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Leap Day Event
Featuring:
In this
Leap Day special episode, the Quantum Leap Podcast team performs a
table read of the proposed Quantum Leap reboot script 'A Bold Leap
Forward' by Trey Calloway. The
script follows Sam as he leaps into the body of Hollis Hansen, a
troubled movie star. As Sam navigates the world of Hollywood and tries
to fix Hansen's problems, he also reconnects with his daughter
Samantha. The table
read is a tribute to the late Matt Dale, and proceeds from the episode
go to support his family. In this part of the conversation, Ziggy
identifies the pursuer as Carmine Giacchino, a hitman with a criminal
record. Nanrisa and Georgina come up with a plan to escape to the metro
station, where Nanrisa has a hidden stash of money. They successfully
evade Giacchino and find the locker with the money. However, Giacchino
catches up to them and demands the cash. In the
midst of the confrontation, Sam leaps again. In the present day,
Samantha attends a quantum physics lecture and engages in a debate with
her professor. Later, Gerard gives Samantha an ultimatum about their
future together. Al reveals the existence of Project Quantum Leap to
Samantha and explains its history. The conversation ends with a
discussion about the ethics of helping others. Caitlin learns the truth
about her father and is unsure how to process it. She is given a book
by Georgina that reveals her similarities to Dr. Beckett. Samantha
decides to take a leap of faith and agrees to help find Sam. She reads
Dr. Beckett's book and calls her mom to ask about her father. Samantha
goes to the movie theater and is joined by Al. She makes the decision
to leap and ends up in the parking lot of JFK Stadium in Philadelphia.
She meets Jesse Faulkner and they connect. In this part of the
conversation, the panel discusses Samantha's attempt to enter the
concert and her unconventional methods to get inside. They also explore
the consequences of her actions and the challenges she faces. The
chapter ends with a realization about the date. In Act 5, Samantha
learns about the 9/11 attacks and is determined to stop them. She warns
others about the impending tragedy but is arrested and released.
Samantha continues her mission to find Noah, a missing teenager in
danger. In Act 6,
Samantha chases after Noah and confronts his attacker. Noah ends up
trapped in an alley, and Samantha tries to help him. In this final part
of the conversation, Noah opens up about his struggles with his
parents' expectations and his passion for firefighting. Caitlin pleads
with Noah to come home, and he eventually decides to return. The thrilling climax unfolds as Samantha escapes from the federal agents and embarks on a mission to stop the attacks. Finally, Samantha makes her final leap into the past, leaving behind a legacy of bravery and hope.
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QUANTUM LEAP: A BOLD LEAP FORWARD Written by Trey Callaway Based on the Television Series Created by Donald P. Bellisario June 9, 2003 QUANTUM LEAP “A BOLD LEAP FORWARD” PROLOGUE FADE IN: EXT. THREE STORY BUILDING - DAY Establishing. Just an old downtown brownstone full of low rent apartments. A SUPER READS: May 29, 1992. CAMERA SLOWLY CRANES toward a THIRD STORY WINDOW. WE HOLD for a peaceful urban beat and then- WHA-BOOM! THE WINDOW EXPLODES OUTWARD IN A MASSIVE FIREBALL! INT. THREE STORY BUILDING - MOMENTS LATER Panicky RESIDENTS rush up and down smoke-filled corridors. CAMERA FOLLOWS a SLACKER in a WIFEBEATER as he runs toward a STAIRWELL. But before he can so much as reach for the door-- IT FLIES OPEN, FIREFIGHTERS CHARGING IN from the other side. The FIRE CAPTAIN urgently beckons the slacker on. FIRE CAPTAIN Sir-- get down the stairs, now! The slacker takes them down two at a time, as more hose-wielding FIREFIGHTERS pass him going up. FIRE CAPTAIN (cont'd) (barking orders) Check all the rooms and keep the northwest corner wet-- this old lady ain’t gonna last long- He charges down the hall; the others fan out and follow. CAMERA LINGERS on the stairwell-- as one last man finally comes into view. But we’ve seen this firefighter before. And we know exactly why he’s got an unsettled look on his face. Because DR. SAM BECKETT isn’t really a firefighter. Confused, Sam looks around, face burning, eyes stinging. From somewhere in the smoke, WE HEAR THE SOUND of a BABY CRYING. From somewhere else, his C.O. yells. FIRE CAPTAIN (cont’d) Thurston! Check 326! 2. Sam stumbles out of the stairwell in heavy protective gear. He passes a CRACKED MIRROR at the end of the hall-- then doubles back. He winces, trying to get a good look at his reflection through the haze. But once again, it’s not his reflection. ANGLE ON THE MIRROR - where Sam beholds a ruggedly handsome man, mid-forties with a square jaw and piercing eyes. FIRE CAPTAIN (cont’d) Thurston! You hear me?! Sam suddenly eyes the STENCILED NAME on his canvas jacket. And even backward, he can plainly see who he is. CRAIG THURSTON. SAM (realizing) Yeah-- I’m on it! He looks to a DOOR NUMBER on his left. It’s APARTMENT 326. He tries the door, but it’s locked. So Sam does what any hero would do. He backs away for a running start-- and WHAM - BUSTS THE DOOR DOWN like a muscular, one-man battering ram. INT. APARTMENT - CONTINUOUS Of course, that doesn’t mean it didn’t hurt. SAM Ouch. His pain is quickly upstaged by the CRYING BABY. He bolts through the smoke-filled apartment, searching. INT. BEDROOM - CONTINUOUS Sam rushes into a bedroom. In a crib lies the CRYING BABY. On the floor lies her MOTHER, unconscious. He quickly checks mom’s pulse-- then gingerly lifts the baby into his arms and reaches for AN EMERGENCY RADIO MIC on his chest. SAM (into radio) Uh-- this is Thurston. I’ve got an unconscious mother in 326. But her baby’s still got a healthy pair of lungs- FIRE CAPTAIN Copy that, Thurston. We’ll take care of mom-- just get that baby outside. 3. INT. CORRIDOR - MOMENTS LATER Sam swiftly makes his way back out of the apartment into the hallway. BLACK SMOKE rolls ominously along the ceiling. He begins to make his way back toward the STAIRWELL, until... CRRREAAAK-- THE CEILING ABOVE BEGINS TO SPLINTER AND CAVE, ENGULFED IN FLAMES. FIRE CAPTAIN (O.C.) Thurston-- look out! Sam rushes away from the stairwell, baby held close as the ENTIRE ROOF STARTS TO COLLAPSE BEHIND HIM. He glances through the smoke to the hallway’s opposite end-- where light shines through the only apparent way out. A WINDOW. SAM (to the infant) Hang on, baby... And with no other options, he begins to run. CAMERA TRACKS HIM SLO-MO-- an INFERNO CHASING HIS HEELS-- until Sam finally reaches the end of the line and... EXT. THREE STORY BUILDING - CONTINUOUS CRRRRASH! - HUGGING THE BABY, SAM’S BODY HURTLES HELPLESSLY THROUGH MID-AIR-- carrying them both to unavoidable death. Or not. WHAM! - SAM HITS A GIANT INFLATABLE STUNT BAG ON THE GROUND. ANGLE ON THE BAG - as Sam immediately rolls off the BABY, which is now CRYING very oddly-- like a DOLL that needs new batteries. Which is probably because it is... and it does. He looks up, confused all over again. REVERSE ANGLE - REVEALS HIS VIEW of a full HOLLYWOOD MOVIE CREW, politely APPLAUDING his bone-jarring arrival. One of them, a pretentious DIRECTOR, picks up his bullhorn. DIRECTOR Cut! Print. Reeeeeee-set. Sam stands up on the bag, broken baby dangling from his hand. SAM It’s just a movie? (off the warped baby) But it seemed so real. 4. ANGLE ON - a couple of PROPS GUYS with a fresh “baby” nearby. PROP GUY #1 What does he think we are? Amateurs? PROP GUY #2 Probably drunk again. We shoulda just moved the bag and saved the world from another sequel. A couple of GRIPS help Sam off the bag, as the director pats him on the back with faux praise. DIRECTOR You da man, Hollis. SAM Hollis? DIRECTOR Right, method acting. Very DeNiro. (sashays off) Just give us ten to relight and we’ll do it again. Sam struggles to regain his land legs and follow. SAM Again? DIRECTOR Hey, you wanted to do your own stunts, remember? The director taps on the side of a DOUBLE WIDE LUXURY TRAILER. DIRECTOR (cont’d) Besides, you’ve got a high-rise trailer with a full bar and a lap pool. I’m sure you’ll find a way to drown your sorrows. He walks on, leaving Sam alone to gaze up at a STAR ON THE DOOR which reads: HOLLIS HANSEN. INT. TRAILER - CONTINUOUS Sam stumbles up the stairs and plops into a chair in front of a lighted MAKEUP MIRROR. As he stares once more at the reflection of someone else, his old pal AL CALAVICCI SUDDENLY STEPS INTO VIEW BEHIND HIM, cigar clenched between his teeth like a real live, well, holographic mogul. 