANE
                   Holy shit.

        They stare at Quail as if he's a ticking bomb. Quail spins toward the door just as it BURSTS OPEN.  A man
        enters, firing, but Quail has fallen to the floor and Before either Guard can react, the real Quail appears --
        one foot behind them.  With two LIGHTNING BLOWS, he He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks
of Mars.  When we trigger
                   the mechanism, fusion
                   reactors will detonate down
                   there -- four hundred miles
                   deep. A MUFFLED EXPLOSION (due to the thin Martian atmosphere)
        detonates overhead.  THE SPHINX'S RIGHT EYE BLOWS IN a
        storm of shards and shrapnell. QUAIL
                   To combine elements in the
                   Martian core and release
                   them as oxygen, hydrogen
                   and nitrogen.

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

                                 COHAAGEN
                   Seal the breach!  Repressurize! 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. The atmosphere of Mars is
                   almost a vacuum.  Thank you
                   for flying with Interstellar
                   and we hope your stay will be The SPACELINER -- which we have deliberately not seen before
        this moment for dramatic effect -- banks and turns, suddenly
        bringing into view -- MARS. for Mars.  No more pressurized
                   cities, no more containers in
                   the desert.  There'll be
                   rivers, vegetation - life - 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 -- 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. 49      EXT. MARTIAN DESERT - DAY

        An endless expanse of boulder-studded red sand, under
        a red-orange sky. 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. really took.
                           (pause)
                   Someone at Earth Intelligence
                   Operations erased his memory.
                   All he know was going to Mars (he nods)
                   Good.  Now, what's the first
                   thing you think of when you're
                   thinkin' about Mars? a powerful suction caused by Mars's vacuum atmosphere.
        Bennie's gun hand is PLANTED AGAINST THE VENT [OPENING.] The liner drops toward the surface of Mars.  Below:  a
        NETWORK OF INTERSECTING LINES crisscross the planet. He unzips his jacket to reveal a T-shirt with "MARTIAN
        LIBERATION FRONT" (and an appropriate symbol) emblazoned
        on it. 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. 145     EXT. MARTIAN DESERT - DAY CAPTAIN'S VOICE (V.O.)
                   Those long gorges you see,
                   clearly are the legendary
                   canals of Mars....
QUAIL
                           (outraged)
                   How could you do it?  After
                   eight years!

                                 KIRSTEN
                   I'm not your wife, Quail. 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. KIRSTEN
                           (continuing)
                   It's all a fabrication, Quail.
                   Everything you know. 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." Quail is sitting, distracted, in an uncomfortable modern
        chair.  Kirsten is watching a near-pornographic film on
        TV.  She casually lights a cigarette. QUAIL
                   I don't have a wife.  Well,
                   I do - but not a real wife.
                           (getting McCLANE
                           (continuing)
                   You can have a new identity
                   for the duration of the trip.
                   Pick one.

        Quail's eyes linger on "Intelligence Agent." 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
                           (indifferent;
                            nursing her
                            arm)
                   It's a false memory implant.
                   I never saw you before six
                   weeks ago. EDGEMAR
                   If we can't get you out now...
                   you may never come out of it.
                   Your wife calls every day --


        CLOSE - QUAIL McCLANE
                   Wait a minute.  Quail --

                                 QUAIL
                   My name isn't Quail. KIRSTEN
                           (shrugging)
                   We had to watchdog you...make
                   sure the erasure took.  A wife
                   seemed like a good idea. 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. QUAIL
                   You loved me once, you must
                   have --

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

                                 VOICE (O.S.)
                   Mr. Hauser, I want to talk to
                   you... about Douglas Quail. 3       INT. BEDROOM IN SMALL APARTMENT - MORNING

        DOUGLAS QUAIL and his wife KRISTEN, are asleep in bed. 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. 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. 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 He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks
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. 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. 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. The Clerk turns to the safe, retrieves an envelope. He
        hands it -- and an ELECTRONIC ROOM KEY -- to Quail. Quail tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand: 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). 5       INT. SUBWAY STATION - EARLY MORNING

        Quail enters the station.  Everybody must pass through a
        weapons check before proceeding to the platforms. 59      INT. QUAIL'S HOTEL ROOM - DAY

        Quail stands at the window, looking through binoculars.
        He lowers them irritably, tosses them on the bed. 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. Also in the case are:  TWO PASSPORTS;  a small CASSETTE
        RECORDER;  a rolled-up LEATHER POUCH and a spray can of 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. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the McCLANE
                           (continuing)
                   You can have a new identity
                   for the duration of the trip.
                   Pick one.

