영화대본 : 토탈리콜 "TOTAL RECALL"

어릴적 극장에서 보면서...

감동과 충격에 빠졌었던 영화.....토탈리콜...&^

"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'tthat 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 inearthlybeauty. 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 - QUAILStraining 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

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