5. AL It’s like I always said, Sam. You oughta be in pictures. And as the two old friends search each others’ faces for the first time in twenty years, we- FADE OUT. END OF PROLOGUE 6. ACT ONE INT. TRAILER - LATER Sam’s eyes light up. SAM Al! He rushes to embrace Al; arms slicing right through him. AL Easy Sam, I’m just a hologram. SAM Where have you been? AL Trying to get back to you. SAM Well, what took you so long? AL Hey, you went to all that trouble to put my life back together-- the least I could do was enjoy it a little. SAM So it worked? AL Of course it worked. You’re a genius, remember? You literally changed the course of my life. One minute I was a chronic bachelor crying in my beer. Then you turned time on its ear and the next thing I knew, I had a wife and four daughters. I don’t know whether to kiss you or kill you. SAM What about Project Quantum Leap? AL Oooh. Well... I guess you win some, you lose some. (a serious beat) They cut our funding, pal. SAM What? 7. AL Right around the same time you went leaping off by yourself into the wild blue yonder-- they handed me a big fat pink slip. Then they pulled the plug on the whole experiment and carted off all our gear like we were never there. SAM You’ve got to be kidding. AL That’s what I said. But believe me, Uncle Sam has no sense of humor. SAM What about all those closed door hearings? Al shakes his head. AL A dog can only beg for so long before he finally gets kicked away from the table. You know I sold and resold Quantum Leap to Congress every time I took the hot seat. But in the end, with you gone, I just couldn’t convince them it wasn’t all a big, expensive, failure. SAM That’s not true. We did so much good. AL They don’t care about any of that, Sam. So you saved a lot of lives, righted a bunch of wrongs-- no matter how important it may have been to those folks you leapt into-- the Beltway boys who pay the bills are all about the big picture and the bottom line. SAM So how’d you finally find me? AL Fortunately, I didn’t leave empty handed. I kept a little copy of your plans. So in between finding a new job and raising four girls-- I just kept tinkering away. Then when the girls were grown and Beth passed away- 8. SAM Oh Al. I’m sorry. AL No, it’s uh-- it’s okay. wonderful life together. We had a And to tell you the truth, it kinda gave me the extra kick in the pants I needed to finally track you down. BANG-BANG-BANG. A P.A. KNOCKS on the trailer door. P.A. (O.C.) (calling out) Mr. Hansen? They’re ready for you on set. Sam looks once again at his movie star reflection in the mirror. SAM Who is this guy, anyway? AL Well my friend, it appears this time you have leapt into the boffo box- office body of none other than Hollis Hansen-- internationally adored and self-loving superstar who Hollywood happens to hate. Course, that doesn’t stop them from paying him big bucks... most of which he blows on various forms of vice. SAM I never heard of the guy. Al reaches into his pocket and removes ZIGGY - a high-tech handheld computer database. He eyes its compact screen. AL Don’t worry, you haven’t missed much. (consulting Ziggy) Let’s see, there was BIG GUNS, BIG GUNS 2, and, oh yeah, you just enjoyed a near death experience on the set of BIG GUNS 3. SAM Sounds like an impressive body of work. AL Believe me, if the falls don’t kill you, the dialogue will. 9. SAM So what do I do now? AL Well, what do you want first? The bad news-- or the really bad news? SAM Al, I just fell three stories from a burning building with a baby in my arms-- I doubt it gets much worse than that. AL Tell that to Ziggy. According to his patented tell-it-like-it-is technology, Hollis Hansen is gonna pull his last stunt in about two hours when he takes on the front of a commuter train-- and the train wins. SAM Oh no. AL Oh yes. Like I told you, this shmuck blows a lot of big coin on some very bad habits-- one of which just happens to be high stakes gambling. You know, the kind where when you lose and don’t pay your tab, men who aren’t doctors do reconstructive surgery on your kneecaps. SAM Someone’s gonna ice him? AL To put it coldly, yes. SAM Great. I can’t wait to hear the really bad news. AL Well, it does kinda put this guy’s problems in perspective. Al takes a beat-- then hits Sam with the truth. AL (CONT'D) I can’t stay. And you can’t either. SAM Say again? 10. AL Listen, just because you made leaping through time look easy-- doesn’t mean it hasn’t been a pain in the brain for the rest of us. I don’t have six doctorates, Sam. And at my age, I don’t think I have the strength to keep chasing you down. It’s high time you came home. SAM I can’t do that. AL You can if you choose to. SAM Come on, Al. Spare me all that quasi- spiritual hooey about how I’m in control -how I can stop traveling through time just as soon as I click my heels together and say there’s no project like Quantum Leap. You know it’s not that simple. So unless you’ve got someone who’s willing to take over... BANG-BANG-BANG... ANOTHER KNOCK ON THE DOOR. P.A. (O.C.) (through the door) Mr. Hansen...? AL (to Sam) Hold that thought. Follow me. Al seamlessly walks right through the trailer’s closed door. Sam frowns, then opens it, walking right past the anxious P.A. SAM (to Al) Where are we going? P.A. (confused) Um... back to set? (as he walks away) Or... uh... not. 11. AL (to Sam) Come on. There’s someone you should meet. CUT TO: INT. LIMOUSINE - MOMENTS LATER A NERVOUS LIMO DRIVER looks back at Sam through the open security glass, unaware that Al is seated right beside him. LIMO DRIVER Shouldn’t I at least let Production know where you’re going, Mr. Hansen? Al consults Ziggy. AL We gotta get to the soccer fields in Balboa Park. Pronto. SAM Don’t worry, I just need a little fresh air. Can you get me over to the soccer fields in Balboa Park as soon as possible? LIMO DRIVER Yes, sir. SAM (off the SECURITY WINDOW) Oh, and uh-- would you mind? Following the star’s cue, the Driver puts the glass up, allowing Sam and Al to speak openly. SAM (cont’d) (to Al) So things aren’t exciting enough, you figured we oughta catch a game? AL Actually, the minute I realized this was a location shoot, I had Ziggy do a little cross-checking for me. Remember when you made a leap into a defense attorney back in ‘78 and got that nice lady off her murder charges? 12. SAM (fondly) Abigail. She was innocent. AL Yeah, but you weren’t. SAM Okay, maybe I crossed the line a little. But we had some serious chemistry. AL Yeah, well, that “chemistry” resulted in a little “explosion,” remember? Sam slowly looks up at Al. This memory is a heavy one. SAM Sammy Jo. AL That’s right. Nine months later, on January 25th, 1979-- Abigail gave birth to your daughter. Well, half-daughter. But let’s just say when the real attorney leapt back into your place-- he wasn’t fully equipped to deal with being a dad. SAM Was it the leap? AL (shrugs) Yeah, but he had a few loose screws to begin with. SAM So it’s bad enough I fathered a child-- I abandoned one while I was at it. AL Until now. He nods out the window-- and Sam follows his gaze to a crowded spread of soccer fields as the limo pulls to a stop. SAM Sammy Jo? She’s here? 13. AL She prefers Samantha now-- but yeah, call it coincidence, call it fate-- either way, her team is playing in the finals today. So I figured as long as we’re in the area, maybe you’d like to say hello. AL ABRUPTLY STEPS OUT THROUGH THE CLOSED LIMO DOOR... EXT. LIMOUSINE - CONTINUOUS ...HIS HOLOGRAPHIC FORM PASSING SEAMLESSLY OUTSIDE. The Driver exits the limo, crossing around to open the door for Sam. PARENTS on the sidelines almost immediately begin to notice the star, excitedly whispering and pointing. SAM (to Al) Hello...? Which one is she? AL Number 33. Oh, and she’s twelve years old now. Cute kid. SAM What do I say to her? AL Whatever feels right. Sam walks toward the field, as Al lingers behind, watching CAMERA TOTING LOOKEY-LOOS begin to converge from all sides. EXT. SOCCER FIELD - MOMENTS LATER As a handful of young female PLAYERS cluster at center field, Sam suddenly approaches. SAM Excuse me... The girls take one look and their jaws collectively hit the ground. FORWARD Is he Hollis Hansen? HALFBACK He so totally is. The ball rolls right past them and they don’t even flinch. A beat later, A REFEREE’S WHISTLE BLOWS for a time out. 14. SAM I’m uh... I’m really sorry to interrupt your game. I was just kinda looking for Samantha. SAMANTHA (O.C) Why are you looking for me? Sam turns to see Samantha, refreshingly nonplussed. But just like a real father facing his little girl, Sam begins to stammer, quietly overcome by how much she means. SAM Well... um, nice to meet you. I’m- SAMANTHA I know who you are. SAM You do? SAMANTHA Yeah. But I don’t really like any of your movies. SAM Oh. Right. Well, that’s okay. I didn’t come here to talk about any of that. Sam looks around; notices a growing crowd of lookey-loos beginning to close in from all sides. SAM (cont’d) Where’s your mom? SAMANTHA (shields up) She had to work. SAM That’s too bad. How ‘bout your dad? SAMANTHA (shields way up) He couldn’t make it. SAM (deeply meaning it) Oh. I’m really sorry. 15. SAMANTHA That’s okay. I’ll live. But can I just ask you something? SAM Anything you want. SAMANTHA Is this one of those hidden camera shows where I’m gonna get goofed on for cash and prizes? SAM No. I hope you’re not disappointed. SAMANTHA Nah, I don’t like those shows, either. (an awkward silence) So... SAM (snapping to) So... I guess I just wanted to be able to look you in the eyes and tell you what a big fan I am of yours. ANGLE ON AL - cautiously watchful as FLASH BULBS begin to go off around them. But it’s not the people taking pictures that disturb him. It’s the ONE MAN who isn’t. He’s got a gruff, menacing look that suggests he isn’t here for an autograph. Al PRESSES A BUTTON on Ziggy which OPENS A SMALL LENS. Then he takes a little photo of his own. AL (quietly to Ziggy) Identify. ANGLE ON SAMANTHA - who’s trying hard not to blush over this surreal situation. SAMANTHA You’re a fan of mine? SAM Yeah. I’ve heard a lotta great things about you. And um, I just hope you have a really good life, uh, game... you know. All of it. He gently offers his hand. She accepts it. And Samantha may not exactly know why, but she is absolutely touched. 