        Quail's eyes linger on "Intelligence Agent." Quail emerges from the hotel, properly attired now in a
        white tropical suit, and starts for the taxi stand. 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." 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. The Pawnbroker puts the case on the counter.  Quail looks
        at the case with curiosity.

                                 QUAIL
                           (continuing)
                   I wonder if you could tell
                   me... 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. 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". QUAIL
                   Catch!
        He hurls something toward the armed men in the elevator.
        Instinctively one of them reaches for the thrown object.
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. He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks QUAIL
                           (outraged)
                   How could you do it?  After
                   eight years!

                                 KIRSTEN
                   I'm not your wife, Quail. 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. 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. 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. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the 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 is sitting, distracted, in an uncomfortable modern
        chair.  Kirsten is watching a near-pornographic film on
        TV.  She casually lights a cigarette. 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. KIRSTEN
                   What men?  Doug, you're crazy.

        She starts to mix a drink from a well-stocked cabinet. LULL
                           (bends over
                            Quail)
                   Quail?  Dougie, can you hear me?

                                 QUAIL
                   Yes. Quail stay.  Plainly he wants to, but he can't.  They kiss
        lingeringly;  then Quail, as if "called to duty," exits. KIRSTEN
                           (shrugging)
                   We had to watchdog you...make
                   sure the erasure took.  A wife
                   seemed like a good idea. KIRSTEN
                   Oh my God...

                                 QUAIL
                   But something went wrong...
                   something about a real
                   memory... and then those
                   men...  tried to kill me. Melina bursts into tears.  Quail rather tentatively puts
        his arms around her.  She welcomes this at first, but then
        pushes him away. LULL
                   Dougie?  This Sophie Lull.
                   Can ya hear me?

                                 QUAIL
                   ...Sophie.... Suddenly, she slaps him hard across the face.

                                 MELINA
                           (quietly)
                   You bastard...

        He rubs his painful cheek. 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." QUAIL
                   I don't have a wife.  Well,
                   I do - but not a real wife.
                           (getting
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. 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. 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. 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 is sitting, distracted, in an uncomfortable modern
        chair.  Kirsten is watching a near-pornographic film on
        TV.  She casually lights a cigarette. 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. 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). Filmed from the elevator end of the area, we see the cab
        pull up and Quail alight and enter the building.  He nods PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the Quail tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand: CASSETTE VOICE (V.O.)
                           (Quail's voice)
                   "Hauser, this is Hauser -- or 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. 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. He looks at the video screen again.  An image has flashed
        onto it of an attractive Eurasian girl.

                                 COHAAGEN
                           (continuing)
                   Hold it there. Kirsten is watching another pornographic video when Quail
        bursts in.  He is still disoriented.

                                 QUAIL
                   Did you know I've been to
                   Mars? The Clerk turns to the safe, retrieves an envelope. He
        hands it -- and an ELECTRONIC ROOM KEY -- to Quail. 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. 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. 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. 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."
QUAIL
                   Who is it?

                                 VOICE (O.S.)
                   Mr. Hauser, I want to talk to
                   you... about Douglas Quail. McCLANE
                   Wait a minute.  Quail --

                                 QUAIL
                   My name isn't Quail. McCLANE
                           (continuing)
                   You can have a new identity
                   for the duration of the trip.
                   Pick one.

        Quail's eyes linger on "Intelligence Agent." QUAIL
                   Sure.  Douglas Quail. Quail tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand: QUAIL
                   Okay -- so you're Doctor
                   George Edgemar of 'Rekall,
                   Inc.'  So? 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 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. KIRSTEN
                   Oh my God...

