"TOTAL RECALL" (1990)

TOTAL RECALL

Written by

Ronald Shusett & Dan O'Bannon

Revisions by

Ronald Shusett, Steven Pressfield,

&

Gary Goldman

RED! A vacant, epic expanse of glowing crimson.

TWO MOONS rise into frame, floating over the jagged peaks of distant mountains. We are PANNING DOWN to the endless red plains of MARS.

TWO PEOPLE in space suits walk across the Mars surface, down a slope, across a flat area and up onto a small ridge. They stand and look out over the Mars landscape. They reach for each other's hand and look at each other.

Then they hug each other and walk off.

Quaid walks from the precipice down a gradual slope. The ground gives way underneath him. He falls. His visor hits a rock. A small crack spreads, and the visor blows out.

Quaid starts to decompress. HHHHNh! His breath is drawn out. His face puffs up. Veins stand out in his skin. His eyes bulge. His tongue protrudes. His nose and eyelids bleed.

The woman rushes to him. She kneels down over him. They clasp hands. His eyes explo...

thru OMITTED thru

Quaid wakes in bed, sweaty and panting.

A beautiful woman wakes up next to him. She's not the brunette from before, but a stunning blonde amazon -- LORI.

He's still disoriented.

Quaid starts to come back to reality. Lori presses a button and opaque walls dissolve into transparent windows. WHITE LIGHT gradually fills the dark room, and the city becomes visible outside.

Quaid nods, troubled. Lore wipes the sweat from his brow.

Lori caresses him, comforting, then erotic. Her lips dwell on his muscular chest. He starts to relax.

Amused, Quaid plays dumb.

Lori punches Quaid in the stomach, and they wrestle playfully but rough.

Lori straddles Quaid, and he laughs so hard he can't defend himself.

Quaid grabs Lori's wrists and immobilizes her in the infamous pretzel grip.

She stops resisting.

Quaid lets her go, and Lori entwines him in her long, athletic legs.

TWO LARGE BANANAS are liquified as they pass through a juicer into a half-gallon pitcher.

Dressed for heavy construction work, Quaid makes the POWER SHAKE to end all power shakes. He grinds up fruits, vegetables, buts, wheat germ, leftovers, several kinds of powder. He pours in a dozen shelled eggs--glubglubglub--from a carton. Then he mixes it all together in a forty-horsepower blender. ZEEEEEEEE!

Meanwhile, The NEWS drones in the background.

Quaid gulps down his breakfast directly from his jumbo pitcher and walks over to the flat, wall-sized HIGH DEFINITION TELEVISION.

Quaid lowers the pitcher, watches with attention, and walks over to the table.

ON TV, FIREFIGHTERS put out a blaze at a MINE as ARMORED SOLDIERS brutally beat back a crowd of MINERS. The Mine is enclosed under a glass "DOME".

Lori comes out of the bathroom and walks behind Quaid to the kitchen. She tensely watches the news as she makes her breakfast.

In a small corner of the TV screen, we see a STILL PHOTO OF VILOS COHAAGEN, a middle-aged man of commanding presence and obvious intelligence.

As the INSERT OF COHAAGEN expands to fill the screen, Lori presses the remote control. BONK. The TV screen transforms into an ENVIRONMENTAL WINDOW that look out onto a virgin forest.

Quaid and Lori sit down and eat breakfast.

She stops buttering the bread.

Quaid clicks on the remote control. The FOREST PRIMEVAL is replaced by a...PRESS CONFERENCE ON THE TELEVISION.

Lori straddles Quaid seductively, obscuring his view.

Quaid stretches to see around Lori. She playfully leans with him.

Cohaagen and the reporters all chuckle.

Lori traps him into a lonnng kiss.

Back to the studio.

COMMERCIAL for American Express: "Don't leave Earth without it."

Lori finally ends the kiss.

Quaid trudges to the door, discouraged. Concerned, Lori catches him before he can leave.

Lori strokes his cheek and looks into his eyes adoringly.

Quaid hugs Lori hard, grateful for her love and support, but he's still, somehow, unsatisfied. They kiss good-bye, and Lori watches him head down the hallway to work.

Quaid joins the bustling crowd of school children and commuters who scurry like ants in all directions through the central plaza/transportation hub of this futuristic community.

Quaid follows signs down to the Subway.

Commuters file past wall-sized PANELS. On the other side, GUARDS screen them for concealed weapons. PAN with Quaid as he approaches the checkpoint.

BEHIND X-RAY PANEL as Quaid passes behind the X-ray panel, he and other commuters become WALKING SKELETONS. A few steps later, the skeletons emerge from behind the screen, opaque human beings once again.

IN A CROWD, Quaid moves forward, one sardine among many, and boards a subway car.

The doors close behind him and Quaid walks to the side where TV COMMERCIALS play on a row of flat MONITORS.

ON TV, A CABBIE, in an old-fashioned checkered cap, turns to the back seat and addresses the CAMERA.

This commercial ends, and the next one begins.

A HAPPY FELLOW lies next to a SEXPOT on a round bed. The bedroom is under a glass dome at the bottom of the ocean. Outside, colorful fish swim around .

JUMP CUT: The Fellow now appears in a poverty level apartment, alone, surrounded by a pile of bills.

A SOPHISTICATED WOMAN skis to a stop next to a flock of penguins.

JUMP CUT: The same woman, now in an office, is surrounded by ten employees, all demanding decisions.

A SPORTSMAN in a space suit climbs up the pyramidal mountain from Quaid's dream.

JUMP CUT: The Sportsman is now an OLD MAN creeping up a STAIRCASE.

STAIRCASE REFLECTED IN PUPIL OF EYE

Rapid PULLBACK to FACE OF DR. EDGEMAR, a professional gentleman. He is the narrator we've been hearing.

Discover Dr. Edgemar ON A BEACH at SUNSET. He walks over to a Rekall IMPLANT CHAIR, floating over the water, and sits down.

As a CHORUS OF SIRENS chants dreamily on, Dr. Edgemar opens his cupped hands. A butterfly flutters out.

SUPERIMPOSE Rekall LOGO and a twelve-digit PHONE NUMBER.

Quaid is intrigued.

GRRRRRRRR!! Futuristic DRILLHAMMERS grind a concrete surface to bits.

Quaid's taut muscles glisten with sweat as he and several WORKERS excavate a rocky building site. The others struggle to control the powerful tool, but Quaid wields his drillhammer like an artist, working twice as fast with half the effort.

Quaid shouts at HARRY, a middle-aged buddy with a beer belly, likeable face, and Brooklyn accent.

Quaid also takes a break, leaning on his drillhammer, which HISSES in neutral.

Quaid is surprised, even challenged, by the intensity of Harry's reaction.

Harry and Quaid rev up their hammers.

They resume drilling.

Quaid walks through an almost desolate plaza and enters through the glass doors.

Quaid walks to the CONSOLE in the center of the floor.

CLOSE ON: COMPUTER DIRECTORY as Quaid selects REKALL, INC. from a long list of names. The screen displays the location and personnel.

CLOSE ON: A YOUNG WOMAN'S HANDS. A white stylus touches each fingernail, and red pigment instantly saturates the entire surface. RACK FOCUS to Quaid, who enters in the background.

TIFFANY, a bored, ornamental receptionist hides her paraphernalia and greets Quaid. She sits in front of a large REKALL LOGO.

Tiffany checks a schedule and finds his name.

Tiffany speaks to a salesman on the VIDEO INTERCOM. We see him on the screen.

Quaid ambles around the room, perusing VIDEO TRAVEL POSTERS for imaginary vacations. Tiffany watches him with interest. A moment later, BOB McCLANE enters. He's a former high school jock.

McClane shakes Quaid's hand and leads him away. Meanwhile, Tiffany diffidently changes the color of her fingernails again with a touch of the stylus.

McClane ushers Quaid into a stylishly decorated room.

Quaid lowers himself into a sleek, futuristic chair. McClane sits behind his desk.

McClane types on his computer keyboard, and figures come up on his screen.

Numbers and graphs appear on the monitor.

Quaid ponders his decision.

Quaid fills out the questionnaire on his video screen.

McClane pre-empts Quaid's questionnaire on the video monitor with CLOSE UP: the following list.

McClane interrupts himself.

Quaid smiles reluctantly. McClane's got him hooked.

Quaid sits in a "dentist's chair" in an office which is a cross between an operating room and a sound mixing booth. An IV tube is connected to the back of his hand, and he wears a GREEN SURGICAL SMOCK over his street cloths.

ERNIE, a hyperactive young technician, lowers over Quaid's head a burnished metal bowl at the end of an elbow arm. He has the air of an acid-head who's still out there.

Ernie carefully aligns the complex scientific instrument and

locks it in place.

The door opens and a bird-like, middle-aged woman enters in a stylish pants suit. DR. LULL is too skinny and her hair is too red. She treats Quaid with impersonal conviviality.