16. SAMANTHA Oh. Well... thanks. You, too. Not that you need it. SAM You’d be surprised. ANGLE ON ZIGGY - which lights up in Al’s hand with a “PING.” Its tiny screen reads: POSITIVE IDENTIFICATION. And as another round of CAMERAS BEGIN TO FLASH around them-- the MYSTERY MAN starts to move toward them. Al looks up from Ziggy and immediately interrupts their moment with an air of urgency. AL Come on, Sam. Time’s a wastin’. SAM (to Samantha) I’ve gotta go. SAMANTHA Alright. Goodbye. SAM Bye, then. Sam makes his way back to the limo, waving off autograph seekers as he goes. Al follows, casting worried glances over his shoulder the whole time at the MAN, who is momentarily kept away from them by the crowd. EXT. LIMOUSINE - MOMENTS LATER The driver finally manages to shut the door behind them and slowly begins to wade around the thick crowd toward the driver’s side door. INT. LIMOUSINE - CONTINUOUS Sam is visibly shaken by the experience of meeting Samantha. SAM Why’d you do that to me? AL So you’d realize what you’re missing. I know first hand what a big difference you’ve made in other peoples’ lives. But one of these days, you’ve got to get back to living your own. 17. SAM She doesn’t even know me. AL Not yet. But believe me, she needs to. Don’t you see? We could fix Hansen’s problems... and then you could leap back to your own time and be there for her. Not to mention yourself... Sam mulls it over in his mind for a quiet beat. Then... SAM How the hell are we supposed to fix Hansen’s problems? AL Lock the doors and get behind the wheel before the driver makes it back. (of Sam’s look) I’m serious. GO! Sam SCRAMBLES THROUGH THE OPEN SECURITY WINDOW and hops into the driver’s seat, quickly thumbing the lock button just as the driver reaches for the door-handle. Then he LAYS ON THE HORN, and slowly steps on the gas-- forcing all the onlookers away from the car, not to mention the poor driver. LIMO DRIVER I am so fired. And a beat later, ANOTHER CAR speeds off behind them, driven by the MYSTERY MAN. INT. LIMOUSINE - MOMENTS LATER Sam nearly fishtails the black stretch around a tight corner as Al looks over his shoulder through the tinted back window at their pursuer. SAM Grand theft auto just to get away from paparazzi? AL That’s not paparazzi. ANGLE ON ZIGGY - as an IMAGE OF THEIR PURSUER is displayed on its compact screen. Actually, it looks more like a MUG SHOT. 18. AL (cont'd) Ziggy just ID’d him as Carmine Giacchino-- a hit man with two prior felony convictions under his belt for attempted manslaughter. SAM Wouldn’t that make him a hit and miss man? AL Look, unless you head straight for the metro station on Lankershim, he’s finally gonna get one right. SAM Whoa, whoa-- that’s the last place I’m going, Al. Hansen gets hit by a train, remember? AL Yeah, but I also remember a little “insurance policy” I took out on you. SAM Insurance policy? AL I had a bad feeling Congress was gonna leave us high and dry one day. So before they did-- let’s just say I got a little covert myself with some of their funding. SAM You embezzled from the U.S. Government? AL All I did was stow some extra cash for you inside a train station locker in case of a rainy day. I just figured if they ever cut you loose-- you might at least have a chance someday of leaping to this time zone and collecting a little severance pay. They owe you that much. SAM How much? AL A million bucks. 19. SAM A mill-- are you out of your mind? AL No, Sam-- I’m your friend. I just didn’t think it was gonna get wasted on a box office bozo like Hansen. SAM Are you suggesting I use that cash to pay off the goon behind us? PA-TOWW! A BULLET SUDDENLY SHATTERS THE LIMO’S BACK WINDOW. Holographically unharmed, Al still habitually hits the deck beneath a spray of glass. AL You got a better plan?! Sam glances anxiously over his shoulder at the guntoting GIACCHINO on their tail-- and then puts up the SECURITY WINDOW. EXT. CITY STREET - CONTINUOUS Sam’s limo darts in and out of traffic with all the grace of a Rhino-- at least finally managing to make it around a passing CITY BUS, which subsequently cuts off the gunman. CUT TO: EXT. METRO RAIL STATION - MOMENTS LATER Sam’s limo skids around a turn and pops the edge of the curb. As he and Al bound out of the car- AL Take that escalator down to blue level-- locker 221! The two of them make a break across a plaza toward a nearby ESCALATOR as Giacchino pulls up behind the limo and bolts out of his car as well. INT. ESCALATOR - CONTINUOUS Sam pushes his way past people down an escalator, while Al merely walks right through them. And two of those people are a FATHER and his YOUNG SON. FATHER (to Sam) Easy buddy, where’s the fire? 20. YOUNG SON Dad-- that was Hollis Hansen! FATHER Really? (abruptly changing tune) Let’s go get his autograph. INT. SUBWAY TRAIN PLATFORM - CONTINUOUS Sam races along a train platform looking for LOCKERS. Trouble is, there are none. SAM I’m not seeing any lockers here, Al. Al is confused-- until he looks across TWIN SETS OF SUBWAY TRACKS to the platform on the other side. And there they are. LOCKERS. AL So I’m a little rusty. Let’s go back up the escalators to the other side. But Sam takes one look at the escalators and can see from Giacchino’s arrival at the bottom that it’s way too late for that. GIACCHINO (calling out) Hansen- SAM (to Al) I think I better take the shortcut. With that, Sam hops down onto the tracks and begins to run across-- the HEADLIGHTS OF A TRAIN visibly approaching in the distance. Behind him, Giacchino scrambles to do the same. But just as he’s about to cross over the second set of tracks-- he glances to his right and JUMPS BACK-- NEARLY GETTING RUN DOWN BY A TRAIN COMING INTO THE STATION. INT. OPPOSITE PLATFORM - CONTINUOUS With the gift of time as passengers load the train behind him and his pursuer is stuck on the other side-- Sam makes his way to the lockers and finally finds NUMBER 221. ANGLE ON THE LOCKER - which has a big COMBINATION LOCK on it. SAM Al? 21. Suddenly standing beside him, Al scrolls through info on Ziggy. AL Hold your horses, I’m looking. SAM You don’t remember the combination? AL Hey-- do I need to remind you I’m the Senior Advisor to Project Quantum Leap? Geez, just wait till you’re my age. SAM Yeah, well, that’s never gonna happen if you don’t help me open this locker. AL Alright, alright, here it is. Right three... left twenty-four... and right back to one. Sam spins it once more in the other direction-- and just as the LOCK SNAPS OPEN-- the train behind him begins to pull away. Sam has just enough time to grab a DUFFEL BAG inside and turn around before he sees-- Giacchino right in front of him, gun aimed at his gut. SAM Oh. Hi. Listen... GIACCHINO I’m not in the mood to listen, Hansen. And neither are the men you owe a lot of money to. SAM I understand. So how ‘bout you take what’s inside this bag as a down payment? You know, sort of a good faith gesture of my desire to stay alive. He hands the bag to Giacchino-- who stows his gun and unzips it to see a cool MILLION IN CASH. SAM (cont’d) It’s a million bucks. You can count it if you want. GIACCHINO I’ll take your word for it. 22. SAM Good. So... we’re cool? Giacchino puts the bag over his shoulder and smiles. GIACCHINO Oh, yeah-- we’re definitely cool. But I still gotta kill ya-- which bums me out to be honest, ‘cause I kinda like to think of myself as a patron of the arts. He starts to pull his gun again until- YOUNG SON (O.S.) Excuse me? Sam and Giacchino both turn to see the breathless father and his boy hopefully standing beside them. YOUNG SON (cont’d) Could we get your autograph? SAM I’m sorry son, this really isn’t the best- FATHER (to Giacchino) Hey... weren’t you in “The Mobsters?” Giacchino lights up. GIACCHINO You saw it? Aww, it was just a bit part! I was just lookin’ for a little work in my spare time and this cousin of mine was the line producer, so- YOUNG SON Mr. Hansen? Where you going? The two men turn to see Sam scrambling back down across the tracks. Giacchino abruptly rushes after him, leaving the father and son to stare in disbelief at what’s about to happen. ON THE TRACKS - Sam jumps over the last set of rails and climbs up a steel runged ladder on the opposite wall. But Giacchino is in no hurry. With the bag of money over his arm-- he calmly reaches for his gun. ANGLE ON THE FATHER - who immediately gathers up his son and heads for the nearest escalator. 