Total Recall Page #3

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?

11INT. 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.

12INT. 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 sh*t.

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.

12AINT. 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.

12BINT. ELEVATOR - DAY

Quail travels down. Uncomprehendingly, he looks out at the city.

12CINT. 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.

12DINT. 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.

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