Dr. Lull flips through Quaid's computer chart.

In quick succession, Dr. Lull runs through a series of graphics on the computer screen representing "memory trip" cassette covers. We see pictures of slimy green Martians.

Dr. Lull and Quaid share a facetious smile.

The latest graphic appears on the screen: a sophisticated archaeological dig inside a red cave. Dr. Lull crosses the room to get another laser disk. She tosses it to Ernie, who examines the cover art with interest before plugging it in.

Dr. Lull fastens straps over Quaid to hold him in place and makes perfunctory conversation.

Quaid nods and Dr. Lull shoots him in the neck with the medicine gun.

Quaid begins to feel the effects of the anaesthetic. Dr. Lull checks his vital signs.

Quaid looks drowsily at a schematic female outline on a computer screen. With each decision, the computer image adjusts to correspond to Quaid's taste.

The schematic figures fills out, her breasts expanding to enormous size.

The computer figure returns to more normal proportions.

Ernie inserts cassette 41A into his console. The computer image seems very similar to the woman in Quaid's dream.

McClane is talking with another prospective client, a spinsterish, middle-aged woman, MISS LONELYHEARTS.

The VIDEOPHONE rings, and Dr. Lull appears on his screen.

McClane rolls his eyes, as if in league with the customer against the company.

Miss Lonelyhearts is scandalized. McClane stands and attempts a reassuring smile.

McClane strides into the memory studio, ready to kick ass, but he pulls up short at what he sees and hears.

Quaid shouts and thrashes about in the chair, violently struggling to break the straps that hold him down. He's like a different person: a caged animal.

Terrified, Dr. Lull and Ernie keep a safe distance from Quaid. McClane is merely aggravated.

McClane walks up to Quaid and examines his eyes.

Quaid breaks the strap holding his right arm and grabs McClane by the throat.

McClane, choking, tries to pry Quaid's hand from his neck, but he can't loosen the iron grip.

Ernie rushes over and unsuccessfully tries to wrestle Quaid's arm down, using his full body weight. McClane's eyes are bulging.

Dr. Lull frantically jabs a SYRINGE GUN into Quaid's thigh and fires dose after does until Quaid's grip weakens and he passes out.

McClane falls to the ground, gagging. Dr. Lull goes over to help him.

McClane shoves her away and gasps for breath.

McClane falls silent. Suddenly he's terrified.

WHACK! Dr. Lull SLAPS Ernie across the face. Her violent act shocks everyone to silence, including herself. McClane tries to think.

They look at Quaid, sprawled unconscious in the chair.

Quaid, befuddles, slowly comes to his senses in the back seat. It's pouring RAIN outside.

Through WINDSHIELD, we see that the Cabbie is a smiling robotic mannequin in an old-fashioned cabbie's uniform. His vehicle is a JOHNNYCAB, the automated Checker Cab of the future.

The JohnnyCab dives up to the commons. Quaid exits the JohnnyCab.

Still woozy, he staggers down a covered walkway out of the pouring rain. Harry, his buddy from work, approaches him.

Harry walks with Quaid toward the SECURITY GATE leading to his apartment complex.

Suddenly, THREE LARGE MEN grab Quaid and rush him back downstairs to Harry who draws a gun.

Quaid starts to put up a fight.

Harry and the Agents march Quaid along an interior corridor.

The goons throw Quaid against a wall and twist his arms behind his back.

Harry starts to pull the trigger. Quaid kicks with both legs -- one to Harry and one to the other Goon facing him. Then he throws the goons holding him against the wall and cracks their heads together before throwing them aside. Then he kicks Harry's gun out of his hand.

Then Quaid kicks the goon to his right in the stomach, then knees him in the face. Then he karate chops the goon to his left in the face. Then he steps forward onto Harry's neck. Harry reaches up and Quaid grabs his arms and cracks his neck by pulling up.

Then the kicked goon attacks Quaid by grabbing his neck. Quaid gains the advantage and cracks the goon's neck.

Then he steps toward the karate chop goon who is attacking with Harry's gun. Quaid wrestles the gun from his and shoots him in the back, drops him and shoots the last Goon and runs away

Lori adjusts the HOLO-CONSOLE. The image of a female TENNIS PLAYER pops up and executes a perfect swing. Lori walks to the hologram and gets inside. She imitates the movements of the holo-model, making minor adjustments to her form until they are completely IN SYNC.

Bingo! The hologram glows bright red and colors the room.

The front door flies open, and Quaid enters, breathless.

Quaid darts around the apartment, crouched below window level, turning off every light in the place.

Quaid turns a switch at the holo-console, and BZZZT! The hologram disappears. Lori stands there, alarmed, as Quaid keeps turning off lights.

Lori has stepped in front of a window. Quaid drags her to the floor.

Lori tries to lead Quaid to the sofa.

Quaid holds up his hands, which are covered with blood.

Lori is stunned. She doesn't know whether to be afraid for Quaid--or of him.

He dashes to the bathroom, keeping low.

Upset, Lori makes a videophone call.

An imposing man appears on the videoscreen.

Quaid shuts the door. He looks at himself in the mirror. He twists the faucet and washes the blood off his hands. Quaid splashes water on his face, takes a deep breath, dries off, then opens the bathroom door. Tracer bullets RIP into the dark bathroom, smashing the mirror, walls, and fixtures. The photograph on the dresser explodes.

Quaid dives forward and scrambles into the living area, which is also in total darkness.

Quaid hides behind the BAR, and peeks over the edge.. Bullets shatter bottles and glasses all around him. He creeps around the bar and jumps toward the far wall. His assailant fires and looks for him with a flashlight. Quaid lands behind the dining table and goes for the chair next to the display shelves. As his assailant fires again, Quaid throws a chair and runs after it to attack the assailant. Their fighting

silhouettes are visible against the window.

A gun SKITTERS across the floor. We hear a few meaty THUDS, then a painful GRUNT as someone's breath WHOOSHES out.

A LIGHT comes on, and Quaid is standing there with one hand on the lamp switch and the other arm circling Lori's neck in a chokehold!

Quaid is astonished. Devastated.

Lori elbows him in the ribs, hits him in the balls, then punches him in the face. She then continues her assault on his pushing himbackwards along the kitchen counter.

Quaid merely defends himself, unwilling to strike his wife. Under this handicap, he absorbs savage blows that would kill a lesser man.

As Lori winds up for the coup de grace, he throws her over the counter. She flies all the way to the kitchen, where she lies, dazed.

Quaid recovers his breath.

Lori grabs a carving knife from the wall and charges Quaid. He tumbles away just in time. She pursues him, doing her best to slice him open. He disarms her, and Lori still tries to grab the gun on the floor. Quaid gets to it first and holds the gun to her head.

Lori remains stubbornly silent. Crazed, Quaid shoves the gun barrel in her ear.

Quaid pushes Lori away, but keep his gun trained on her.

Quaid tries to defend his sanity with an air of sarcasm.

Quaid sits in a chair and rubs his forehead, trying to decide what to do -- how to react. Lori is suddenly sweet and intimate.

Quaid catches Lori glancing at the VIDEO MONITOR which displays the lobby of the apartment building (LIVE FEED). AGENTS enter. The leader in RICHTER, the "doctor" Lori called. He radiates malevolence with a dark intensity. His equally vicious partner is HELM. Quaid glares at Lori and holds the gun to her head.

Lori leans seductively toward Quaid, expecting a caress. Instead, he knocks her out with the gun.

Quaid stands and runs to the door.

Quaid races down the hallway and runs downstairs. A second later, Richter and his men dash across the commons, then up the stairs as Quaid watches and then exits.

Richter finds Lori, unconscious, on the floor.

Quaid runs downstairs and into the subway.

Helm activates a futuristic TRACKING DEVICE and pans it around like a Geiger counter. Other agents search the apartment. ONe agent tries to help Lori, Richter kicks him away.

She's comes to, groggy.

Lori gingerly checks out her bruise.

Helm shows Richter the tracking device.

CLOSE ON: A FLASHING RED DOT moving through a SCHEMATIC REPRESENTATION of the building.

RICHTER AND HELM run to a window and look outside. They see Quaid running down an inclined rooftop toward the Commons.

Helm and the other agents storm out.

Richter lags behind and walks over to Lori. They kiss passionately.

He heads for the door.

Richter leaves.

Richter, Helm and the agents run downstairs into the subway after Quaid.

Quaid arrives at the SECURITY AREA and passes behind the X-Ray screen. He's a SKELETON.

Suddenly ALARMS WAIL!! RED LIGHTS FLASH!! The skeleton is surprised. Then he remembers the gun, which GLOWS BRIGHT RED in his bony hand!

Guards spring forward to intercept him. Quaid's SKULL sees them coming. The skull turns and looks behind him.

Richter and Company rush toward him at full speed.

The Guards, now skeletons, storm closer.

Trapped, his skull looks straight ahead (through X-ray screen, at camera), and runs forward.