23. FATHER Let’s go, son. I think we’ll rent this one. ANGLE ON GIACCHINO - who aims his pistol at Sam from behind. GIACCHINO (calling out) Come on, Hansen-- turn around. I saw BIG GUNS. You took fifty rounds to the chest and still got the girl. Sam keeps climbing the rungs- Just as Giacchino begins to SQUEEZE THE TRIGGER and- HONNNNNNNKKKK!!! - ANOTHER TRAIN FLIES DOWN THE TRACKS RIGHT TOWARD THEM, giving Sam just enough time to jump off the last rung and roll onto the platform as Giacchino kisses both his acting and his killing careers goodbye. WHAM! He’s gone. ANGLE ON THE PLATFORM - where THE DUFFEL BAG LANDS and Sam rolls over for one last look up at Al, standing beside him. AL (wincing) Ouch. That had to hurt. SAM Just help me up, would ya? But Al looks down to see A BLUE HALO BEGINNING TO FORM AROUND SAM AS HE LIES ON THE FLOOR. Al swallows hard. AL Not this time, pal. You gotta help yourself. SAM REACTS AS HIS ENTIRE BODY IS TAKEN OVER BY THE BRILLIANT LIGHT OF YET ANOTHER LEAP INTO THE GREAT UNKNOWN. SAM (crying out) No-- Al, wait-- I can’t! AL You can, Sam. And sooner or later, you’re gonna have to-- But for all the fear and all the hope-- all either man can do next is cover his eyes against a FINAL BRIGHT FLASH-- as Hollis Hansen’s body is re-inhabited by none other than... Hollis Hansen. 24. And since the normally self-absorbed movie star has just had a serious out-of-body experience, he’s not quite himself right now. HANSEN Where am I? What happened to me? Al looks down at the movie star, who is completely unaware he’s there as POLICE OFFICERS AND REPORTERS begin to spill onto the platform around them. Then he picks up the duffel bag. AL You just got a second chance, buddy. And I hope to God I get one, too. AL SOMBERLY WALKS OFF THROUGH THE GROWING CROWD and we- FADE OUT. END OF ACT ONE 25. ACT TWO EXT. MASSACHUSETTS INSTITUTE OF TECHNOLOGY - DAY Establishing. Home of some of the world’s smartest people. A SUPER READS: PRESENT DAY. But from somewhere, we can HEAR an old familiar voice. PROFESSOR (O.S.) (prelap) Of course, according to Novikov’s Principle of Minimal Action-- light travels in the simplest and fastest path to its destination. CUT TO: INT. LECTURE HALL - CONTINUOUS CAMERA PANS ACROSS a wide hall packed with college students. PROJECTED ON A SCREEN before them; AN IMAGE OF TWO BLACK HOLES and the WORM HOLE stretching through space between them. PROFESSOR (O.S.) But since Action is seen as a measure of the energy involved in both traversing a path and the time it takes to do so-- there must be a law of nature which prevents the paradox of time travel. A YOUNG CO-ED impatiently raises her hand. She’s in her early twenties, but her pensively pretty faces feels older. Not that that should come as any surprise since we saw the same look when she was twelve. This is SAMANTHA FULLER... all grown up. SAMANTHA Excuse me... ANGLE ON - Samantha’s boyfriend, GERARD, seated right beside her. He’s a nice looking young guy-- but clearly uncomfortable over the way she insists on picking a fight. GERARD (squirming) Not again... But Samantha will not be silenced. SAMANTHA With all due respect, professor-- I thought this was a quantum physics lecture, not a science fiction class. 26. ANGLE ON - THE PROFESSOR’S HAND, as he thumbs a key on his LAPTOP, pausing the POWERPOINT PRESENTATION. CAMERA TILTS-- and we finally reveal the familiar, if not slightly older face of AL. He looks over his glasses at her. AL And what makes you think time travel is only science fiction? SAMANTHA Well, just because there’s nothing in the laws of physics to prevent it, doesn’t mean there’s anything in those same laws which allows it. AL In other words, just because there’s no law that says you can’t drink a keg of beer in thirty seconds, doesn’t mean you couldn’t. The class snickers. But Samantha tries to remain serious, unsure where he’s going with this. SAMANTHA I guess. AL Ahh, but what if you did? SAMANTHA Travel through time? AL Drink the keg. SAMANTHA (after a beat) You’d be hammered. Again, the class laughs. She looks quizzically at Gerard, but he can only shrug. He’s in no position to help her now. AL That’s one way of putting it. Or you could say you were experiencing an alternate form of reality, am I right? SAMANTHA I suppose. Al goes in for the kill, slowly building in intensity. 27. AL And what if that alternate reality was just one of many? And what if this room, this campus, the world we live in, hell, the whole universe around us was just one in an infinite variety of parallel universes? That would mean those universes get split into infinite copies of themselves like variations on a theme-- that all possible outcomes of all possible experiments must happen somewhere in space and time-- WHICH MEANS, if you had the TECHNOLOGY, not to mention the TESTES, in theory, you COULD travel back and forth FROM THE PAST TO THE FUTURE AND ALL POINTS IN BETWEEN! The class applauds his performance. Samantha is obviously flustered. SAMANTHA It’s impossible. Al smiles, rebuking her comment with the words of A.A. MILNE. AL “Time is swift, it races by; Opportunities are born and die... Still, you wait and will not try-- A bird with wings who dares not fly.” And as she stares back at Al with all the uncertainty of someone he age-- and then some-- THE BELL RINGS. Students immediately begin to rise and exit-- Samantha still staring blankly at Al as he gathers his things to go as well. GERARD Samantha? Sam-- you okay? She finally snaps to. SAMANTHA Huh? Yeah. Sorry, let’s go. CUT TO: EXT. UNIVERSITY PLAZA - AFTERNOON The young couple exits with the others. 28. GERARD Why do you subject yourself to that kind of punishment? SAMANTHA Because I don’t have a choice. His suggestions about time travel are crazy. GERARD Right. (sighs) Can’t wait to see how you react to my suggestion. SAMANTHA What suggestion? GERARD Well, before you get all worked up, just remember, I’m not talking about time travel, okay? All I did was buy us two tickets to Europe. SAMANTHA Gerard-- we talked about this. GERARD I know, I know, but come on, Sam-- graduation is right around the corner. I want us to celebrate together. SAMANTHA What if I’m not ready? GERARD For what? Celebrating? SAMANTHA No... graduating. GERARD Samantha, please. You’re already the youngest person at M.I.T. to have three degrees under your belt. Psychology. Chemistry. And now we’re days away from Physics. Enough already. She looks at him sheepishly. GERARD (cont’d) Oh my God. You did it, didn’t you? 29. SAMANTHA Well-- I told you I might apply to the History Department. I just didn’t expect them to accept so soon. Hurt, he shakes his head and begins to walk away. SAMANTHA (cont’d) Gerard, wait-- I didn’t say I’d accepted. GERARD Then tell me you won’t. Tell me you’ll come with me on this trip. SAMANTHA I... I’m not sure I’m ready. Gerard looks her right in the eyes. It’s ultimatum time. GERARD Sam, I love you. But if you decide to stick around here for another degree in History-- you might as well go ahead and add us to your studies. She stares back at him, uncertain what to say. So he says it for her, by simply walking away. SAMANTHA (calling out) Gerard-- I just need more time. AL (O.C.) You sure about that? Samantha turns to find Al beside her, and her face falls even further as she prepares for yet another confrontation. SAMANTHA Professor Calavicci. Al watches Gerard cross the plaza. AL Sometimes you can have all the time in the world and still feel lost. SAMANTHA If this is about class- 30. AL I wish it were that simple. Believe me, nobody knows better than I do that Quantum Physics is an inexact science. Well, maybe one other guy. Anyway, a little spirited debate is always good for the soul. As she sees Gerard finally disappear into a crowd- SAMANTHA I’m not so sure about that. AL You’re still young. You’ll learn. Speaking of, I hear you’ve been offered another scholarship. SAMANTHA History. Full ride. AL Pretty impressive. But before you go delving too far into the past on your own, can I show you something? She looks at him quizzically and we- CUT TO: EXT. UNIVERSITY PHYSICAL PLANT - MOMENTS LATER Establishing. Your basic campus power facility-- a place no student would ever have any reason to visit. INT. PHYSICAL PLANT - CONTINUOUS But there goes Samantha, following Al past a UNIVERSITY SECURITY GUARD posted just inside the entrance of the industrial space. SECURITY GUARD Professor. AL Eddie. Here’s that poker money I owe you. Al slips the Guard a few bills. But the Guard only grins. SECURITY GUARD You owe me a heck of a lot more than that. 31. Al winks at him as he leads Sam into an ELEVATOR. AL Put it on my tab. INT. ELEVATOR - CONTINUOUS The doors close, leaving Al and Samantha alone once more. A beat of silence, then she turns to him for direction. AL (nodding) Oh, sorry-- just hit the down button. ANGLE ON - THE ELEVATOR BUTTONS. There is no down button. Just three buttons marked 1, 2, and 3. Samantha frowns. SAMANTHA There is no down button. AL Oh. Right. He nonchalantly reaches toward the panel, and then rapidly presses all three buttons in a complex combination. Suddenly, the ELEVATOR LURCHES DOWNWARD. AL (cont’d) (off her surprised look) Lesson Number One. Things are rarely as they may seem. The elevator slows to a halt. And just as Samantha begins to wonder what she’s gotten herself into- ANGLE ON THE DOORS - as they OPEN TO REVEAL: INT. PROJECT QUANTUM LEAP - CONTINUOUS Al ushers Samantha into a secret underground space packed from floor to ceiling with high tech gear. Whereas the original PQL was built with clean and futuristic lines on the government’s dime -this room is more like the do-it-yourself Radio Shack version, which actually only makes it seem more impressive. Samantha looks around, dumbfounded. SAMANTHA What is this place? 