Total Recall Page #13

The other agents are fearful, don't want to proceed. Quail ignores

them, enters the chamber --

107A CLOSE - QUAIL'S FACE

As he enters. We read awe, shock and fascination on his features. He

approaches something we can't see. His hand reaches out.

Suddenly, a bolt of incredible powerful energy flashes out, striking

Quail like a bolt of lightning.

WHITE LIGHT.

105INT. LAST CHANCE SALOON - NIGHT

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

become the --

WHITE LIGHT.

106INT. BEDROOM - DAY

Melina watches from the bed as Quail dresses. She rises, with only the

sheet around her, tries desperately to make Quail stay. Plainly he

wants to, but he can't. They kiss lingeringly; then Quail, as if

"called to duty," exits.

WHITE LIGHT.

108INT. DETENTION CELL - WINDOWLESS

Quail alone, hands bound, in a holding chamber. Suddenly, the door

opens and THREE BEEFY E.I.O. AGENTS enter. They grab Quail to haul him

out. Quail battles them with amazing skill and resourcefulness. With

his bound hands he SLUGS ONE MAN, hurling him into a wall; he RABBIT-

PUNCHES a second man with a two-handed blow and KNOCKS HIM

UNCONSCIOUS. The third man sneaks around behind Quail and DROPS HIM

WITH A BLACKJACK to the back of the head.

WHITE LIGHT.

109INT. HOSPITAL ROOM - WINDOWLESS

Quail on his back, all four limbs pinned by some futuristic version of

"the rack," his head held imobile by a FEARSOME DEVICE similar to the

one we glimpsed on Earth, in the van the two agents tried to shove him

into.

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

Cohaagen orders the doctors to attach electrodes to PROBES already

inserted into Quail's brain. As they turn up the power, Quail's face

contorts in a grimace of agony --

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

WHITE LIGHT.

110INT. SURREAL TUNNEL - DAY OR NIGHT

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

A man wearing a LIGHT-WEIGHT THERMAL SUIT races through a LABYRINTH OF

TUNNELS. The GROUND TREMBLES beneath him, as if in an earthquake.

EXPLOSIONS rumble deep in the ground below him. Suddenly we realize --

the man is Quail

INSERT - CLOSE - QUAIL

He throws a backward glance over his shoulder, fearfully, as he runs.

Suddenly a BRILLIANT WHITE LIGHT floods in from ahead of him; he puts

up his hands to protect his eyes -- and sees his hands are SPLATTERED

WITH BLOOD!

Quail runs even faster -- ahead the BRILLIANT LIGHT seems to promise

safety. He battles toward it. SOUNDS OF EXPLOSIONS increase, building

urgency. Up ahead, emerging from the light, HANDS REACH OUT TO HELP

QUAIL. He seems almost to safety. But just as he REACHES THE HANDS --

TWO GUNSHOTS RING OUT!

SHOCK CUT TO:

111INT. KUATO'S INNER SANCTUM - NIGHT

Quail awakens with a jolt. White as a sheet... sweating like he's just

run ten miles. Then: a transformation seems to come over him. He LOOKS

-- and SEES:

KUATO slumped across the cushions -- MELINA beside Kuato -- BENNIE

standing holding a smoking GUN trained on Kuato.

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

Quail stares at her, as if an entire bank of lost memories were

suddenly clicking back into place --

MELINA (continuing) He kept dragging you deeper and deeper into the

trance! We couldn't wake either of you!

BENNIE You stopped breathing!

Quail gives Bennie that same eerie look, then turns to Kuato, who is

sprawled motionless across the pillows, a curl of smoke rising from two

entry wounds in his spine.

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

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

Quail lunges across the pillows to Kuato's unbreathing form. Quail

shakes the ancient mystic, trying to find a last flicker of life.

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

up when --

A MUFFLED CHOCKED SOUND comes from behind Kuato's neck. It's the Oracle

Head! Quail instantly rolls Kuato's body over. The Head is still alive!

Quail bends closer, kneeling.

ORACLE HEAD (whispers) -- the vengence you seek... and the salvation of

Mars... are waiting for you in the crown of the Sphinx. (sags, gasping)

The Oracle Head lets out a LONG SIGH and goes limp, a small trickle of

blood oozing from the corner of its mouth.

BENNIE Phobos and Demos! What was that all about?

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

Head.

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

Quail reaches out and closes the Oracle Head's tiny eyelids. Melina and

Bennie exchange a glance. Then:

QUAIL:

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

He has become a different man. His eyes gleam. He is forceful,

purposeful, contained. Once again the ace E.I.O. agent. Melina senses

immediately that this is the man she knew before

QUAIL (even his voice has changed) I'm fine... only I'm not Doug -- I'm

Charles Hauser... and I know everything Hauser knew.

He turns to Bennie

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

BENNIE (working it out) Well... you go outta here... take a left, then

down past the first... no second... water bureau you...

QUAIL (briskly) Can you get us there?

BENNIE No problem.

MELINA But why?

QUAIL We're going to the Sphinx.

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

BENNIE Impossible, man. Guards everywhere.

MELINA The Oracle... what did you learn?

QUAIL Only everything. I've got total recall.

They are now heading down the stairs toward the street.

114EXT. STREET - EARLY MORNING

Quail, Melina and Bennie make their way through the crowds to Bennie's

depot. The streets are even busier then before - people are now

beginning to evacuate the city. Everyone is carrying their possessions

- bundles, suitcases, pets, etc., etc. The loudspeaker vans are still

touring and broad- casting the same message.

Bennie indicates a building on their left.

115INT. CAR POOL - EARLY MORNING

Bennie and Melina follow Quail as he walks up and down the rows of

vehicles in the vast building. There are bull- dozers and ore haulers

as well as solar taxis.

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

Quail ignores him as he continues to mumble to himself. He rapidly but

carefully inspects each vehicle as they pass. Camera tracks rapidly

with them.

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

QUAIL The Sphinx... it's not some useless artifact, it's a machine

built by some alien race eighteen millions years ago. The same race

that built the on one Earth... for the same purpose.

He stops in front of a large, odd-shaped vehicle with a large scoop or

propeller on the front.

QUAIL (continuing) This is what we need.

He begins to climb in; the others follow.

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

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