Quaid CRASHES THROUGH the X-ray screen, emerging from the image of his skeleton in a shower of glass.

He races toward the subway platforms followed by Richter, Helm, the agents and guards.

thru OMITTED thru

Quaid arrives at the intersection and barrels down the stairs.

A moment later, Richter arrives at the same place and consults the Tracking Device, which indicates Quaid's location. Richter signals everyone but Helm to continue on the same level.

Helm and Richter dash down the stairs.

Quaid turns a corner and runs onto an escalator flowing up. As he rises, he looks behind him, then AHEAD -- and there they are! Four agents arrive at the upper escalator landing. They look down; see him; shoot!

Most of the commuters crouch to the ground, but an UNLUCKY BUSINESSMAN catches a bullet in the face. Dead, he falls backwards onto Quaid.

Quaid grabs Unlucky's body and, using it as a shield, mounts the escalator.

The Agents keep firing, blasting the body to bits. Quaid fires up at this enemies, killing one, two, three four!

But the gunshots continue! Richter and Helm, now behind him, shoot as they run up the escalator.

Quaid hurls the remains of the corpse at them, knocking them down. He arrives at the top of the escalator and runs away.

Richter and Helm struggle out from under the corpse. They run after Quaid from the escalator.

Quaid runs to the subway platform followed by Richter and Helm.

Quaid fights his way through the exiting passengers to a train

that is leaving. He runs along the side of the train, breaks a window and dives into the train, bowling down passengers.

Richter and Helm charge into the area, see Quaid, and shoot at his with total disregard for innocent bystanders.

Richter and Helm get a clearer shot at Quaid. Their bullets are coming closer. They only manage to shoot out the windows and the train leaves the station.

Suddenly, it's quiet. In shock, no one says a word. The only VOICE comes from a line of TEN TELEVISIONS, all playing the same commercial.

ON TV, A HUCKSTER delivers a sales pitch in CLOSE UP. ZOOM OUT and reveal that he stands in front of a gargantuan rocket ship on a launching pad.

The rocket sails through space past the Earth orbit.

Quaid shakes his head and sighs.

Richter and Helm angrily stride out of the station and gets in their CAR.

The dashboard is filled with elaborate tracking devices, electronic maps, and communications equipment. In the passenger seat, Richter furiously turns knobs and punches buttons, unsuccessfully trying to get a reading on Quaid.

A video monitor lights up with a grainy image of Cohaagen's angry face.

Richter is mortified.

Richter turns a dial, causing the reception to break up.

Richter deliberately intensifies the interference. Cohaagen makes vituperative threats which we can't decipher.

Helm nudges Richter. A blinking red dot flashes on the Tracking Device on a map filled with large CIRCLES. Richter is happy to see it. He snaps his fingers and points Helm forward.

Richter ends the transmission as Helm guns the car into traffic, splashing water on commuters.

Quaid walks out of a Subway Station and emerges in a round shopping plaza sunk in the middle of a traffic circle. Cars whiz around the periphery of the plaza, which has degenerated into a slum, complete with bars, flophouses, pimps, prostitutes, gangs, motorcycles, peddlers, and drunks sleeping in doorways.

In the distance, he sees a flashing sign on a flophouse, HOTEL RITZ.

Richter fulminates as Helm zigs in and out of traffic, HONKING.

Helm looks away at the TRACKING DEVICE, which zooms to a more detailed map section.

Quaid no sooner enters and closes the curtains than the videophone RINGS. He doesn't answer. On the fourth ring, he steps to the side of the screen, so he can't be seen, and lets the call through without saying anything.

The videophone screen shows a man's hand blocking the lens.

Quaid doesn't hang up.

Out of sight, Quaid searches his clothes for the bug.

Quaid sees the sink on the other side of the room. Once he walks in front of the videophone to get there, the caller continues.

Quaid feels like a fool, but he wets a large towel and begins to wrap it around his head.

CLOSE ON: TRACKING DEVICE. The frame ZOOMS OUT six levels of detail to general map of the area. The blinking light grows dim.

Richter fiddles with the tracking device, then whacks it a few times.

Quaid finishes wrapping the wet towel around his head like a turban.

Quaid pulls aside a curtain and peeks outside.

Quaid looks out and SEES the phone booth. (INTERCUT VIDEOPHONE/PHONE BOOTH/HOTEL ROOM) STEVENS, a mustachioed soldier-of-fortune, holds up a DOCTOR'S SATCHEL. Quaid can't clearly see the man's face.

Quaid see Stevens begins to hang up.

The line goes dead. Stevens leaves the phone booth. Quaid dashes out of the hotel room.

thru OMITTED thru

Quaid runs out of the hotel, glances around for Stevens, then hustles over to the phone booth, where a sweet LITTLE OLD LADY is pulling out the suitcase.

Quaid takes hold of the suitcase and pulls gently, but the Old Lady won't let go.

The Little Old Lady clutches the suitcase to her chest with all her might. At a loss, Quaid rips it away from her.

Quaid turns and walks off.

thru OMITTED thru

Richter and Helm drive up to the Mall, looking for Quaid. Helm consults the Tracking Device, which displays only a vague map of the whole area. Suddenly the red dot gets brighter. He looks around and sees Quaid approaching a Johnnycab.

Helm slams on the brakes and brings the car to a SCREECHING halt.

Quaid turns to the sound and sees Richter and Helm.

Quaid jumps in the Johnnycab. Johnny turns around and addresses him.

Quaid sees Richter and Helm leave their car and rush straight at him.

Richter and Helm take aim through the crowd.

Quaid furiously wrenches Johnny (an armless torso) from his console, drags him into the back seat and takes off in the Johnnycab just as Richter and Helm run up.

Richter and Helm fire. A window shatters in the Johnnycab.

Quaid leans over the driver's seat and awkwardly turns the steering joystick. The cab starts spinning. As Richter and Helm keep shooting, the windows blow out in sequence.

Quaid fiddles with the joystick. When he reaches the limit of his frustration, Johnnycab suddenly straightens out.

Richter and Helm run after it.

thru OMITTED thru

Quaid drives Johnnycab up to an abandoned factory and exits, taking the case with him.

Johnnycab starts forward after Quaid who is walking away. Quaid jumps out of the way just in time as Johnny goes past and crashes into a wall and explodes.

Quaid runs away from the explosion and up some stairs, entering the factory.

Quaid enters into the MACHINE ROOM, a huge space filled with rusted equipment. Rats scurry out of his way.

Quaid sets the satchel on an assembly line apparatus and removes the contents: Packets of MARTIAN MONEY. Quaid whistles to himself as he flips through the RED BANK NOTES. A few false IDENTITY CARDS with photos we can't clearly see. A SPACE SHUTTLE TICKET TO MARS, FIRST CLASS. A weird SURGICAL INSTRUMENT sealed in clear plastic. A WRIST WATCH.

As Quaid examines the watch, he is startled by a fearsome INTRUDER who stares at him from the shadows about thirty feet away. Quaid draws his gun and FIRES. The Man simultaneously SHOOTS at Quaid.

Who's going to drop? Neither.

Guns extended, they have each other in check. Quaid takes a step forward. The Intruder also steps into the light.

Quaid can now see the Intruder. It's himself! Or rather, a mirror image HOLOGRAM of extremely high fidelity.

He walks toward the hologram, which matches him step for step. Like the Marx Brothers routine, Quaid makes a sudden movement. The hologram isn't fooled.

Quaid presses a button. BZZZT. The hologram disappears.

He reaches into the satchel and removes a miniature VIDEODISC PLAYER/TV SET.

Quaid turns it on.

ON THE TV SCREEN Quaid himself appears in close-up and addresses the camera.

Hauser laughs heartily. He has an air of complete self-confidence. Quaid watches, fascinated.

HAUSER (CONT'D)

Now whatever your name is, get ready for the big surprise.--You're not you. You're me.

Quaid stares at Hauser's face.

Richter and Helm drive around, looking for Quaid and trying to pick him up on the tracking device.

Richter punches a button, and the agent appears on the videophone screen.

The car accelerates.

Fascinated, Quaid continues watching his alter ego.

Quaid's not so sure he likes this idea.

Richter's car and two other Agency vehicles cruise down the alleys between the various buildings, alert for any sign of Quaid. They drive to the burning Johnnycab and exit their

cars.

ON TV: Hauser reaches into the same satchel that Quaid picked up at the pawn shop.

Quaid throws the remainder of his Mars bar to the rats and takes out "the thingy in the plastic bag". He tears it open and removes a surgical instrument that looks like the metallic tentacle of an alien.

He sticks the tentacle up his nose and shoves. Whoa! Quaid grimaces with pain.

The recorded message freeze-frames. Quaid warily sits down and continues with the procedure.

As the instrument winds through his sinuses, Quaid's face bulges and distorts. The pain grows more and more intense until CRUNCH! The instrument breaks through cartilage and stops.