32. AL Pretty nice, eh? Some might say it’s a little more cramped than the old digs, -- but we like to think of it as cozy. SAMANTHA We? AL Me and Gup. (calling out) Guppy! ANGLE ON A CONSOLE - some kind of hard-wired hybrid between a MIXING BOARD and a MAGNETIC RESONANCE IMAGING SYSTEM. All you need to know is, it’s hard-- especially when you’re working underneath it and someone surprises you by calling your name. WHAM. A young grad student bumps his head hard beneath the console. SHELDON GUPTA (”GUPPY”) immediately grips his scalp in pain. GUPPY Owww! Over here, Professor. I was just trying to re-solder these capacitors on the haz-boards- From under the console, he first sees Al’s legs walk into view. Then he sees a much cuter pair accompanying them. The diminutive labtech climbs out of the tight space-- only to see Samantha. He’s probably excited to see anyone down here besides Al. But he’s also immediately, if not shyly smitten by her. GUPPY (cont’d) Oh. Wow. It’s you. SAMANTHA I’m sorry. Have we met? AL Samantha Fuller, this is Sheldon Gupta. He wasn’t crazy about Shelly for a nickname, so I call him Guppy for short. Well, that, and because he’s short. Guppy humbly extends a hand to Samantha. GUPPY I’ve heard a lot about you. Samantha frowns at Al. 33. AL I told him you’re always thinking. Fortunately he is, too. God knows, I never would’ve been able to put this puzzle together without a bonafide computer genius like Guppy. GUPPY (modest) I just did it for extra credit. SAMANTHA Did what? What is it you guys are doing? AL Well, to tell you the truth, we haven’t done it yet. That’s where you come in. SAMANTHA Look, if this is one of those hidden camera shows where you guys are gonna goof on me for cash and prizes- AL May 29, 1992. Geez. I can’t believe it’s been that long since I first heard you say that. You were only twelve years old playing against the Shooting Stars in the youth league finals. Even scored a coupla goals yourself, if I recall. (off her stunned look) But that’s not what you remember most about that game, now is it, Samantha? To say Samantha looks rattled would be an understatement. SAMANTHA How do you know about that? AL ‘Cause I was there when Hollis Hansen approached you on the field. SAMANTHA In the crowd? AL Holographically speaking. SAMANTHA I never understood why he came. 34. AL You couldn’t have. It would have made even less sense to you then than it probably does now. But the fact is, that wasn’t Hollis Hansen you were talking to, Samantha. SAMANTHA It wasn’t? AL No. (a beat) It was your father. Her face hardens. SAMANTHA My father. AL Well, not exactly. SAMANTHA Alright, then you have EXACTLY two minutes to tell me what the hell you’re talking about before I take the elevator back out of your little top secret bat cave and make an appointment to see the Dean. Al sighs, nods at Guppy who checks his watch, and hits a series of buttons at the console. MONITORS beside them come to life with ARCHIVAL FOOTAGE of Sam in the early days of the PQL experiment. AL In 1982, a brilliant scientist named Dr. Samuel Beckett published a paper on the theoretical mechanics of traveling through time. Only the paper wasn’t actually published, because the United States government secretly confiscated it for reasons of national security. But after extensive meetings with Dr. Beckett, they chose, in a closed door session of Congress, to covertly fund the testing of his theories in a specially constructed laboratory beneath the New Mexico desert called Project Quantum Leap. (to Guppy) How’m I doing? 35. GUPPY A minute forty-five. AL (continuing) Anyway, I was assigned to help Sam facilitate the experiment, which between you and me, I never really thought would work, either. But just like you, I was dead wrong. Unfortunately, Sam got a bit carried away with his own success and decided to try it out himself before all the kinks had been worked out. ON THE MONITORS - WE SEE Sam’s body being bombarded by “leaplight” for the first time in the ACCELERATOR CHAMBER. AL (cont'd) Kink number one-- Sam never traveled through time as himself, but instead leapt into the bodies of other people who lived somewhere during his natural life span. And those poor folks were simultaneously sent to our waiting room in New Mexico where most of them swore they’d never drink tequila again. ON THE MONITORS - WE SEE a plethora of IMAGES of Sam leaping into assorted people. He’s a TEST-PILOT in the cockpit of an X-2. A SOUTHERN BELLE in drag. A BASEBALL STAR at bat. A ROCK STAR on stage. A BLACK MAN living in a small, white, town. AL (cont'd - V.O.) (CONT'D) (over the images) That is, until Sam somehow managed to figure out a way to help them in their lives, which subsequently allowed them to return. Kink number two--It wasn’t as easy for Sam himself to return as we’d originally hoped. So I basically spent the next twenty-some-odd years following him around in holographic form and trying to help as best I could. GUPPY Thirty seconds... ON THE MONITORS - FOOTAGE from the final “TRILOGY” episode begins to roll, giving us a first glimpse of Samantha’s mother and Sam as her ATTORNEY. 36. AL Then during one of his leaps, Sam got a bit carried away during his time as an attorney and fell in love with his client. One thing led to another, then down went the briefs and nine months later, you were born. Only by that point, Sam had already leapt on-- and the attorney returned with a pretty lousy hangover. SAMANTHA (quietly stunned) He said he’d traveled through time. They said he was nuts. ON THE MONITORS - in a final flurry of IMAGES - first WE SEE SURVEILLANCE SHOTS of Samantha’s father being wheeled into an institution. Then we see still frames from BOGUS TALK SHOWS - GUESTS with titles supered over them like “REAL-LIFE CLOSE ENCOUNTERS,” or “I WAS AN ALIEN LOVE SLAVE.” And finally, WE SEE a series of shots of MILITARY VEHICLES and PERSONNEL shutting down PQL’s original desert laboratory. AL (V.O.) (over the images) Well, he kinda was. But if it makes you feel any better, after that, we started telling people they were abducted by aliens, anyway. And then when they all started doing the talk shows, we just started knocking them out with laughing gas. Like I said, it’s an inexact science. Which is why-- Kink Number Three-- the powers that be suddenly pulled the plug when we least expected it, leaving Sam just enough time to come see you before he was forced to go leaping off somewhere into the cold blue yonder without so much as a pre-printed thank you note from the President. GUPPY Time’s up. SAMANTHA You were messing with peoples’ lives. 37. AL We were making them better. SAMANTHA Who asked you to? AL People don’t always ask for help when they need it. SAMANTHA My father has been in a mental institution all my life. AL Because he needed help more than most, Samantha. According to medical records, your dad was suffering from a chemical imbalance and would have wound up there anyway. But even if he’d somehow beat the odds, you wouldn’t have been born to stand here casting judgment if Sam hadn’t fallen in love with your Mom first. SAMANTHA I see. So assuming I choose to believe any part of this nonsense-- what the hell am I supposed to do with it? Al hands her a COMPUTER DISC, the cover of which reads: PRACTICAL MECHANICS OF TIME TRAVEL BY DR. SAMUEL BECKETT. PROPERTY OF U.S. GOVERNMENT. CLASSIFIED. AL Read it. You should find it pretty illuminating. After all, you have a lot more in common with Dr. Beckett than you think. You’re both smart. You’re both stubborn. And you both have a habit of starting things that are very difficult to finish. SAMANTHA I have to go now. Samantha abruptly takes the disc and crosses to the elevator. AL I need your help, Samantha. Think of it as a leap of faith. I know we can find him if we just work together. 