                                 QUAIL
                   But something went wrong...
                   something about a real
                   memory... and then those
                   men...  tried to kill me. KIRSTEN
                           (continuing)
                   It's all a fabrication, Quail.
                   Everything you know. QUAIL
                           (even his voice
                            has changed)
                   I'm fine... only I'm not
                   Doug -- I'm Charles Hauser...
                   and I know everything Hauser
                   knew. Quail's jaw with his real hand.  Quail sprawls, dazed. QUAIL
                           (continuing)
                   Killing you... killing you...
                   killing you....

        His voice trails off, his eyes close. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the QUAIL
                   People do go to Mars, you know.

                                 KIRSTEN
                   That's right, Douglas.  But not
                   you.  Not us. 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. STRANGE MAN
                           (nodding to
                            Quail)
                   Your servant, Fahreem Kuato. QUAIL
                           (mutters)
                   Martian money....

        Quail thumbs through the money, and whistles softly to
        himself as he sees how much there is. 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." 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.
Now no one can breathe.  They all claw for their masks,
        [still] in place.  Bennie is first;  he recovers, lunges MELINA
                   So what can we do?

                                 QUAIL
                   Ruin his little scheme by
                   terriforming ahead of
                   schedule - while the
                   inhabitants are still here. twelve hours, all residents
                   will be departing on shuttles
                   within twenty-four hours.  Air
                   and water supplies will be cut 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. way back.  Cohaagen's buyin' em
                   all up, says he's gonna cut off
                   the air an' water if they won't 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 -- BENNIE
                   Some guy really screwed her -
                   screwed her up real good.
                   Some Earthman.  Just hopped
                   on a space shuttle. BENNIE
                   Nothin', boss.  Just old
                   smokies.  Only place they
                   can come for a puff.  It's
                   all banned topside. of Mars.  When we trigger
                   the mechanism, fusion
                   reactors will detonate down
                   there -- four hundred miles
                   deep. 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. 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. Cohaagen and a number of his associates, plus scientists
        and heavily arms troops are present.

                                 COHAAGEN
                   The air supply is off under
                   the domes? 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 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. 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. Because of this, the RED GLOW, the air of FEAR to the man,
        and the GROUND HEAVING and BUCKLING, there is almost a KIRSTEN
                   Rape men in the park?

                                 QUAIL
                   No.  Go to Mars. The streets are crowded and there is a "frontier-town"
        atmosphere.  Stalls sell fruit and vegetables, also water
        and air containers. 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
                   People do go to Mars, you know.

                                 KIRSTEN
                   That's right, Douglas.  But not
                   you.  Not us.
Melina bursts into tears.  Quail rather tentatively puts
        his arms around her.  She welcomes this at first, but then
        pushes him away. MELINA turns to return to the bar and runs straight into
        Quail.  She stops, obviously astonished to see him.

                                 MELINA
                   You bastard! 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. 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. MELINA
                   What are you here for?!

                                 QUAIL
                   For you!  I don't even know
                   why -- QUAIL
                           (continuing)
                   Rekall could never have come
                   up with anything like this.

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


84A     INT. CORRIDOR - NIGHT The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. Quail looks around him, half-convinced.

                                 MELINA
                           (looking toward
                            space shuttles
                            on video screens)
                   Charles - for Mars's sake.... 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 Melina watches from the bed as Quail dresses.  She rises,
        with only the sheet around her, tries desperately to make 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. MELINA
                   Yes, Mr. Quail, I'm afraid
                   it's all true.

        Quail is staggered. Melina backs off.  Quail grows more desperate. The searchlight approaches Bennie, Quail and Melina.  Bennie
        ducks into a doorway, while Quail grabs Melina and kisses Quail hesitates.  He looks from Melina to Cohaagen. 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. 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 -- Suddenly, she slaps him hard across the face.

                                 MELINA
                           (quietly)
                   You bastard...

        He rubs his painful cheek. 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".
QUAIL
                   To combine elements in the
                   Martian core and release
                   them as oxygen, hydrogen
                   and nitrogen.

                                 BENNIE
                   That's air! of Mars.  When we trigger
                   the mechanism, fusion
                   reactors will detonate down
                   there -- four hundred miles
                   deep. 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 -- 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. A MUFFLED EXPLOSION (due to the thin Martian atmosphere)
        detonates overhead.  THE SPHINX'S RIGHT EYE BLOWS IN a
        storm of shards and shrapnell. Everyone ignores the broadcast -- except Quail, who perks
        instantly at the word "Mars."