Quaid pulls the large device from his nose. The homing device glistens like an aluminum pea in a tiny claw at the end of the tentacle.

Quaid takes the bloody pea, rolls it between his thumb and forefinger, then shoves it into a Mars bar.

Richter, Helm and the agents continue their search among the buildings of the factory. Helm studies the tracking device.

They all climb ladders and staircases to the second story of various buildings.

They split up at the top of the stairs. Richter, Helm and two agents continue across a catwalk. Helm is consulting the tracking device.

They head toward the building where Quaid is hiding.

Recovering from the pain, Quaid presses a button on the Videodisc player, and the recorded message continues.

The TV automatically turns off. Quaid is left in the silent darkness.

He hears Richter and his men nearby, sees a beam from their flashlights and springs to his feet.

Quaid races back to his things, throws them into the case, smashes the videoplayer with his case and runs. He stops, and returns to put the bug in a piece of candy.

Richter and his men juke left and right like heat-seeking missiles. The Tracking Device shows Quaid's exact location.

Richter spins through a door into the...

Flashlight beams cut through the dusty air Richter and the others unleash a FIRE STORM in the general direction of Quaid's remains.

Another fire storm ensues. No luck.

They all point in another direction. Another fire storm.

And they point in yet another direction. And yet another fire storm.

Richter now understands how they were tricked. Infuriated, he BLASTS THE RAT TO A PULP.

In the midst of the barrage, Helm walks up to Richter with the broken videoplayer which SQUAWKS like a broken record. Distracted, Richter stops shooting, turns and watches a static-ridden snippet of the recorded message on the CRACKED SCREEN. Only a small shard of the videodisc remains inside.

RED!

A vacant, epic expanse of glowing crimson.

A space ship drops into frame, retro rockets burning. PAN DOWN with space ship as it descends in front of two moons, the Pyramid Mine, a distant city -- and prepares to land at the Mars SPACE PORT.

CLOSE ON PASSPORT: BAM! An official seal stamps down on the document, leaving the circular imprint: MARS FEDERAL COLONY/CONFEDERATION OF NORTHERN NATIONS.

An IMMIGRATION OFFICER hands the passport back to its OWNER, who takes it and moves on.

The Immigration Hall is filled with passengers arriving from Earth, queued up in three long lines. SOLDIERS on a high state of alert stand guard with AUTOMATIC RIFLES.

QUAID'S SATCHEL sits on the floor behind a white line. A hand reaches down, picks it up, and carries it forward. FROM THE BACK, we see that the person carrying the satchel is a tall FAT LADY in a loose-fitting dress. She steps up to the Immigration Officer at his desk.

As the Fat Lady hands over her passport, SOLDIERS rush directly towards her from the rear of the hall, shoving people aside. Richter, Helm, and EVERETT, a stern military officer, urgently follow in the path cleared by the Soldiers.

They get closer and closer to the Fat Lady...and pass right behind her without noticing anything in the least suspicious.

The group walks past the Immigration desks and exits the frame. HOLD ON the back of the Fat Lady.

The Immigration Officer studies her passport. CLOSE ON her PHOTO. He looks up. CLOSE ON her FACE.

She bears no resemblance to Quaid.

BEHIND THE DESKS, Richter stops at a wall defaced with graffiti: "KUATO LIVES!".

The Immigration Officer picks up the seal, ready to stamp the Fat Lady's passport after one last perfunctory question.

He stops himself from hammering down with the seal.

Fat Lady covers her mouth, embarrassed.

Richter glances at the Fat Lady but keeps walking toward the exit.

THE FAT LADY is having some kind of fit. She keeps repeating the same phrase over and over, each time SLOWER and MORE DISTORTED, like a phonograph record running down. Everybody stares at the poor woman. She holds her mouth and tries to shut herself up.

Richter stops and looks suspiciously at the Fat Lady. The Fat Lady sees him staring. They lock eyes. Richter knows! He points!

The Fat Lady edges to the side along a wall.

Everett and his men are confused.

Richter, Helm, Everett and soldiers run over. The Fat Lady twists her ear. She is shaking radically. Her face splits down the middle, revealing Quaid inside!

Quaid throws the split face at a SOLDIER near a window. The Soldier instinctively catches the face, which snaps together and addresses him in a normal voice.

Just as the Soldier reacts, BOOM! The face explodes. Everett, Richter and Helm fire at Quaid. The gunfire bursts a window.

The near-vacuum outside creates an INSTANT TYPHOON in the station. WHRRRRRR! Loose objects are sucked out through the broken window. Richter, Helm, Everett and all the soldiers hold on for dear life.

Quaid pulls himself along a stair railing toward a doorway.

ALARMS sound and METAL BARRIERS slide down over windows and doorways, sealing off the depressurized area: SQQRRCHANG! SQQQRRCHANG! SQQQRRCHANG!

Quaid thrusts out from a wall and rolls under a falling barrier. SQQQRRCHANG!

A metal sheet covers the shattered window. SQQQRRCHANG!

Instantly, the air is still and quiet.

Richter sprints to Quaid's doorway and tries to pull up the metal barrier. It won't give. He YELLS at a young, frightened SOLDIER.

The Soldier is speechless. Furious, Richter backhands him with his gun.

Everett grabs Richter's arm as he is about to strike again.

Richter and Everett stare at each other with mutual hatred.

The train CLATTERS through a dark tunnel. The CROWDING AND FLASHING OF LIGHTS create a feeling of anxiety.

REWARD POSTERS for KUATO are posted throughout the train. They contain no likeness of the wanted man.

Quaid looks around, alert to potential danger. He overhears snippets of various private conversations.

MARTIAN #3 Nobody on Earth gives a damn what happens up here.

RED LIGHT floods the car and the REVERBERATED CLATTERING DIMINISHES. The subway emerges onto the surface of Mars. Through a window behind Quaid, we see the Pyramid Mine from his recurrent dream.

Quaid turns, and sees the object of his obsession. Fascinated, he addresses a BURLY MINER standing next to him.

Quaid's eyes are rivited the object of his obsession.

The train worms into a tunnel leading to the domed city of CHRYSE, perched on the side of a steep canyon. High on the other ledge looms COHAAGEN'S HEADQUARTERS.

Cohaagen sits in his high-backed executive chair in front of a wall-sized picture window which overlooks a majestic panorama of the Pyramid Mine.

We hear doors slide open, then footsteps. Richter enters the frame.

Cohaagen swivels around in his chair. He's smiling.

Cohaagen explodes, pounding his fist on the desk.

Richter survives the barrage, shaken but not cowed.

Cohaagen feeds his GOLDFISH who swim around in a large spherical bowl.

A mob of passengers disembark from a commuter train. Amid the crowd, we find Quaid, doing his best to be inconspicuous.

He moves through a broad underground plaza hewn from solid rock. The railway platform is on one side, across from a large scale, bustling MINE OPERATION.

Around the Hub, OTHER TUNNELS lead to various neighborhoods (labeled SECTORS A-D, SECTOR E-F, etc.) and hotels. Quaid walks into the tunnel labeled "HILTON".

Quaid comes out of the inclined underground walkway into a spacious atrium under a glass dome. The Pyramid Mine is visible straight ahead, through a high wall of glass. Red sunlight bathes the lobby in a weird rosy glow.

Quaid crosses the lobby and walks up to the REGISTRATION DESK. A CLERK addresses him.

Quaid hands his ID card to the Clerk.

The Clerk takes the ID card and plugs it into a slot. The "Brubaker" file shows up on the monitor.

The Clerk sees something unusual on the monitor.

They press their thumbs to a safe-opener box.

A small SAFE DEPOSIT BOX slides smoothly out of a wall. He pulls the box from its track and sets it in front of Quaid.

The clerk politely leaves Quaid alone.

The Clerk steps away, and Quaid look inside the box.

It's empty....except in the back, there's a piece of red paper folded in eighths. Quaid grabs the paper and hurriedly unfolds it.

CLOSE ON: RED PAPER. It's an advertising FLIER for a bar, THE LAST RESORT in VENUSVILLE, featuring a drawing of a naked woman.

Quaid turns the paper over. On the other side is a handwritten message: "For a GOOD TIME, ask for Melina".

The Clerk returns with a plastic key card, which he hands to Quaid.

CLOSE ON: BACK OF FLIER. Quaid scribbles "Melina" under the written message. The handwriting matches.

Quaid comes out of the driveway from the Hilton and strides toward the cab stand. On the way, he's approached by BENNY, an amiable black hustler in his early-thirties.

Quaid nods toward the first taxi in line.

Quaid sees that the other cabbie is a PUNK in his early twenties. He takes mercy on Benny.

As Benny leads Quaid away, the Punk Cabbie runs after them.

Suddenly, BOOM! A HUGE EXPLOSION destroys the upper level of the mine. Windows shatter. The blast throws Benny to the ground and almost topples Quaid. ALARMS go off.