38. INT. ELEVATOR - CONTINUOUS She steps in and turns around, only to see Al looking back at her with genuine urgency in his face. SAMANTHA Why should I care about any of this? AL Because all the history classes in the world aren’t going to fill in the blanks on your past... or ever make sense of your present. The elevator doors close and she’s gone-- but CAMERA HOLDS ON AL. AL (cont'd) (sotto) Much less give Sam a chance at a future. CUT TO: EXT. CAMPUS MOVIE THEATER - NIGHT Under dark and cloudy skies, Samantha pores over her LAPTOP on a park bench-- flabbergasted by Sam Beckett’s brilliance as she finishes reading the last page of his treatise on time travel. She closes the computer, then shoves it in a bag and crosses to a PAYPHONE outside a small ARTHOUSE CINEMA. THE MOVIE MARQUEE behind her reads: NOW PLAYING - THINGS TO COME. ANGLE ON THE PHONE - as Samantha cheerlessly dials a number. A couple of rings-- and a WOMAN’S SLEEPY VOICE finally answers. WOMAN’S VOICE (V.O.) Hello? SAMANTHA Mom. It’s me. MOM (V.O.) Samantha. It’s late there. Is everything okay? SAMANTHA Yeah, mom. Everything’s okay. (hesitantly) Can I just ask you something? MOM (V.O.) Sure. 39. SAMANTHA Have you talked to dad lately? (a long beat, then) Mom? MOM (V.O.) Why are you asking me that question? SAMANTHA I don’t know, it’s just that-- I’ve been thinking about him, that’s all. MOM (V.O.) Honey, you don’t even know your father. And I haven’t spoken to him in years. He’s a very sick man. Samantha feels the first sprinkle of rain fall on her face. The pavement around her feet begins to darken. Her eyes search the letters on the marquee for answers. THINGS TO COME. SAMANTHA Are you sure? MOM (V.O.) Samantha... if you just woke me up to argue over your father’s mental state, then I’m going back to sleep. I’ve got to be at work early in the morning- SAMANTHA I know. Sorry, mom. It’s starting to rain, anyway. I love you. She hangs up-- just as the rain really begins to fall. And in bad need of cover, she ducks inside the movie theater. INT. MOVIE THEATER - CONTINUOUS As Samantha makes her way down the dark aisle of the theater, a sparse crowd watches the black and white, sci-fi classic version of H.G. Wells’ THINGS TO COME. She takes a seat by herself as- ON THE SCREEN - two deco-clad denizens of Utopia discuss the virtues of the past versus the future. ARTIST (on screen) Is it a better world than it used to be? Machines and marvels. They built this great city of theirs, yes. They prolonged life, yes. (MORE) 40. ARTIST (cont'd) Is it any jollier than the world used to be in the good old days? LACKEY (on screen) All the same, what can we do about it? ARTIST (on screen) Rebel. Now, now is the time! Tears of uncertainty quietly spill down Samantha’s cheeks. Then SOMEONE suddenly sits down beside her. It’s AL-- with a BOX OF POPCORN in one hand, and a BOX OF KLEENEX in the other. AL Here. I thought you could use these. ‘Course, if I would’ve known how hokey this picture was, I would’ve brought you some earplugs, too. She wipes her eyes with a tissue. And a beat later, she finally takes her eyes off the screen, looking right at Al. SAMANTHA I’ll do it. AL You’ll leap? SAMANTHA Yes. But not for you, or the doctor, or either one of my fathers, for that matter. AL Then why? SAMANTHA Because I want some good old days of my own. She gets up to leave the theater and Al follows after her. But CAMERA LINGERS ON THE SCREEN, as RAYMOND MASSEY sums it up. RAYMOND MASSEY (on screen) “And what shall be said of the citizen of tomorrow? When he has conquered all the deeps of space and all the mysteries of time... still he will be beginning." FADE OUT. END OF ACT TWO 41. ACT THREE INT. PROJECT QUANTUM LEAP - NIGHT Samantha is back in the lab getting briefed by Al and Guppy. SAMANTHA So wherever I go, you’ll be with me? AL Yes and no. I’ll be projecting myself holographically from the Imaging Chamber-- so only you will see me. Well, you and some kids and clairvoyants-- but that’s just a design flaw we can’t seem to get around. GUPPY We have managed to improve Ziggy, though. SAMANTHA Ziggy? Al pulls Ziggy out of his pocket and hands it to her for closer inspection. ANGLE ON ZIGGY - a much more sleek and streamlined version of the original. Think I-Pod meets an American Express Blue Card. AL It’s a handheld communications and computer database we can use to help fill in a few of the blanks when you leap. (beginning to rant) It’s also the reason I should have been filthy rich-- until Uncle Sam got greedy and claimed it as proprietary technology. Next thing you know-- BOOM -The Internet. Cellphones. PDA’s. Hell, Bill Gates, Steve Jobs, and even that DUDE FROM DELL would’ve been working for me by now-Guppy clears his throat. AL (cont’d) But I digress. You were saying, Gup? GUPPY The latest version of Ziggy also includes a P.O.P. extension. 42. AL Probability Outcome Projection. It should help calculate various possible outcomes of any move you make according to historical and statistical analysis. SAMANTHA (turning it over in her fingers) Pretty impressive for a credit card. So what do you figure the chances are I’ll lose it on the first leap? AL (whisking it away) Zero. ‘Cause Ziggy stays with me. GUPPY We do have a little something for you to take along, though. Guppy hands her what appears to be a timelessly elegant looking WATCH. SAMANTHA A watch? What’s this, a going-away present? GUPPY More like a coming-back present. It’s a Portable Accelerator. ANGLE ON THE WATCH - as he opens the face to reveal a SENSA-TOUCH BUTTON and a SMALL DIGITAL DATE/TIME/LAT-LONG READOUT. AL Think of it as an “eject button.” Press it once during any leap and if we’ve done our homework, it should get you back here to PQL before you can say “Osmium case with a diamond face and a hundred times more expensive than Rolex.” Samantha straps the P.A. on. It’s a perfect fit. SAMANTHA Cool. So whenever you or this little experiment of your’s start to get on my nerves-- I can leap back to class. AL I said “once.” 43. GUPPY The P.A. is only good for a single use. So if you happen to use it before you track down Doctor Beckett, all bets are off. He’s gone. SAMANTHA Until you buy another watch. AL We didn’t buy it. We built it. And it took me ten years just to scrape together the plutonium for that one without getting arrested or attacked by a coalition of the willing. So don’t-- I repeat, DO NOT-- press eject until the ride has come to a full and complete stop. SAMANTHA And when is that? AL Every time you put someone’s life right, you take another leap. And every time you leap, Guppy here will be on the lookout for Dr. Beckett. GUPPY Then if our calculations are correct and we can bring you two together, we could use the same button to send you both back. SAMANTHA Sounds easy as pie. AL Oh yeah-- three-point-one-four-six, etc, etc, so on and so forth. GUPPY The Mainframe Accelerator is ready. AL Thanks, Gup. (to Samantha) How ‘bout you? SAMANTHA I said I was, didn’t I? 44. AL Alright then, young lady. (gesturing toward the accelerator) Step right up. ANGLE ON THE MAINFRAME ACCELERATOR - a “launchpad” of sorts from which our willing young subject will make her first leap. It’s immediately adjacent to a GLASS BOOTH called the “WAITING ROOM.” AL (cont’d) Here’s where you’ll leap from. And whoever you land in-- will wind up in the waiting room next door. Then he or she will have a nice nap until you’re finished. Sound simple enough? SAMANTHA Just shut up and push me off the edge before I change my mind, Professor. AL Call me Al. And call me anytime you need me. GUPPY Initiating Leap Sequence... AL (to Samantha) Don’t move. This shouldn’t hurt a bit. Al crosses his fingers and moves away from the accelerator platform, crossing into an adjacent IMAGING CHAMBER. As he enters, his body is scanned from every conceivable angle by a COMPLEX LASER GRID beaming info back to SENSORS. He glances through a window at Guppy behind the MAIN CONSOLE. GUPPY All systems check and go. All vitals normal. ANGLE ON - a THERMOGRAPHIC BODY SCAN of Samantha on a monitor. GUPPY (cont’d) Leap commencing in five seconds... Al looks over at her standing anxiously on the pad. He’s waited a long time for this moment. GUPPY (cont’d) Four... three... 45. Samantha catches Al’s gaze. She never saw this moment coming. GUPPY (cont’d) Two... one... AL See you around, kid. He slips on a VIEWMET; an ergonomic helmet which covers his eyes to allow him a 360 degree view of Samantha’s leap locale. SAMANTHA If I can find the time. A BRILLIANT BURST OF LIGHT BEGINS TO EMANATE FROM SAMANTHA’S CORE-- and then, like the nucleus of an imploding atom-- SHE SUDDENLY DISAPPEARS IN A BLINDING FLASH and we- LEAP TO: EXT. JFK STADIUM / PHILADELPHIA - DAY IN THE BG - a giant sports stadium alive on the inside with over ONE HUNDRED THOUSAND PEOPLE. A SUPER READS: July 13, 1985. IN THE PARKING LOT OUTSIDE - tens of thousands of cars. And at least one weirded out young woman. CAMERA WIDENS TO REVEAL: Samantha standing in the parking lot. SAMANTHA (calling out) Al? Al...? RUSS (O.C.) Who the hell is Al? Samantha turns around to see RUSS CORBIN, a mullet-headed loser in a STYX T-Shirt. Flanked by his tailgating buddies DUGAN and SNAP, Russ downs the rest of his BEER and BELCHES. RUSS (cont’d) You ain’t steppin’ out on me, are you Claire? He CRUNCHES THE CAN against his head for extra emphasis. Samantha glances to one side-- suddenly spotting herself in the SIDEVIEW MIRROR of a VAN. Only it’s not her own reflection she sees. Instead, Sam is staring back at CLAIRE PLUMMER-- the wide- eyed, fair-skinned, 19-year-old she’s just leapt into. This is the strangest sensation imaginable. 