        The NEWSCASTER is a young black man. 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. 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. QUAIL
                   That's right.  Air and water.
                   Terriforming will create a
                   permanent livable environment Quail delivers a roundhouse punch to Bennie, knocking him
        clear across the bus.

        Melina seals the vent, REPRESSURIZES THE CABIN. The atmosphere of Mars is
                   almost a vacuum.  Thank you
                   for flying with Interstellar
                   and we hope your stay will be Instantly, the room turns into a hurricane as the Martian
        vacuum sucks out all air!  Everyone panics, grabbing their

                                 COHAAGEN
                   Seal the breach!  Repressurize! The SPACELINER -- which we have deliberately not seen before
        this moment for dramatic effect -- banks and turns, suddenly
        bringing into view -- MARS. The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. 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. 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. He unzips his jacket to reveal a T-shirt with "MARTIAN
        LIBERATION FRONT" (and an appropriate symbol) emblazoned
        on it. 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. really took.
                           (pause)
                   Someone at Earth Intelligence
                   Operations erased his memory.
                   All he know was going to Mars 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 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 and Melina, wearing breather masks, bursts in onto
        an overhead catwalk.  They OPEN FIRE on the Guards, who are
        choking, struggling with their masks. Kuato smiles.  He extinguishes all the lights save one
        small blue one, which illuminates the room eerily, like
        a seance. Kauto turns around and sits down with back toward Quail.
        He reaches up and lowers his cowl, REVEALING: Kuato's body is dead white.  Quail releases his grip;
        he about to give up when -- The fight begins.  Bennie attacks Quail with his buzz-saw
        arm;  Quail dodges.  Bennie's arm shreds various articles 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." STRANGE MAN
                           (nodding to
                            Quail)
                   Your servant, Fahreem Kuato. Now no one can breathe.  They all claw for their masks,
        [still] in place.  Bennie is first;  he recovers, lunges 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 The second official car pulls up behind.  A chauffeur jumps
        out and opens the rear door.  Cohaagen steps out.  He sur- Quail lunges across the pillows to Kuato's unbreathing
        form.  Quail shakes the ancient mystic, trying to find a
        last flicker of life. Before either Guard can react, the real Quail appears --
        one foot behind them.  With two LIGHTNING BLOWS, he 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! 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. Holding the wet towel against his neck, Quail slowly
        withdraws the wire.  On the end of it is a tiny, metal
        bead, the Transmitter. All the miners are puzzled, apprehensive.  Quail reaches
        toward the one who spoke to him before and pulls off his He unzips his jacket to reveal a T-shirt with "MARTIAN
        LIBERATION FRONT" (and an appropriate symbol) emblazoned
        on it. KUATO
                           (continuing)
                   This way, my dear man.  We
                   have much to accomplish --
                           (ominously)
                   -- and very little time. The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him.
QUAIL
                           (outraged)
                   How could you do it?  After
                   eight years!

                                 KIRSTEN
                   I'm not your wife, Quail. QUAIL
                           (continuing)
                   Rekall could never have come
                   up with anything like this.

        Melina looks oddly at him, smiling, mysterious. McCLANE
                   We're all dreamers, Douglas.
                   But here at Rekall, dreams
                   are our business. LULL
                   Dougie?  This Sophie Lull.
                   Can ya hear me?

                                 QUAIL
                   ...Sophie.... VOICE (O.S.)
                   My name is George Edgemar.
                   I work for Rekall, Incorporated. KIRSTEN
                           (continuing)
                   Doug!  It's something they
                   put into your mind at the
                   memory place.  Fantasies.
                   That's their business. 3       INT. BEDROOM IN SMALL APARTMENT - MORNING

        DOUGLAS QUAIL and his wife KRISTEN, are asleep in bed. QUAIL
                           (interrupting)
                   I think I've been.  I vaguely
                   recall...

                                 KIRSTEN
                   Doug, you've got to forget... QUAIL
                   People do go to Mars, you know.