Benny staggers to his feet, slightly dazed.

SOLDIERS dash from all directions and engage in a shootout with REBEL GUERRILLAS.

Benny swings up the gullwing door of HIS MINI-CAB, and Quaid squeezes himself into the tiny vehicle.

Benny quickly pulls into traffic.

Benny cuts off several cars and drives into a dark tunnel.

Benny drives through the narrow tube. Occasionally, a patch of red light hits the cab through a ceiling panel.

The cab emerges into a plaza, immersed in red light.

Various tunnels lead to different SECTORS and different MINES. Benny's cab swerves out of the path of a stampeding mining MOLE.

The cab zigs into a tunnel marked, "Sector G/VENUSVILLE".

Benny's taxi emerges from a tunnel in the bustling adult entertainment district, filled with bars, brothels, cafes, strip joints, t-shirt shops, cheap hotels, and PSYCHIC PARLORS.

Most of the buildings are dilapidated and covered with ads, signs, and graffiti. REWARD POSTERS for KUATO are posted up everywhere.

Porters push handcarts and carry goods on their backs. SOLDIERS patrol the streets in pairs. Huge fans blow air into Venusville.

Quaid stares out the window, engrossed in the spectacle of the strange planet. Benny parks the taxi by a pedestrian alley which is too narrow for cars.

Benny leads Quaid down a crowded, narrow alley. Barkers and hookers try to lure them inside.

MADAME FATIMA stands in front of a psychic parlor with her LITTLE GIRL. She looks like a knockout. Benny nudges Quaid to look. Hair covers half her face.

As Madame Fatima steps forward, the fan blows her hair, revealing a horrible disfigurement on the concealed side of her face. Quaid is shocked and disturbed to see that Madame Fatima's little girl had the same congenital defect.

Quaid gives the little girl a coin. She smiles in gratitude. He walks on and turns to Benny.

Arriving at a corner, Benny points into a dead-end alley at a seedy dive.

Benny pleads guilty with a broad smile. He has a mouth full of bad teeth, including two gold caps, one with a crescent moon design, the other with a star.

Quaid peels a few large bills into Benny's hand.

Benny counts the money, his eyes wide with amazement. By the time is looks up, Quaid is walking away.

Quaid walks into the Last Resort.

Quaid stops just inside the door and cases the joint. It's a low-down whorehouse for miners. Girls walk in and out, picking up clients and bringing them upstairs. Some of the men play cards.

Quaid walks to the bar and approaches the BARTENDER.

Mary, a sexy, well-built prostitute, rubs against Quaid.

Quaid notices that Mary has THREE BREASTS, prominently displayed in a special bikini top.

Insulted, Mary farts and oozes over to another customer.

Quaid presses a red banknote into the Bartender's hand.

The Bartender calls toward a table near the stairs.

A woman carouses with a bunch of miners at a table. She sits on the knee of a sullen, unshaven fellow named TONY. GEORGE, who's relaxed and confident, sees the Bartender trying to get Melina's attention. He signals her, and she turns around, laughing. When she sees Quaid, her laugh fades to shock.

Melina bears an uncanny resemblance to Quaid's fantasy composite at Rekall.

Melina sashays over to Quaid and looks him up and down.

She kisses him wet and sloppy and rubs up against him.

Melina leads Quaid toward the stairs. Tony sticks his leg out, blocking the way.

Tony grabs Quaid's arm, and they're about to come to blows when George defuses the situation.

With some relief, Tony lets go of Quaid.

Melina takes Quaid by the hand and leads him up the stairs.

They pass THUMBELINA, a beautiful midget in a push-up corset. She's going down.

THUMBELINA surveys Quaid appreciatively.

Quaid enters first, then Melina pulls the door closed behind her. She turns to Quaid, smiles seductively, then SLAPS him hard across the face!

Quaid is stunned.

Melina's tone of voice and bearing are suddenly completely different: intelligent, dignified. Quaid doesn't know what to say. He looks at her, guilty yet innocent.

Seeing Quaid's lost expression, Melina's wrath evaporates.

She kisses him with deep feeling, engulfing him in a flood of chaste passion. He makes half-hearted resistance.

Quaid summons the strength to push her away.

Melina is flushed and panting.

Melina waits, curious. Quaid continues with difficulty.

Melina half-laughs, not really believing him.

Melina looks at him with puzzlement.

She breaks into a grin.

Quaid realizes he's stuck his foot in his mouth.

Quaid's curiosity seems to confirm Melina's suspicions. She becomes cold and distant.

Quaid steps forward.

Melina backs toward the bed.

Melina pulls a HUGE AUTOMATIC PISTOL from under her mattress, and Quaid finds himself staring down the barrel.

Quaid studies her steely eyes.

Quaid backs out of the room. Melina holds back tears.

Benny sits at the bar and feels up Mary.

Over her shoulder, Benny sees Quaid coming down from upstairs.

To Mary's surprise, Benny slips out of her embrace and pushes through the crowd. He meets Quaid at the bottom of the stairs.

Quaid ignores Benny and heads for the door. Benny chases after him.

Quaid walks out of the brothel.

CAMERA watches them through a window as they disappear into the sights and sounds of Venusville.

George appears in the foreground in front of the window. He looks from the window to the top of the stairs, where Melina stands.

Quaid lies forlorn on his bed in the dark, staring at the TV, but not really watching. The blue light of the television flickers against the somber red of the setting sun.

ON TV: COHAAGEN delivers a speech from his office.

Quaid turns off the TV and stares at the ceiling. He is startled by a KNOCK AT THE DOOR.

Quaid sits up slowly, on alert.

VOICE (O.S.) (through door) Mr. Quaid...?

Quaid picks up his gun.

VOICE (O.S.) I need to talk to you--about Mr. Hauser.

Quaid COCKS his gun and approaches the door very cautiously, from the side.

VOICE (O.S.) Dr. Edgemar. From Rekall.

All of a sudden, Quaid flings opens the door and takes hair-trigger aim at...Dr. Edgemar from the Rekall commercial!!! He's dresses in the same tweed jacket. Quaid keeps the gun on Edgemar and glances up and down the hall.

Quaid roughly pulls Edgemar into the hotel room and closes the door. He frisks Edgemar and find to weapon.

Quaid can't repress a chuckle.

Quaid squeezes Edgemar's shoulder, verifying its solidity.

Quaid's cockiness wavers.

Edgemar sighs, discouraged.

Quaid jabs his gun into Edgemar's ribs.

Quaid shadows Edgemar as he opens the door.

Lori stands in the threshold!

Quaid does his best to absorb another shock.

Lori puts on a brave face, like holding back tears in front of a sick child. There is not the slightest indication that she has even been anything but Quaid's adoring wife.

Lori walks in hesitantly. Quaid pulls her to him and roughly frisks her.

Quaid laughs and roughly pushes her away.

Lori's heart is breaking, but Quaid's is cold as ice.

Quaid's certainty in undermined. Edgemar looks at him with great sympathy and kindness.

Lori beams at him with pure affection.

Quaid is half-convinced, but doesn't want to show it.

Edgemar opens his hand, revealing a small pill.

Quaid picks up the pill and examines it.

Realizing something, Quaid raises his gun to Edgemar's head.

Edgemar remains preternaturally calm. His eyes and voice express his unselfish concern for Quaid.

Finger on the trigger, Quaid is torn with doubt.

Quaid becomes totally demoralized.

Edgemar stares hard. Quaid hesitantly lowers the gun.

Quaid puts the pill in his mouth.

Quaid hesitates. Edgemar and Lori watch with great anticipation.

Quaid is wracked with indecision. Then he sees a single drop of sweat trickle down Edgemar's brow. Abruptly, he swings his gun at Edgemar and fires.

Edgemar's blood splatters in a dense circle on the wall. Quaid spits the pill out onto Edgemar's blood-stained body.

BOOM! The blood stain EXPLODES, blasting Quaid backwards through the air. FOUR MARS AGENTS storm through the big hole.

Quaid ducks, turns, and starts to rise, facing toward the wall.

Agent #1 rushes Quaid. Quaid ducks as Agent #1 goes to hit Quaid with his gun, but goes over Quaid's shoulder.

Quaid rises and flips #1 over his right shoulder. #1 lands on bed. As Quaid recovers, Agent #2 grabs Quaid's right arm. Agent #3 grabs Quaid's left arm, and Agent #4 comes in to hit Quaid.

Quaid kicks #4 in the chest. #4 flies backward. Quaid then elbows #2 in the chest then backhands #2 across the face. #2 falls backwards.

Quaid then throws a right cross at #3, who falls backwards, as Quaid follows through with his punch. #4 comes in and kicks Quaid in the stomach with his right foot. Quaid reacts, then backhands #4 across the face. #4 hits the ground.

shoulder/head. Quaid grabs the leg and throws him. Instantly, #3 is rising up behind Quaid and hits him on the back of the head with his gun. Quaid collapses and tries to crawl away towards the door.

leg, and they try and restrain him.