46. SAMANTHA Huh? No. I just thought I saw someone I know, that’s all. RUSS Well, try not to fog up them windows gawkin’ at yourself-- I just had her detailed. Samantha steps back to behold Russ’s pride and joy-- a FORD VAN custom painted with PAC MAN video game characters gobbling assorted fruit down it’s black length. License plate: PAC VAN. SAMANTHA (under her breath) Where am I? Al’s reflection suddenly steps into view beside Claire’s. AL You’re in the parking lot of JFK Stadium in Philadelphia. SAMANTHA Why? AL Good question. Most people are inside having the time of their lives. SAMANTHA Watching what? AL Live Aid. And just to attest to the excitement, a ROAR OF THE CROWD rises up from the stadium in the distance. Samantha can’t help but grin. This is just too cool. SAMANTHA No way. AL Sixty of the world’s biggest acts playing seventeen minutes each on two stages in the U.S. and UK. Raised a hundred million for charity in only one day. Russ ignorantly WALKS RIGHT THROUGH AL’S IMAGE, proudly putting a tattooed arm around her. 47. RUSS Bitchin’ ain’t it? He suddenly pulls her in for a DEEP, NASTY KISS, and all Al can do is turn his back. AL My God, the eighties were ugly. Samantha squirms in Russ’s arms like he’s Pepé Le Pew until she’s finally able to shove him off with disgust-- momentarily forgetting the role she is clearly here to play. SAMANTHA Ecchh! Get your hands and your, your, TONGUE off me! Dugan and Snap snicker at her refusal, embarrassing Russ further. RUSS Damn, baby-- how many beers have you had? AL (consulting Ziggy) Your name is Claire Plummer. His name is Russ Corbin. You’re nineteen. He’s twenty-six. He’s been your boyfriend for eight months and Ziggy has no clue how many brews he’s had at this point, so you better think of something fast. SAMANTHA (improvising, to Russ) Huh? No-- I just meant if you’re gonna touch me, you better be ready to dance. I mean, we are at Live Aid, right? Russ’s hardened face finally cracks into a stupid grin. RUSS Totally. (to his buddies) Snap-- Dugan-- crank up the tunes. They dutifully turn up a BOOM BOX and ONE THING LEADS TO ANOTHER by THE FIXX begins. Then to make matters worse, Russ begins to move. And it’s the most shameful display of eighties dancing you’ve ever seen. SAMANTHA (reacting) This just isn’t happening. 48. RUSS What? You want another song? I think we got some Journey in the van- SAMANTHA No, no, I mean, why are we stuck out here in the parking lot when the show’s going on inside? RUSS Hello-- Claire? You know how expensive the tickets were? They were like NINETEEN BUCKS each! How much do you think they pay me at the plant, anyway? SNAP Duh! RUSS And anyway, they were like, totally impossible to get. DUGAN Duh! Dugan turns the box back down in a buzz-killing protest. SAMANTHA Right. Sorry. Duh. RUSS I’m gonna get another beer. But before he can- JESSIE (O.C.) (calling out) Spare ticket-- anybody need a ticket? All eyes turn to see-- JESSIE FALKNER, age 18, good-looking in an honest way. But never mind all that. He’s got a ticket. Russ drops his beer and bolts toward Jessie. RUSS Dude! You’ve got a ticket? JESSIE That’s... what I said. RUSS How much? 49. JESSIE Face value. I’m not trying to make any money. Just wanna get rid of it. RUSS I’ll take it. But Snap and Dugan have other ideas. SNAP (upping the ante) I’ll give ya twenty for it. RUSS Are you bustin’ on me? DUGAN Twenty-five. JESSIE Guys, I already told you- RUSS Fifty! I’ll give ya fifty bucks! SAMANTHA I thought you said- RUSS Shut up, babe. SAMANTHA Excuse me? RUSS (to Jessie) Just gimme the damn ticket. SNAP No, give it to me! DUGAN Hell with that, it’s mine! But Russ is through talking. So instead, he starts pummeling. And Samantha and Jessie have just enough time to jump out of the way before the fists begin to fly in three directions. ANGLE ON A CAR - as Jessie and Samantha duck. JESSIE What’s with these guys? 50. SAMANTHA They’re morons. JESSIE I said I wasn’t looking for money. I just wanted someone to enjoy it. SAMANTHA How’d you wind up with an extra ticket in the first place? Jessie looks away from the mullethead melee. JESSIE You really wanna know? This ticket was supposed to be my girlfriend’s. Until she broke up with me this morning. SAMANTHA Why? JESSIE She was all bummed that Michael Jackson wasn’t playing. SAMANTHA That’s why she dumped you? JESSIE (embarrassed) Hey-- I’m clearly not the only one who dates the wrong people. ANGLE ON THE FIGHT - which only gets uglier as Dugan slams Snap’s head into the side of Russ’s treasured van, and Russ goes postal on Dugan. SAMANTHA Touché. JESSIE How serious are you and- SAMANTHA The neanderthal? Eyes on Ziggy, Al offers her an over-the-shoulder pointer. AL According to Ziggy, Russ is going to propose to you in two days. 51. SAMANTHA (deflated) He seems pretty serious. JESSIE Yeah, I can see that. He can also see there’s an unspoken chemistry between them. JESSIE (cont’d) (a beat later) So what’s your name, anyway? She momentarily blanks-- but Al clears his throat on cue. AL (coughing out her name) C-claire... SAMANTHA (remembering) Claire. Claire Plummer. JESSIE Well, nice to meet you, Claire Plummer. I’m Jessie Falkner. (off the fight) You know, it looks like they might be at it for awhile. How would you like my spare ticket? SAMANTHA Me? Yeah, I’d love it! (feeling her pockets) But I don’t uh... I don’t think I have any money. JESSIE That’s alright. You can have it. As long as you promise to enjoy it. But before he can hand it to her- WEEEEOOOOWWWW... A POLICE SIREN BLEATS LOUDLY as a SQUAD CAR pulls up and two COPS jump out to break up the fight. AL Whoops. Flag on the play. SAMANTHA Oh no. 52. She rises, stepping around the car to see one cop wrestle Russ to the ground and cuff him, as the other does the same to Dugan. Poor Snap is still out cold beneath the dented van. Bruised and bloody, Russ spots Samantha from the pavement. RUSS Baby-- tell ‘em it wasn’t my fault! COP (to Samantha) Save it for his trial. And with that, the cops shove Russ and Dugan both into the back of their car, then cuff and drape Snap across their laps. They slam the door and whisk the brawlers away-- and only then does Samantha think to look back. But Jessie isn’t there. He’s gone. AL You shouldn’t have let him go. SAMANTHA I didn’t have a choice-- they arrested him! AL Not meathead. The other guy. SAMANTHA Jessie? But I thought you said Russ was going to propose- AL Yeah, in a courtroom during a sentencing hearing-- over violating the terms of his parole. SAMANTHA You mean he’s been to jail before? AL Prison, actually. (off Ziggy) Grand theft auto, assault and battery, and oh, look at that, he even robbed a barber shop. Should’ve had them shave that mullet while was at it. SAMANTHA I can’t believe it. 53. AL It gets worse. Tomorrow night after you convince Claire’s parents to post his bail-- he’s gonna thank them by getting you pregnant in the back seat of the Pac Van. SAMANTHA What?! AL That’s right. While he’s locked up, you’ll be knocked up. SAMANTHA No way! You’ve gotta help me--her-- Al. What are we supposed to do?! AL We could try running that S.O.S. through a little P.O.P. Al retrieves Ziggy and puts its Probability Outcome Projection software to the test. He enters Jessie’s name into the database and then- AL (cont’d) (reading Ziggy) Oh. SAMANTHA Oh, what? AL According to Probability Outcome Projection, your best ticket would’ve been to take that ticket. Ziggy puts Claire’s chances of enjoying the concert, falling in love with Jessie, going to college, getting married, and then actually traveling to Africa to feed starving children yourself, that is, when you’re not too busy feeding your own-- at just shy of ninety-eight percent. SAMANTHA Great. Just great. So the love of Claire’s life has just walked away and I couldn’t even find him if I wanted to. AL Why? 54. SAMANTHA Because I haven’t got a ticket! AL Who says you need a ticket? And off his devious look, we-FADE OUT. END OF ACT THREE 55. ACT FOUR EXT. JFK STADIUM / MAIN GATES - LATER Samantha is in line to pass through the gate. She’s got a DISCARDED TICKET STUB in her hand and Al is standing beside her. SAMANTHA This isn’t gonna work, Al. AL You said the same thing about time travel. SAMANTHA Yeah, but I’ve only done that once. So far, I’ve tried and failed to pass through three different gates. It’s Samantha’s turn at the turnstiles, so she abruptly puts on her cutest smile and hands over the stub, trying her best to distract a tired looking ATTENDANT. SAMANTHA (CONT'D) Hi. How are you today? Isn’t this a wonderful concert for a worthy cause? Don’t you think everyone should do their part to end the famine in Ethiopia? The attendant looks up at her, completely unenthused. ATTENDANT I sure do. But I also think everyone should have a ticket to see the show. (handing back her stub) Next... Samantha turns away from the gates once again. SAMANTHA (to Al) You see? I told you. They don’t even have metal detectors and strip searches yet-- and it’s still impossible to crash this party. Al suddenly focuses on the backside of the stadium. AL Come on. Desperate times require desperate measures. 56. EXT. STADIUM - AERIAL VIEW - MOMENTS LATER A human tide of music fans cheer with emotional appreciation as another act takes the stage. But CAMERA CRANES SLOWLY DOWN-- PASSING THE TOPS OF SEVERAL TREES which ring the stadium-- descending further along the TRUNK of one in particular, until we find Samantha and Al still on the ground outside. SAMANTHA You want me to climb a tree? AL Those branches are crossing the wall. SAMANTHA Yeah, about fifteen feet up. What am I supposed to do then? Flap my wings and land on the other side? AL You’d rather be showing Russ baby pictures through bullet-proof glass? She sighs, then starts climbing. EXT. TREE-TOP - MOMENTS LATER Samantha finally climbs up into frame among the tree’s densely leaved branches. And then she gets her first up-close view. FROM SAMANTHA’S POV - WE SEE that she’s overlooking a VIP BACKSTAGE AREA. But just above the TENTS and the PORTA-POTTIES-- we can also see THE CROWD-- stretching back forever. SAMANTHA My God. There’s gotta be a hundred thousand people out there. Al pipes up from a nearby branch. AL A hundred and sixty two. One-pointnine billion if you count the TV audience. (leaning over, looking down) Ready to join the crowd? SAMANTHA How? AL Dumpster, six o’clock. 