                                 KIRSTEN
                   That's right, Douglas.  But not
                   you.  Not us. 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
                   I believe you, but that won't
                   stop E.T.O. from killing you.

        The Rekall people stare at each other in quiet horror. KIRSTEN
                           (shrugging)
                   We had to watchdog you...make
                   sure the erasure took.  A wife
                   seemed like a good idea. 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. KIRSTEN
                   Oh my God...

                                 QUAIL
                   But something went wrong...
                   something about a real
                   memory... and then those
                   men...  tried to kill me. Her gesture suggests their liaison.

                                 QUAIL
                   Yeah.  And I can't even
                   remember it.  We'll have to
                   arrange a return bout. McCLANE
                           (continuing)
                   Think about it, Douglas.
                   Think, too, what a terrible KIRSTEN
                           (indifferent;
                            nursing her
                            arm)
                   It's a false memory implant.
                   I never saw you before six
                   weeks ago. EDGEMAR
                   If we can't get you out now...
                   you may never come out of it.
                   Your wife calls every day --


        CLOSE - QUAIL Quail stay.  Plainly he wants to, but he can't.  They kiss
        lingeringly;  then Quail, as if "called to duty," exits.
TOUR ORGANISER
                   Richard Toltz.
                           (they shake hands)
                   Well, Doug, I hope we'll see
                   a lot more of each other. 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. He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks his nervousness.  He passes.  The guard smiles at him,
        pleased to see he has remembered his gun. 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. 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. 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... All the miners are puzzled, apprehensive.  Quail reaches
        toward the one who spoke to him before and pulls off his Quail tugs the envelope from his pocket, tears it open.
        Inside is a single slip of paper, on which is written
        in longhand: 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. The Fat Man studies him warily for a long moment; then
        he disappears through the curtain. 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. riddling him with bullets.  He collapses in an undignified
        heap, his head in the water at the base of the trough. Kauto turns around and sits down with back toward Quail.
        He reaches up and lowers his cowl, REVEALING: 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. The fight begins.  Bennie attacks Quail with his buzz-saw
        arm;  Quail dodges.  Bennie's arm shreds various articles 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. As he enters.  We read awe, shock and fascination on his
        features.  He approaches something we can't see.  His
        hand reaches out. Lull's assistant, the TECHNICIAN in b.g., who had been
        steadily working on the instrumentation, now looks over
        at Lull. PULL BACK to reveal they are Quail's hands.  The hotel
        room he's now in is obviously a different one than the
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. MELINA
                   You bastard. Melina bursts into tears.  Quail rather tentatively puts
        his arms around her.  She welcomes this at first, but then
        pushes him away. MELINA turns to return to the bar and runs straight into
        Quail.  She stops, obviously astonished to see him.

                                 MELINA
                   You bastard! 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 Suddenly, she slaps him hard across the face.

                                 MELINA
                           (quietly)
                   You bastard...

        He rubs his painful cheek. beneath them.  Melina looks down.  She's sorry she did:
        the fall is at least 200 feet.  (Both are wearing their
        breathing apparatus.) MELINA
                   ...so he had your memory
                   wiped and fixed you up with
                   a new identity. MELINA
                   They kidnapped me.  Said
                   they'd kill you if I didn't MELINA
                   It's happening.

                                 MINER
                   What is it? Melina's expression grows dead hard.

                                 MELINA
                   [And I thought...]

                                 QUAIL
                   Who is us? MELINA
                   What are you here for?!

                                 QUAIL
                   For you!  I don't even know
                   why -- Quail strides back in, icy-furious.  He seizes Melina by
        the wrist and drags her after him into the corridor.


84A     INT. CORRIDOR - NIGHT Melina watches from the bed as Quail dresses.  She rises,
        with only the sheet around her, tries desperately to make Quail is out of sight, but they see Melina poised near the
        window.  She waves and smiles to them, hiding her gun behind Melina expertly ejects her spent clip (that Guards fired
        at Quail), slams in a fresh clip and cocks the gun. QUAIL
                   I don't know why they're
                   after me, but what's your
                   connection with all this?