Then Lori steps in and kicks across the face, moves around to the other side and kicks him in the balls. He stops resisting.

Lori kicks him across the face again, Quaid falls backwards, unconscious.

Lori looks down triumphantly and speaks into a wireless MINI-VIDEOPHONE.

At the other end of the line, Richter sits at a bar next to Helm. A panorama of Mars is visible behind them through the dome.

Lori blows him a kiss. End of call. Richter and Helm slide off their stools, and run through the lobby to the service elevator.

Four agents drag Quaid, semi-conscious, to the SERVICE ELEVATOR, Lori follows. An agent presses the call button. They wait.

The doors slide open. Melina stands inside and professionally assassinates the four agents who have their hands full with Quaid.

Lori drops to the floor, swings her legs, and swipes Melina's feet out from under her. Her gun goes flying.

Then Lori kicks Melina in the face and the stomach and then flips her over her head. They stand and face off, then Melina hits Lori in the face and kicks her in the stomach.

Lori blocks Melina's next punch and elbows Melina in the ribs and flips Melina again, then elbows Melina in the face.

Quaid squirms groggily over a pile of corpses and wrests a gun from a dead hand.

Lori positions herself on top of Melina and pulls her head back. Lori pulls a knife from an ankle sheath and prepares to plunge it into Melina's throat.

PIYUNG! The knife flies from Lori's hand.

Quaid sprawls on the floor, hands cuffed in front of him. He holds a smoking pistol aimed at Lori.

She sees his expression.

Lori stealthily reaches behind her back for a concealed gun. and pulls it on him.

Quaid shoots Lori in the forehead, leaving a clean, small hole between her eyes.

She falls backwards toward the elevator. A beat...

He nods blankly.

Richter and Helm wait impatiently for the service elevator to arrive. It's stuck on the sixth floor. They realize something is wrong, and they run back to the passenger elevator in the lobby.

Melina hastily searches through the pockets of the dead

agents.

Melina finds the key and starts unlocking Quaid's handcuffs.

She pulls him to his feet, and they run toward the passenger elevators. The doors slide open: Richter and Helm are inside!

Melina pulls Quaid toward an adjacent corridor. Richter and Helm charge out of the elevator, shooting.

They chase after Quaid and Melina, until they almost trip over Lori's dead body. Helm keeps going, but Richter, stunned and bereaved, kneels down and strokes her face.

Quaid and Melina approach the end of the corridor: A BALCONY which overlooks the lobby, far below. The glass DOME stretches away at an incline, seemingly out of reach.

Without missing a step, Melina and Quaid jump onto the

balustrade and LEAP into the void.

Quaid and Melina grab onto metal girders which form the matrix for the glass panes of the Dome.

Helm arrives at the balcony and takes aim, but he decides not to shoot. Richter walks up a moment later, in a rage, and gets ready to fire. Just as he pulls the trigger, Helm slams his arm down. The gun discharges into the floor.

Furious, Richter hits Helm and tries to shoot again. Helm struggles fiercely with his much larger boss.

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

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

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

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

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

Quaid and Melina sprint down the ramp.

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

They dive inside.

Benny's cab scoots into traffic.

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

The rear window of the taxi SHATTERS!

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

Benny's cab speed into a tunnel.

Richter and Helm chase after Melina and Quaid.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

thru OMITTED thru

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

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

Cohaagen hangs up. Richter just shakes his head.

thru OMITTED thru

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

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

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

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

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

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

Silence. Dread.

thru OMITTED thru

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

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

Benny lingers behind, examining the dried bodies.

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

Quaid pulls Melina to him and stares into her eyes.

He kisses her passionately. And they keep kissing.

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

Quaid and Melina opens their eyes and see the zombies!

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

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

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

The rebels point their rifles at Benny, who freezes.

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

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

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

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

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

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

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

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

George gets up from his desk.

Quaid and Melina are appalled.

Quaid and Melina look at each other, mortified.

George leads Quaid to a fortified door.

George leads Quaid through the door, and the Lieutenant immediately closes it behind them.

George and Quaid walk into a dark chamber, outfitted as an office with a desk and chairs.

George unbuttons his shirt, revealing...A SMALL SECOND HEAD GROWING FROM HIS CHEST!

Kuato's sleeping face is ancient yet infantile, and no bigger

than a grapefruit. His eyes open. His toothless mouth speaks.

Kuato/George holds out his/their hands. Quaid reluctantly holds them.

George closes his eyes and falls into a trance. Kuato stares hypnotically at Quaid. One of his eyes is abnormally large.

Kuato stares at Quaid, making sure he understands.

Quaid can't help looking into Kuato's large eye. His gaze is caught and held.

QUAID'S POV; ZOOMING into Kuato's large eye. Quaid is reflected in the pupil. ZOOMING in on Quaid's head, eye, pupil, darkness...

GLIDING between AVENUES OF SQUARE METAL TOWERS.

(NOTE: From here on, the sequence is a seamless P.O.V. journey through Quaid's mental landscape.)

FOOTSTEPS and CONVERSATIONS echo in the distance. LOOK DOWN and see PEOPLE walking far below on a FLIMSY BRIDGE that runs between the towers, over a dark, bottomless ABYSS.

CAMERA WHOOSHES DOWN the side of the tower, UNDER the tower, which hangs suspended over a GLACIER. The tower has no bottom casing. Inside, we see an orderly pattern of large metal rods. We hear vague conversation.

WHOOSHING OVER AND UP to the bridge: Cohaagen, Richter, and TWO SCIENTISTS are walking toward a tower.

FOLLOW the group through a peeled-back section of the tower

casing into the interior.

INSIDE THE TOWER are the metal rods which we saw from below. Up close they are gigantic, like a forest of shiny Sequoias.

CAMERA veers away from the group on its own exploration of the structure. The voices become increasingly vague.

CAMERA tilts away from the group and looks toward the top of the tower, which rises seemingly forever.

The POV SOARS UP, up, up the side of the tower to a LEDGE at the very top. POV SWOOPS over the ledge into...

A CONTROL ROOM. Five identical PILLBOX structures are arranged in a circle like some alien Stonehenge. CAMERA approaches a ROUND STONE ALTAR in the center of the room.

Moving closer, hovering directly above the altar which has been sculpted with the IMPRINT OF A HAND.

TRACK TOWARD the round center of the altar, as is drawn into it. The IMAGE starts to VIBRATE. LOW-PITCHED RUMBLING fills the soundtrack. The circle of the altar MATCH DISSOLVES INTO:

...a rapid PULL BACK from the iris of Quaid's eye. He snaps awake and sees a mining mole drilling through a stone wall into Kuato's chamber! (The VIBRATION and RUMBLING from the dream continue.) Kuato/George sits motionless, still in a trance. Quaid shakes George's shoulders.

George wakes from his trance and sees the advancing mole.

The mining mole crashes through the wall. Quaid pulls George toward the concealed door. George closes his shirt over Kuato's head. Quaid swings the door open, and they run out.

CHAOS! Moles are drilling through the stone walls: Entrances for more soldiers. Freedom fighters retreat in all directions. Quaid grabs Melina. The mole backs up to let soldiers into the situation room.

George runs after them into the tunnel as the Lieutenant covers the retreat. Quaid and Melina follow.

Benny runs after them into the tunnel. The Lieutenant is killed.

The group arrives at an AIR LOCK. It looks like they might actually get away. They run inside. Quaid closes the door.

As Quaid starts to put on a spacesuit, he hears GUNSHOTS next to him,inside the airlock. He sees George's body jerking to the staccato report of gunfire.

Benny is the villain, in full control of his rifle.

Quaid lunges for Benny, but before he can grab him, Benny takes Melina hostage, with his gun pointed at her head.

Quaid and Melina can hardly believe their eyes. Benny breaks into a wide smile.

Quaid and Melina are devastated. After a moment, Quaid kneels down to examine George/Kuato's lifeless form.

As Quaid complies with the order, Benny edges over and vigorously kicks open the bolt on the airlock door. He's not the geek he seemed to be.

Richter and soldiers are approaching in the tunnel and enter the airlock.

Kuato, barely alive, gags out a word.

Quaid leans close as Richter and solders comes to a stop.

Kuato grabs Quaid's collar and pulls him nearer.

A burst of gunfire finishes off Kuato. Quaid spins around angrily and finds a rifle pointed directly in his face. Richter stands at the airlock door, holding the gun. He wants to pull the trigger real bad.

A SHEET lies over a body.

A hand pulls back the sheet, revealing George/Kuato's dead body on a conference table.

Cohaagen grimaces as he looks at the mutant.

Richter, Benny, and several Security Police stand guard over Quaid and Melina, who are securely shackled. Outside the picture windows, the city lights twinkle under a threatening violet sky. Various scenes of suffocation in Venusville play on a bank of TV MONITORS.

