Message-Id: <9305201503.AA08165@hardrock> Date: Thu, 20 May 1993 08:04:40 -0800 To: alt-ql-creative@cisco.com From: mav@isi.com Subject: And A Child Shall Lead Them - Act IV (Finale) ACT IV INT. WAITING ROOM The area is buzzing and Sam, realizing he can't help, pulls back out of the room into the hallway. He slips to the floor - not unlike the way a drunk Al did many years prior. Dr. Beeks races up. She sits next to him. VERBENA (panting) No wonder you're the Future Boy. Who could keep up with your flying around? SAM What's happening? Does Ziggy have any theories? VERBENA As I tried to explain... SAM Sorry. VERBENA Look, Al's going to get better. Gooshie and the other's are fine-tuning the pinpoint leap. But we can't do it for another 30 minutes. SAM Ray could die in that time. VERBENA We're doing everything we can. Our specialist says Ray's having a reaction to the medication. It'll take another thirty minutes before he's stabilized for transport to the Accelerator. SAM And I told him it would be all right. VERBENA Sam, this is common. Mortality is only 13%. She pulls his hand to her. VERBENA (continuing) You've done everything you possible can. Don't beat yourself up like this. SAM I can't help it. I see Ray and I think of my how I would feel if that was my own little boy. And then I think of Ray's parents and Eric and Eric's parents. How could someone possibly leave a child to die alone? Sam is working himself into a state. He can barely manage all that's happened in so short a time. VERBENA Let me take you to see Donna. Sam recomposes himself. SAM No. I have to go back to Al. VERBENA But... SAM What are Ray's chances of being cured of AIDS once he goes back? VERBENA Ziggy calculates it at fifty-fifty. SAM Then I need to make sure Ray's parents are there. He get's up - determined - and makes his way back to the Imaging Chamber. CUT TO: INT. HOSPITAL ROOM ANGLE ON SAM as he steps through the door, punching on the handlink. He looks up and bursts into a smile. ANGLE ON OBSERVER who is resting in the voluptuous bosom of Rebecca Kaufman. It's a pervert's paradise. REBECCA ..so when we got a ride with this couple and realized their son had AIDS, too... (quietly) Their son had just died. Well, your father and I, we weren't getting along and... MERL Rebecca. Enough. Can't you see the boy's tired? SAM No - that boy is definitely not tired. MERL Let him rest. We'll be back son. We need to call a tow truck. The parents leave, the mother blowing a kiss, the father still stern. OBSERVER Hiya, Sammy. SAM Hi, yourself. You look mighty happy. OBSERVER Feel great. So give me the low down. SAM Still checking. OBSERVER No, no. You're supposed to say, "You did it, Al. Everything's great. Everybody lives happily ever after." SAM We're not through this yet, pal. Ray.. OBSERVER The boy I leaped into... SAM ,,,is having a severe reaction to the AIDS treatment. OBSERVER But, I thought... SAM As soon as we started treatment, the symptoms returned. OBSERVER And I got better. Makes sense. Is he going to be OK? SAM We'll know in a few minutes. I came to warn you. We're doing a pinpoint leap. OBSERVER Like when we leaped my young alter ego? SAM Yeah. Only this time, we don't know where everyone's going to end up. Because there have been so many successive leaps, we may have to do it several times before we get it right. And who knows how accurate we'll be? OBSERVER Great. Now you're saying I may continue leaping while you get to stay home? SAM I think it's high time, don't you. OBSERVER No. I need my cigars. I need my women. I need... Sam shakes his head. It's the same ol' Al. SAM You need to get a grip. (to someone O.S.) What? (nods) Right. (to Al) They're ready. What's...what's the matter? Al beckons Sam over near him and passes a hand slowly through Sam's shoulder. OBSERVER It seems we're always on the wrong end of these leaps. I hope this one does it. SAM So do I, Al. He tweaks the handlink. SAM (continuing) Gooshie, start the leap. The two friends give each other a good-bye wave and they're encased in blue. The