                                 MELINA
                   We were together before. 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)
                   That's new -- the innocent
                   look.
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. A large gas-powered official-looking car is pushing its way
        through the crowds and traffic behind them.


86B     INT. BENNIE'S CAR - NIGHT At the end of the street, however, Bennie doesn't stop but
        continues going into a large opening.  It is an abandoned He turns to Bennie

                                 QUAIL
                           (continuing)
                   Bennie, where's your depot? BENNIE
                   You don't look so good, boss.
                   All over the Universe, women
                   is an awful curse.

        He opens the door for Quail, beams. BENNIE
                           (continuing)
                   Mine's right around the corner.

                                 QUAIL
                           (indicating first
                            cab in line)
                   That one's closer. BENNIE
                   Well... look at that one, eh?

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

                                 MELINA
                   What? BENNIE
                   But I out-hustle him, right?

                                 QUAIL
                           (smiling)
                   Right. The fight begins.  Bennie attacks Quail with his buzz-saw
        arm;  Quail dodges.  Bennie's arm shreds various articles Bennie indicates a building on their left.


115     INT. CAR POOL - EARLY MORNING Stands.  For a moment his back is to Melina and Bennie.
        Then he turns. Quail enters from the cafe.  Bennie is kneeling beside his
        taxi, repairing a tire.  He look up, sees Quail approach. 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 reaches down, grasps a KNOB.  He yanks it, like
        someone starting an outboard motor -- and an ear-splitting
        LOUD ENGINE roars to life. MELINA
                           (ditto)
                   Purpose?  What purpose?

        Bennie starts the engine. Bennie's car hurtles through the crowds with the official
        car gaining on it.  Bennie takes a corner sharply near a BENNIE
                   Big cheese in town.  Big
                   smelly cheese.

                                 QUAIL
                   Cohaagen?  But isn't he often
                   here? in the cabin -- and keeps Melina at bay with well-timed
        swipes.  Finally Bennie gets in a roundhouse punch to BENNIE
                   No way.  That cat just cheat
                   the Martian workers without
                   ever leavin' his place in
                   Beverly Hills.  Somethin' must
                   be cookin'.
EDGEMAR
                   Mr. Quail... I'm afraid you're
                   not really standing here at
                   this moment.

                                 QUAIL
                   Sat that again. QUAIL
                   Okay -- so you're Doctor
                   George Edgemar of 'Rekall,
                   Inc.'  So? EDGEMAR
                   This is not -- shit, Mr. Quail.
                   It's the truth.
                           (beat) EDGEMAR
                   As I said... this is going to
                   be very difficult -- for both
                   of us.

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


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

                                 EDGEMAR
                   Just do exactly as we tell
                   you. EDGEMAR
                   You're going to do exactly
                   what I tell you --

        Quail PULLS THE TRIGGER! LULL
                   Tell McClane what you told us.

        McClane glances sharply at Lull, then turns to Quail. VOICE (O.S.)
                   My name is George Edgemar.
                   I work for Rekall, Incorporated. CLOSE - QUAIL

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


        CLOSE - EDGEMAR QUAIL
                   But I remember it!  All of
                   it!... Us!

                                 KIRSTEN
                   All implanted. KIRSTEN
                           (continuing)
                   It's all a fabrication, Quail.
                   Everything you know. 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. KIRSTEN
                   Oh my God...

                                 QUAIL
                   But something went wrong...
                   something about a real
                   memory... and then those
                   men...  tried to kill me. 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 does keep his gun trained on the man.  The man enters,
        holding in his outstretched hand -- a business card.

                                 EDGEMAR
                   My card, Mr. Quail. 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
                   I've been artificially
                   implanted -- like the first
                   part of your fantasy.  I'm 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. 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
EDGEMAR
                   You're going to do exactly
                   what I tell you --

        Quail PULLS THE TRIGGER! EDGEMAR
                   This is not -- shit, Mr. Quail.
                   It's the truth.
                           (beat) QUAIL
                   Why did you kill him?  It
                   was the next bit I really...

                                 BENNIE
                   No choice, boss.  It was him
                   or you. CLOSE - QUAIL

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


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

                                 QUAIL
                   I'm listening. Showing no fear of tension whatever.