Cohaagen turns away and recovers his ebullient mood as he comes over to Quaid and claps him on the shoulder.

Melina's face hardens.

She spits at Quaid. Cohaagen pulls out his handkerchief and daubs away the saliva.

Cohaagen enjoys Melina's and Quaid's confusion.

Benny holds up his artificial limbs and reveals a blinking homing device.

Quaid shakes his head, as if impressed.

Cohaagen turns on the HOLOVISION. HAUSER appears on the screen in the same clothes and setting as in the previous disk message.

Quaid's last wall of resistance crumbles.

Quaid is chilled.

Cohaagen steps into frame behind Hauser and lays a hand on his shoulder. Together they smile and wave good-bye to Quaid.

The videodisc message ends. Cohaagen beams, proud of himself. Quaid, in shock, looks at Melina.

Quaid and Melina are brought into the Implant Lab and strapped into chairs that makes Rekall seem amateurish.

Cohaagen and Richter watch with glee as a DOCTOR and SIX ASSISTANTS prepare for the re-programming operation. Melina already has an IV drip in the back of her hand. Quaid bucks and struggles as a technician inserts the needle in his hand.

Melina spits at Cohaagen.

Quaid struggles angrily against his shackles. A call comes in on the VIDEOPHONE.

Cohaagen turns impatiently to the videophone screen, where a nervous TECHNICIAN stands at the AIR PUMPING STATION in front of a wall of dials and gauges.

Cohaagen presses a button on the videophone and switches TCHK - TCHK - TCHK to THREE QUICK VIEWS of people suffocating in Venusville. TCHK. He switches back to the phone call.

TCHK. He hangs up.

The Doctor turns on the machine, which starts to WHINE. Cohaagen heads for the door and signals to Richter.

Richter thinks for a moment...then WHAM! He slugs Quaid square in the face.

Cohaagen turns around at the door and sees the two men staring hatefully at each other.

Pre-occupies with his work, the Doctor answers absently.

Cohaagen and Richter leave the lab, mightily amused.

The WHINING noise now becomes truly terrifying. Quaid and Melina concentrate to fight the effects of the re-programming.

Quaid bucks against the HELMET AND FOUR SETS OF METAL BRACKETS which bind his arms and legs (FIVE HANDICAPS).

Quaid thrashes about in his chair. The screws holding the chair together start to loosen.

In adrenaline overdrive, Quaid rips the right armrest from the chair. It hangs from his forearm like an unwieldy splint. (One of five handicaps is gone.)

The Doctor rushes over. Quaid swings the armrest and drives a long exposed bolt through the Doctor's throat.

Assistant 1 grabs Quaid's forearm. Quaid curls him into a one-armed hug and snaps his neck.

Quaid lifts the helmet from his head. (Two of five handicaps are gone.) Assistant 2, behind him, grabs his wrist. Quaid grips #2's hair and pulls him forward, over his shoulder. like a walnut.

Quaid reaches over and releases the bracket over his left wrist. (Three handicaps down; two remain) But Assistants 3-5 converge on him, holding down his arms.

Quaid sees that Melina is still fighting her brainwashing.

Assistant 6 charges with a long metal pole. Quaid pulls #5 in front of him, like a shield. #5 is skewered.

Quaid flings #5 aside, reaches down, unshackles one ankle, and immediately kicks #3 in the balls.

Quaid stands up with only one leg still shackled.

Quaid grabs the bole from #6 and uses it to block the ax. He then bends to unfasten the last ankle bracket. The fireax comes arching down at him.

Quaid leaps clear just as the fireax lodges in the chair.

Now free and unhandicapped, Quaid faces #6. He sidesteps a thrust, grabs the pole, and thrusts it into #6's head. It goes in one temple and out the other.

Immediately, Quaid pulls off Melina's helmet.

Number 4 (the ax man) activates an ALARM and makes a run for the door. Quaid swings the pole, tripping 4 so that he lands directly on his nose.

As ALARMS SCREAM, Quaid runs to Melina and begins releasing her from her many shackles.

Quaid is aghast. Melina kisses him.

Relieved, Quaid flips the last buckle. Melina steps out of her chair, Quaid grabs the ax and they run.

ALARMS blare. Quaid and Melina run through the hallway for the elevators. Quaid goes to the right, Melina to the left. Quaid throws the axe to Melina. The elevator doors open, two soldiers are inside and start to exit. Quaid hits the first soldier on the right, knocking him down and out. Melina axes the second soldier on the left in the stomach and he goes down. Then run into the elevator after taking the guns from the dead soldiers. As the doors close they are each taking a flashlight off the back wall of the elevator.

Back to camera, Cohaagen stands in front of a wall of glass and stares out at the city and landscape, bathed in dark purple light. The horizon is pink, signaling the approach of dawn. The ALARMS WAIL in the background, muffled but

insistent.

Cohaagen thinks for a moment, then answers flatly without turning around.

Richter dashes out.

Cohaagen looks at his pet goldfish swimming harmlessly in its bowl. He peevishly sweeps the bowl off its stand. It falls to the floor and smashes to bits. The goldfish flounders desperately, unable to breathe.

The elevator doors open. Quaid and Melina, holding flashlights, run out in opposite directions.

Quaid snaps her to him and grips her shoulders.

Quaid lets go of Melina.

They start running. The passage is strewn with tools, drillhammers, and other equipment which lie on the ground, as if abandoned in a panic. Melina is still perplexed.

Quaid's flashlight reveals that the tunnel abruptly comes to a DEAD END just up ahead. He is dumbfounded.

VROARRR! Quaid and Melina are bathed in the bright light of a Mole, which rumbles past the intersecting tunnel, blocking any possibility of escape. Its 7-foot/diameter CENTRAL DRILL spins at full speed. Quaid and Melina back away, firing.

Benny gleefully directs the mole form a cabin at the rear. He steers with the aid of several video monitors. One of them shows Quaid and Melina fleeing, just ahead of the tip of the drill. Quaid and Melina run out of ammunition. Quaid throws

his gun aside, sees a drillhammer lying on the ground and grabs it.

Benny guns the central drill: VROOM! VROOOOOM!! In the tunnel, Quaid and Melina hear Benny's amplified voice from inside the mole.

Quaid attacks the mole with the drill. Quaid's arms and shoulders are lacerated on both sides by the drills. In a final daring thrust, Quaid drives the drillhammer into a cable. SPLURG! Black hydraulic fluid gushes all over Quaid, and the central drill grinds to a halt. GRGGRRGRR -- the tip of the central drill chews into the stone wall. Melina is trapped in a tiny recess to the right. Quaid is penned into a slightly larger cul-de-sac to the left.

Benny throws a fit inside the Mole and jams it into reverse.

Melina checks out the hole in the wall made my the mole. As the Mole backs up, Quaid slips under the retracting side drill, squeezes between the mole and the side wall of the tunnel, and sidles his way to the back of the machine.

Benny shifts into drive and checks his monitors: There's Melina. Where's Quaid?

Quaid arrives at the back of the Mole, jumps onto a "running board" at the side of the cabin, and starts drilling.

Inside the Mole, Benny is disturbed by a curious high-pitched whine that cuts through the roaring and grinding.

The drill penetrates the door of the cabin and bores into Benny's chest. The spinning tip of the drill emerges from his back. Quaid pulls the drill back out and drops it.

Quaid runs over and joins her at the wall. She points into the cone.

An open HOLE is in the stone wall.

Quiad looks through it. A dimly lighted object is visible in the distance.

Quaid climbs through the hole, followed by Melina...

...and gets his first look at the alien reactor.

Quaid moves through the hole and continues down a tunnel which quickly widens, affording a panoramic view of a great wonder:

The alien reactor glimpsed in Quaid's mind probe!

Hundreds of geometric columns hand suspended in a graceful draping pattern, like metal stalactites in a vast mechanical cavern built by giants. The titanic construction is organized into four groupings which radiate from a central core.

Quaid stares with wonder and awe. Melina appears next to him, even more impressed. They look up at the alien reactor. The columns extend seemingly forever into the dark recesses of the hollowed-out mountain.

Quaid and Melina are standing at the edge of a steep cliff, next to the footings of a flimsy BRIDGE of human design. The bridge stretches from the cave wall, over an abyss, to the core of the reactor.

thru OMITTED thru

Quaid starts climbing the footings toward the bridge, some eighteen feet above. Melina follows him up the girders.

They are precariously balance over a seemingly bottomless ABYSS.

Quaid pulls himself onto the bridge, then reaches down and lifts Melina.

Standing on the walkway, they look up at the gargantuan reactor which looms ahead of them like Valhalla at the end of the Asgaard Bridge.

They start walking toward the reactor.

Pan down from the PINK SKY as seen through the dome, to the streets of Venusville, lined with suffocating people who have gathered to face the end together. Madame Fatima and her daughter wait with the others.