little boy, Ray, is now in the bed where Al was. He looks tired, but seems to be getting better. His parents come in at that moment. REBECCA Sorry we took so long, Honey. We... RAY Mom. Dad. I'm back. I'm back. MERL Back from where, Son? RAY Didn't you know I was gone? REBECCA Gone? Gone where? RAY I got beamed. MERL Beamed? RAY You know. Like in "Star Trek." MERL Get Dr. Saul. I think he's delirious. RAY No, no. That's OK. (to himself) They told me it would be like this. He shakes his head as his mother sits near him and maternally thrusts his head close to her chest. CUT TO: INT. IMAGING CHAMBER The blue cocoon melts away and Al is left standing with the handlink in the middle of the room. OBSERVER (shaking his head) Definitely an E ticket. Through the tunnel, he can see Tina running towards him. TINA Oh, Al. You're back. She grabs and kisses him passionately. TINA (continuing) You are Al, aren't you? OBSERVER Can't you tell? TINA Well, last time, it was Doctor Beckett and he kissed me just like... She trails off and kisses him again. TINA (certain) It is you. Don't ever go away again. OBSERVER Not if I can help it. Their tete-a-tete is suddenly interrupted by the babbling handlink. OBSERVER What is it, Ziggy? ZIGGY You are needed immediately at the Waiting Room, Admiral. OBSERVER Oh, God. Sam. He sprints out the tunnel with Tina trailing behind. CUT TO: INT. HALLWAY in front of the Waiting Room. Al, panting, stops short. He's excited and scared of what awaits beyond the door. Tina comes up behind him. TINA (whispering) Go on. OBSERVER But if it's not... He clears his throat and straightens up. CLOSE UP ON OBSERVER'S HAND as it slowly rests on the palm reader. CONTINUOUS SHOT pulling up and focus to see Sam Beckett in the arms of his crying wife. They kiss and stroke each other's hair - while some techies, Verbena and Gooshie attempt non-interference. SLOW MO - MUSIC UP - NO AUDIO CLOSE UP - OBSERVER His eyes soften at the sight. He's wanted this moment for five years. OBSERVER'S POV Though Sam is facing him, he is preoccupied. In a split second, Sam looks up and catches the camera's lens. He sees Al and tries not to succumb to the emotions welling up. SAM (mouthing the word) Al. ANGLE OBSERVER He is too overcome to answer. TWO SHOT - SAM AND OBSERVER As Sam leaves his wife and goes to Al. The moment the two hug revert to REAL TIME In the background everyone claps or cries or does both. Even Al. SAM Al. You're crying? OBSERVER (blustering) No, I'm just trying to see rainbows. They hug again. SAM Wait. What ever happened to Ray? I have to... A techie in the background steps forward RAY I'm OK, Doctor Beckett. Everyone does a double-take. SAM You're Ray? He shakes his head to clear the cobwebs, squinting at the young techie to fit the look with the older features. SAM (in slow realization) Of course you're Ray. I hired you at the start of the Project. OBSERVER Geeze. You must have hit paydirt with this kid, Sam. SAM (to Ray) Do you know about this last leap? RAY You were helping a boy with AIDS. SAM And that doesn't sound familiar? RAY Well, I had pneumonia once. DONNA What's wrong, Sam? SAM Wrong? Nothing. Everything's terrific. I'm back. He picks her up and swings her. SAM (continued) And I'm a daddy. Donna draws close to her husband. DONNA (quietly) Happy father's day, Sam. FADE OUT INTO MONTAGE Sam reacquainting himself with homelife. Diaper changing with John. BBQ's with friends and family. Lite beer, microwave popcorn and watching videos with Al. A visit to his father's grave. End with car trip to church. EXT. DAY - CHURCH PARKING LOT Sam, Donna, and Baby John are dressed for Sunday service. They pull into the church parking lot, but can't find a space - the lot is almost completely full. License plates are from all over. SAM (looking for a spot) I thought this was only going to be for close family. Look at all these different plates. DONNA (innocently) I only invited family. Sam gives her a "what's going on here" look. They finally park in a red zone and climb the steps to the