                                 EDGEMAR
                   You're going to lower the gun,
                   Mr. Quail.  You're going to
                   hand it to me -- EDGEMAR
                   Mr. Quail... I'm afraid you're
                   not really standing here at
                   this moment.

                                 QUAIL
                   Sat that again. 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. 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. QUAIL
                           (continuing)
                   Killing you... killing you...
                   killing you....

        His voice trails off, his eyes close. Even more suspicious.


        TWO SHOT - QUAIL AND EDGEMAR 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! QUAIL
                           (wavering)
                   So what's supposed to happen
                   now?

                                 EDGEMAR
                   Just do exactly as we tell
                   you. 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). EDGEMAR
                   If we can't get you out now...
                   you may never come out of it.
                   Your wife calls every day --


        CLOSE - QUAIL 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. 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 -- 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... 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 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. returns the fire.  He staggers back out into the corridor
        and slams against the wall, dead. 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 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. 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. shreds, scattering refuse everywhere.  The rat is killed.
        They all stare in disbelief. 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 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
                           (continuing)
                   Killing you... killing you...
                   killing you....

        His voice trails off, his eyes close. Quail comes out in crouch, ready to shoot.  On the floor
        lies a DEAD MAN and the body of the Shoeshine Boy, sprawled QUAIL
                   Why did you kill him?  It
                   was the next bit I really...

                                 BENNIE
                   No choice, boss.  It was him
                   or you. QUAIL
                   No.  That's what's so amazing.
                   I killed them.  I think...

        Kirsten stops pouring her drink and look at him sharply. riddling him with bullets.  He collapses in an undignified
        heap, his head in the water at the base of the trough. 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 -- Now no one can breathe.  They all claw for their masks,
        [still] in place.  Bennie is first;  he recovers, lunges He leaves.  Kirsten smiles secretively.  She goes to a
        drawer, opens it and removes a tiny instrument that looks 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. 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. MINER #4
                           (alarmed)
                   ...well, that killed twelve
                   thousand...

                                 QUAIL
                   What is this, Bennie...
                   Tombstone? The fight begins.  Bennie attacks Quail with his buzz-saw
        arm;  Quail dodges.  Bennie's arm shreds various articles
The fight ends as Cohaagen is hurled backwards and
        disappears when a section of floor collapses underneath him.


144     INT. SURREAL TUNNEL The second official car pulls up behind.  A chauffeur jumps
        out and opens the rear door.  Cohaagen steps out.  He sur- The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. NEWSCASTER
                           (continuing)
                   ...but Earth Intelligence Operations
                   Director Vilos Cohaagen, clearly RED-HEADED MAN
                           (to Cohaagen;
                            quietly)
                   They lost him.

                                 COHAAGEN
                   Again?! Several DOCTORS stand over him.  INTO FRAME moves...
        Cohaagen! Quail keeps his face in shadow and watches Cohaagen with
        curiosity as he passes.  Cohaagen is lit up briefly by a MELINA
                   And Cohaagen's going to own
                   it all! 142A    INT. CONTROL ROOM - DAY

        The video monitors show the space shuttles.  An operator,
        with earphones, turns to Cohaagen. MELINA
                           (baffled)
                   So why is Cohaagen shipping
                   everyone out? QUAIL
                   I'm the only one who does.
                   Why do you think Cohaagen's
                   left me alone all this time? way back.  Cohaagen's buyin' em
                   all up, says he's gonna cut off
                   the air an' water if they won't Cohaagen turns to an associate, EMILE, a youngish,
        well-dressed executive type.

                                 COHAAGEN
                           (continuing)
                   Proceed with Operation Sphinx. MELINA
                   But Cohaagen wiped your
                   memory!!! Cohaagen and a number of his associates, plus scientists
        and heavily arms troops are present.

                                 COHAAGEN
                   The air supply is off under
                   the domes? Cohaagen and his Aides hear the ALARMS, see Quail and
        Melina on MONITORS as they race down the corridor on
        Level One. Quail hesitates.  He looks from Melina to Cohaagen. COHAAGEN
                   We'll torture him.  You don't
                   think I got this far by being
                   a nice guy? 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. SECURITY AIDE
                           (studies monitor
                            more carefully)
                   They're on Level One.