Tony, the Bartender, Thumbelina and others lie prostrate on the floor and on beds, gasping for breath.

A GOLDFISH flounders on the floor, among the broken glass, unable to breathe.

Quaid and Melina head down a walkway which is bordered by an avenue of spectacular floating towers.

Richter gives a "get ready" signal to THIRTY SOLDIERS who lie in wait to ambush Quaid and Melina as soon as they come inside.

The soldiers spread out among the huge metal Sequoias that extend down through the floor like pegs through a pegboard.

Quaid and Melina approach the opening in the tower as seen in Quaid's mind probe. Quaid signals Melina to stay back. He steps forward.

Richter's people stare at the opening, waiting for Quaid to enter. He steps into view. Richter's soldiers reveal themselves.

BRRTDBTRBDRTRTDBRTDBDRDBTTDRDBD! Richter and his men open fire. Quaid collapses. They step forward in a tightening circle, emptying thousands of rounds into his body.

He reacts to the shots and goes down on his knees -- but he's not dead. He stands up, laughs at the soldiers and starts to walk away.

Quaid walks into one of the columns and disappears. The real Quaid appears and mows down a lot of the soldiers with gunfire.

Melina runs in to join Quaid shooting at soldiers. Then they split up, Quaid running one way, Melina the other.

Quaid kills two soldiers as he runs into the columns. Quaid and his hologram appear at either side of a column.

Quaid moves along among the columns and runs into three soldiers. He starts laughing.

Quaid then shoots them down and runs off.

Melina and Quaid come together at one of the columns, cross each other and then go their separate ways. She now has the hologram watch. Melina runs to another column, peeks around, gets shot at, then goes to the other side of the column.

A SOLDIER HERE and a SOLDIER THERE see her walking. They both open fire. The bullets pass through "Melina", and they shoot each other.

Quaid and Melina meet up. Melina throws the hologram watch back to him. Quaid takes the hologram watch and runs up the middle of a row of columns. Richter runs across in front of him and fires and misses. Two soldiers pop out behind him and Melina kills them. Quaid continues after Richter.

Richter sprints onto an open FREIGHT ELEVATOR at the far end

of the area. The elevator starts to rise. Quaid jumps onto the elevator and drags Richter to the floor.

Melina runs over too late and watches the elevator ascend at incredible speed with Quaid hanging below.

Richter and Quaid wrestle savagely on the floor, trying to force each other over the side. Richter lodges his foot in a hole in the floor and shoves Quaid's head over the edge.

Quaid looks up. YAAA! The elevator is approaching a hole Cohaagen cut in the metal shell which encloses the bunch of columns. The hole is exactly big enough for the elevator to pass through. Anything extended beyond the boundaries of the elevator--like Quaid's head--will be sliced off!

Quaid summons all his strength and throws Richter and himself back into the elevator without a nanosecond to spare. As the elevator passes through the hole cut in the metal, a sharp edge guillotines Richter's rifle in half. Nasty.

The elevator emerges in a narrow space between two concentric curved walls. The adversaries exchange blows. Richter knocks Quaid down, then rushes at him. Quaid flips Richter over the side!

But Richter grabs Quaid's wrists and drags Quaid with him.

Quaid's foot catches a crater in the floor and halts their mutual slide to death. He hangs over the side, bend at the waist, supporting Richter who dangles from his wrists.

Quaid struggles to pull himself back inside, but Richter bounces up and down, pulling Quaid further out.

The elevator rapidly approaches another guillotine-hole cut in the metal platform.

Richter pulls at Quaid. Quaid slips. He gropes for another foothold. The metal edges are about to cut him in half.

Quaid's searching foot finds a hole. He pulls back...

The metal edges sweep by.

AGAAGHGGHGGHAA! A cry of pain.

The elevator comes to a halt. CHUNGGG!

Quaid lies on the floor, intact. Still gripping his wrists...are Richter's severed hands.

Richter falls to his death, SCREEEEEEEEAMMMmmiinnnggg... Quaid walks to the other side of the elevator and rides up amid the columns.

thru OMITTED thru

Quaid walks out of the elevator onto a platform and finds himself in the CONTROL ROOM from Kuato's mind probe. The elevator closes behind him and descends.

Quaid walks toward the round altar in the center of the room. At the center of the altar is the emblem of an open hand. Quaid reaches out for the mythic symbol.

A light hits him and he stops his hand. Quaid looks up and sees Cohaagen step into the light, holding a gun.

Cohaagen signals Quaid away from the altar. He backs off.

Cohaagen shows Quaid a detonator in his left hand and points with his gun to an explosive charge near the altar.

Quaid makes a sudden move toward the emblem. BANG! Cohaagen shoots and hits the altar near Quaid. Quaid freezes.

CLOSE ON: A GUN. The trigger is squeezed. The sound of GUNSHOTS!

Cohaagen is blown to the floor, hit in the shoulder and arm. He drops his gun and the detonator.

Melina stands by the elevator.

Cohaagen reaches for the detonator.

Quaid runs to the explosive charge, grabs it, and throws it, while Melina runs to Cohaagen. Cohaagen activates the detonator.

THE CHARGE sails out of the control room and explodes near the surrounding metal wall. Melina falls back from the blast of the bomb.

INSTANT TORNADO. Quaid, Melina and Cohaagen are all sucked toward the hole, Cohaagen gets a grip on the altar. Melina grabs at the edge of the platform but gets sucked toward the altar. Melina gets sucked around the altar and grips a light stand that is wedged into the altar.

Sucked through the air toward the hole, Quaid desperately snatches a length of cable. HWANG! His flight jerks to a stop.

Anchored, Quaid makes a Herculean effort to climb UP THE CABLE against the powerful wind.

Quaid pulls himself to the edge of the altar, grabs Cohaagen's arm and yanks him off the altar.

Caught by the suction, Cohaagen goes flying toward the hole in the wall, where he disappears.

Cohaagen rockets out of the hole in the side of the mountain and drops on the sandy slope. HHHhhnnh! His breath is sucked from his lungs and he starts to decompress.

Quaid summons all his strength and reaches for the emblem. He fits his hand into the alien imprint.

The sphere glows and descends into the altar. An awesome low-pitches rumble shakes the control room.

Quaid can't hold on any longer and gets sucked out the hole, followed immediately by Melina.

The light streams out of the hole where the sphere descended.

Dozens of gleaming turbinium columns drop from their sheathes.

Richter's splattered, handless body lies on the ice. Rods descend into the "pegholes" all around him.

thru OMITTED thru

The rods glow red, and ice melts around them. Chucks of ice and debris are sucked up in the vacuum.

Cohaagen's eyeballs rupture and his brain sprouts through his ears.

The whole melting glacier glows red from the incandescence of the rods. Water boils around the rods, releasing a STORM OF STEAM. Richter's body bobs on an ice floe.

The room is now filled with a tornado of STEAM.

More shit is disgorged. Richter.

The glacier is now a roiling lake-sized Jacuzzi. It glows BLUE. Steam erupts from the surface like an inverted waterfall.

Quaid and Melina drop to the side of the volcano.

HHhhhhhhhhh. The air is drawn out of their lungs, and they gasp for breath.

Steam builds up under enormous pressure. Walls start to crack.

BOOMMMMMMMMMMMM!!!!!!! The top of the mountain blows off under the enormous pressure of the steam.

The dome shatters and crashes down. The people collapse in the agony of instant depressurization.

Quaid and Melina are agonizing in depressurization when they are hit by a blast of steam and air from the exploding mountain. Geysers of steam sprout around them.

The dome shatters and crashes down. The people collapse in the agony of instant depressurization, including Madame Fatima and her daughter.

Moments from death, our rebels hear the explosion, and fell the effects of depressurization.

PANORAMA. A mammoth geyser of steam and gas sprays out of the pinnacle of the Pyramid Mine like a white volcano. The spray forms a WHITE CLOUD directly over the mountain.

Quaid's and Melina's eyes bulge. They reach out for each other.

They find each other's hands and hold tight, preparing to die together. They look up and see a vision of heaven.

The sky is blue. The white cloud engulfs them.

They can breathe! They stand and walk toward the blue sky.

Gasping for breath, the rebels find air! They can breathe!

Everybody can breathe!

Everybody can breathe, including Madame Fatima and daughter!

PANORAMA. The cloud expands in all directions. Blue sky drives out the red.

Quaid and Melina stand on the side of the mountain and hold each other. They see the cloud spread over the city, and they behold what they have wrought.

People stand and look through the shattered dome framework at the new blue sky.

Madame Fatima, her daughter, and the others look up to the blue sky seen through the dome windows.

VARIOUS SHOTS of blue sky over Mars.

Quaid and Melina walk hand in hand up the slope, gazing in awe at the billowing clouds in the new blue sky.

On hearing her words, Quaid's expression turns grim and confused.

Melina offers her lips. Quaid takes her in his arms. And they KISS.