church entrance, Sam carrying John. DONNA Here, before we go in, let me take Johnny. She takes him from Sam. SAM (Even more suspicious) Why? DONNA Get going. Sam opens the door, and finds an incredible reception. INT. CHURCH SAM'S POV It begins with Sam's family, Mom, Tom, Katie, and Katie's husband. Then folks from the Project: Al hand in hand with Tina, Gooshie, Verbena, Ray, a few more and then....faces from the past - older but happy and very grateful.A blond woman in her forties approaches him. ANGLE SAM & SAMANTHA SAM (uncomfortable) Do I know you? SAMANTHA My name is Samantha. You saved my life before I was born. My father was the first person you leaped into - Tom Stratton. SAM (amazed) You're...? Smiling, she nods. Sam glances up the aisle to see the entire church filled with faces of people he remembers either in leaps or as mirrored reflections. Sam turns around quickly to look at Donna. DONNA They're all here for you, Sam. And these are just the people we were able to locate. Not one of them said they couldn't or wouldn't come. Sam is too stunned to speak. He begins going down the aisle, hugging each person, taking a few moments to talk. CUT TO: The Christening. Everyone is gathered near the baptismal font. Al, the godfather, is holding John. Katie, the godmother, is at his side. Sam and Donna hold each other next to them. PAN UP to the Sun streaming through stainglass. FADE TO: INT. SAM'S MASTER BEDROOM - SUNRISE Sam, shirtless (it had to be done once :),) is lying in bed next to Donna. He is studying John, who lies between them. Donna begins to stir. ANGLE - SAM & JOHN SAM (to John) ...and my string theory says that time is like a piece of string. Here is your birth and here is the end. Loop the string and you have a life. Ball it and you can travel... DONNA Isn't he a little young for that? SAM (laughing) You're never too young or too old. I learned that. DONNA Do you miss it, Sam? SAM The leaping? (beat) I miss the adventure. The absolute joy of making something right. DONNA Anything you missed back here? SAM Microwave popcorn, lite beer, Donna playfully punches him. DONNA Meany. SAM Please, not in front ... SAM/DONNA ...of the children. They kiss to "make-up." SAM (continuing) Actually, if I start leaping again, I want to remember you both. You tell Al to tell me. Promise me, you'll let me remember this time, Donna. DONNA (ignoring the question/concerned) Do you think there's a chance of being leaped? SAM For the past couple of hours, I've had that feeling. DONNA That feeling? SAM When ever I'm about to leap, I get a tingling sensation. Sometimes I'm able to stop a leap, but never for very long. DONNA (tearing) But you can't leap; you're home. SAM You know that I have no control over the leaps. If I'm going to leap it's because I'm ready to and He believes there's more for me to do. DONNA Are you ready? Do you want to go now? Sam quietly takes her hand. There is an inner conflict he can't quite seem to solve. He looks into her eyes and knows he must tell her the truth. SAM No. (beat) And yes. Donna can accept this. She knows the type of man Sam is. His quest and soul pure and noble. But her eyes become misty and she holds him tighter. SAM (continuing) Do you want me to stay? DONNA Only when you feel you're work is finished. SAM But that could be.... DONNA (shushing him) It's all right. I've waited so long already. I know you'll be back again. SAM Take care, both of you. DONNA We will...with your love. They kiss for the last time, lingering with the moment - and, slowing, reluctently, a blue glow crackles through his fingerstips and moves inward. Sam eyes, straining to capture every feature, are the last to be enveloped as he... QUANTUM LEAPS END ACT IV ------------------------------------------------ Epilogue: Consider this *my* "Mirror Image" episode. Comments extremely welcome. I'd be curious as to how many of *your* "what I want to see in QL" wishes were fulfilled. Thanks! -------------------------------------------------- Christina Mavroudis Integrated Systems Inc.