        A wall sign behind Cohaagen reads:  "LEVEL THIRTEEN".
Quail strides back in, icy-furious.  He seizes Melina by
        the wrist and drags her after him into the corridor.


84A     INT. CORRIDOR - NIGHT MELINA turns to return to the bar and runs straight into
        Quail.  She stops, obviously astonished to see him.

                                 MELINA
                   You bastard! Melina bursts into tears.  Quail rather tentatively puts
        his arms around her.  She welcomes this at first, but then
        pushes him away. 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. MELINA
                   Yes, Mr. Quail, I'm afraid
                   it's all true.

        Quail is staggered. 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. Melina watches from the bed as Quail dresses.  She rises,
        with only the sheet around her, tries desperately to make QUAIL
                           (continuing)
                   Rekall could never have come
                   up with anything like this.

        Melina looks oddly at him, smiling, mysterious. Quail snatches both Guards' weapons, grenades and ammo
        belts.  Melina climbs out of the shaft.  Quail tosses her
        one of the Guard's guns. Melina expertly ejects her spent clip (that Guards fired
        at Quail), slams in a fresh clip and cocks the gun. 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 The entire control room begins to rumble and shudder.  As
        Quail reaches for Melina, Cohaagen suddenly dives on him. 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. Melina backs off.  Quail grows more desperate. QUAIL
                   I don't know why they're
                   after me, but what's your
                   connection with all this?

                                 MELINA
                   We were together before. 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
                   Please, Melina --

                                 MELINA
                           (tears starting)
                   Get out! 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. 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. Suddenly, she slaps him hard across the face.

                                 MELINA
                           (quietly)
                   You bastard...

        He rubs his painful cheek.
Which planet is Quaid dreaming about? What is rumored to be located in the mines? Who is Lori's real husband? Who does Quaid indentify himself as in the video given to him? What was placed in Quaid's skull? Why were most of the people in Venusville mutated? Where were Quaid and Melina taken to? Who triggered the bomb? What does the reactor release into the Martian atmosphere? What is the name of Dennis Quaid's fake wife?  Which 5 items are in the suitcase that Quaid is given?  Who is Lori's real husband? Who is on the video recording which was given to Quaid in the suitcase? What is Quaids real name? What is the reason for the mutations in the people of Venusville? Why does Melina spurn Quaid when he meets her in Venusville? What does the reactor do to the atmosphere in Mars once it is activated by Quaid? What is the name of the parasitic twin who is the leader of the resistance? What did Lori told Douglas Quaid about their marage? Who was Richter? Who was Melina? Who was Benny? What did Lori and Dr Edgemer told Quaid? Why did Quaid killed Edgemer? Who killed Lori? What happen to Cohaagen? What did Quaid did to Melina?
Mars Mars
Alien artifacts a reactor
Richter Rich
A Hauser Hauser
A tracking device a tracking device
From poor radiation shielding poor radiation shielding
Cohaagen They are taken to a resistance base, and then to Cohaagen.
Cohaagen Cohaagen
Air Air
Lori Lori
Fake ID's, money, gadgets, disguise, video recording. Money, gadgets, fake IDs, a disguise and a video recording
Richter Rich
Quaid himself a video of Quaid identifying himself as "Hauser"
Hauser Arnold Swartzenegger
Poor radiation shielding poor radiation shield
She believes he is still working for Cohaagen She thinks he is still working for Cohaagen
Makes the atmosphere breathable It releases breathable air into the atmosphere of Mars.
Kuato Kuato
Lori told Quaid that their was fake. That is was a fake memory implant and she is not his wife
Lori's real husband Cohaagen's operative and Lori's real husband
The woman from Quaid dream. woman from Quaid's dream
A tax driver Benny was a taxi driver who also was secretly working for Cohaagen.
They told Quaid he is in a dream based on plant memories. That he was having a schizoid embolism 
Quaid saw Edgemer  looking afraid. He saw Edgemer's great fear as he was about to take the pill, and realized Edgemer was working for his enemies.
Quaid Quaid
He was sucked  out to Martian surface. He is sucked out into the Martian surface.
Quaid  kissed  Melina. kiss her