57. Samantha follows his gaze down to the other side of the wall-- where an OVERFLOWING TRASH DUMPSTER sits. Then she eyes the classic eighties clothing she’s wearing on loan from Claire. SAMANTHA I never liked acid washed jeans, anyway. SHE JUMPS- EXT. STADIUM / BACKSTAGE VIP AREA - CONTINUOUS --AND LANDS in the trash heap, quickly scrambling over the edge and dropping down to the ground beside it, escaping notice. ANGLE ON THE STADIUM WALL - as AL WALKS RIGHT THROUGH to join her. AL There, wasn’t that easy? SAMANTHA (picking junk from her hair) Speak for yourself. AL Hey, all you’ve gotta do now is find Jessie and you’re home free. SAMANTHA Come on, Al. You saw the size of that crowd. There’s no way I’ll ever be able to find him out there. His attention is suddenly distracted by something behind her. She turns, following his gaze to A SET OF STAIRS which lead up from the back to THE STAGE. A BOUNCER is stationed at the bottom, making sure every ARTIST has a STAGE PASS dangling from his or her neck before they take the stairs. SAMANTHA (cont’d) No. Unh-uh. There’s absolutely no way I’m going up- (suddenly distracted) Oh my God. There’s Mick Jagger. FROM BEHIND, WE SEE A big-lipped LOOKALIKE cross out of a stage adjacent tent. Same eighties linen suit and Jagger-swagger, with a STAGE PASS swinging from his neck. AL Damn. He even looked ancient back then. “Jagger” heads right for a row of PORTA-POTTIES. 58. SAMANTHA Look, he’s going to the john! AL Well, even rock stars gotta shh- She abruptly walks away in that direction. AL (cont’d) --hhey... where you going? But Samantha is a woman on a mission. EXT. PORTA-POTTY - MOMENTS LATER Samantha steps around behind the latrine, where several empty WINE CRATES have been discarded. She looks up at the top of the latrine, where a SLIDING PLASTIC VENT can be opened or closed. As Al reappears beside her, she’s already stacking up the wine crates so she can reach the vent. AL (whispering) Are you crazy? This is no time for an autograph. Especially not here! SAMANTHA (whispers back) I’m not interested in an autograph. I’m interested in keeping Claire’s life on track. And you were right-- the only way I can possibly do that at this point is if I get myself on stage. AL (exasperated) When did I say you should go on stage? SAMANTHA (whispering) You didn’t. But you did say that desperate times require desperate measures. And with that, she reaches in through the vent. INSIDE - WE HEAR “JAGGER’S” COCKNEY PROTEST. JAGGER (O.C.) (reacting) Hey--! What the bloody hell--? 59. ANGLE ON THE VENT - as Samantha abruptly yanks his STAGE PASS out and throws it around her own neck. SAMANTHA (calling out) Sorry, Mick. But I need a little satisfaction of my own, here- Then, as Al watches in astonishment, she picks up an unopened, HEFTY CASE OF WINE and deposits it with a THUD outside the PortaPotty’s door, blocking Jagger’s exit before she bolts. JAGGER (pounding on the door) Halllo? Hallllooo? EXT. BACKSTAGE AREA - CONTINUOUS As Samantha determinedly makes her way through a group of MUSICIANS toward the stage, Al struggles to keep up, much less comprehend what she’s about to do. AL Sweetheart, I don’t think you understand how this works-- this job isn’t about hogging the limelight- SAMANTHA It is today, Al. ANGLE ON THE STAIRS - where OZZY OSBOURNE stands beside the BOUNCER waiting to go on as Samantha approaches. SAMANTHA (cont’d) (calling out) Hey Ozzy-- I was just thinking. After this, you and Sharon should have a few kids and then do your own TV show. Ozzy looks back at her blankly for a beat, and then... OZZY (getting bleeped) That’s a great f***ing idea. She flashes her pass at the Bouncer who nods as she passes them both on the stairs and continues toward- EXT. MAIN STAGE - MOMENTS LATER Where God bless him, RICK SPRINGFIELD is just about to launch into a seventeen minute set before the largest crowd of his eighties hit-making career. 60. That is, until Samantha suddenly interrupts him. SAMANTHA Forgive me, Rick-- I’m really sorry to do this-- I even used to have one of your posters on my bedroom wall-- but I need to borrow your mic for a second. RICK SPRINGFIELD What? SAMANTHA Trust me, you’ll all be out of work for awhile as soon as the whole grunge scene hits. But don’t worry. The eighties are gonna make a huge comeback. Rick steps aside confused, and Samantha grabs the mic. SAMANTHA (cont’d) (addressing the crowd) Hello-- can I have your attention please? I don’t mean to interrupt, but is there a Jessie Falkner out there? I need Jessie Falkner to come to the stage immediately, please. EXT. CROWD - CONTINUOUS Jessie suddenly looks up, completely stunned to hear his name. And then when he sees who’s calling it-- all he can do is start pushing his way through the crowd. JESSIE Yo! Over here! I’m over here- EXT. BACKSTAGE STAIRS - CONTINUOUS Once again from behind, WE SEE a very angry Jagger bawling out the bouncer-- who then obediently heads up the stairs. EXT. STAGE - CONTINUOUS Samantha keeps scanning the crowd- SAMANTHA (on the mic) Jessie? Are you there? But when she spies the furious bouncer making a beeline in her direction, things are definitely not looking good until- JESSIE CALLS OUT FROM THE FRONT ROW. 61. JESSIE Claire! Here-- I’m right here! The bouncer approaches Samantha. BOUNCER Can you come with me, please? SAMANTHA Wait-He takes Jagger’s pass back from around her neck and grabs her by the arm. BOUNCER No. You wormed your way up here on someone else’s pass. Probably don’t even have a ticket. Jessie waves his SPARE TICKET in the air. JESSIE Yes she does! It’s right here! The bouncer hesitates just long enough for the CROWD TO ROAR WITH SUPPORT around them. Even Rick Springfield seems cool with it. RICK SPRINGFIELD Just let her go, man. So once more, the bouncer obediently obliges the talent. GUARD (to Samantha) Go. And before he can change his mind, Samantha slips off the edge of the stage, where she immediately rushes to Jessie’s side. SAMANTHA Boy, am I glad to find you. JESSIE Girl, you’re not the only one. They embrace-- and as a cheer rises up from the crowd-RICK SPRINGFIELD appropriately kicks his band into a rousing version of “JESSIE’S GIRL.” ANGLE ON AL - proudly tapping his foot in the wings as- 62. ANGLE ON JESSIE AND SAMANTHA - dancing on the front row until she starts happily jumping back and forth. JESSIE (cont’d) What are you doing? SAMANTHA It’s called “moshing.” JESSIE “Moshing?” (impressed) Cool. He follows her lead-- along with a crowd of other eager spectators. And as Springfield launches into another power pop chorus- A FAMILIAR BURST OF BLUE LIGHT RADIATES FROM SAMANTHA ONCE MORE. A BEAT LATER, SHE DISAPPEARS IN A SUDDEN BLINDING FLASH and we- LEAP TO: INT. SECURITY OFFICE - EVENING Samantha abruptly finds herself in a small office, staring right across a cluttered desk at yet another SECURITY GUARD. But this middle-aged gentleman doesn’t look nearly as forgiving as the one who just let her gracefully leave the stage at Live Aid. In fact, according to the NAMEPLATE on his desk, this is the bossman-- TED ARCHER, DIRECTOR OF SECURITY. SAMANTHA (bewildered) Whoa. She takes one look at Archer’s disenchanted glare and erroneously decides this must be all about Live Aid. SAMANTHA (cont’d) Oh. Okay, look, I’m sorry-- I can explain. I mean, don’t get me wrong, I’ve always liked the Stones, but- ARCHER We’re not here to discuss your taste in music, Mo. SAMANTHA (frowns) Mo? 63. ARCHER Fine, you want to be more formal about this, that’s okay by me--Mohammed. Allah knows I’m gonna have to fill out a ream of paperwork just to get you out of here. Samantha looks down at herself, noticing for the first time that her clothes have changed. Apparently, she too is now dressed like a security guard. Polyester shirt with epaulets. Matching slacks with a belt containing a CLUB, PEPPER SPRAY, and a SERVICE REVOLVER. She even reaches up, removing a hat which reads SECURITY. Where the hell is she? SAMANTHA I don’t understand. ARCHER Well, that’s the problem in a nutshell. You’ve been working security here for how long, now? Six years? And all I can say is, you just don’t get it. SAMANTHA Get what? ARCHER That part of being a security guard is making people feel SECURE. Only you-- you just seem dead set on scaring the hell out of folks every chance you get. SAMANTHA How so? ARCHER Checking I.D.’s? Crawling under peoples’ cars for a “visual inspection?” Geez, I thought that lady on thirty-four was gonna tear my head off yesterday after you emptied her briefcase to check for suspicious objects. SAMANTHA I’m sorry, but- ARCHER Save your breath, Bashani. I appreciate everything you went through here when you first started-- I really do. But with all due respect, I think it cracked a few of your windows, if you know what I’m saying. (MORE) 64. ARCHER (cont'd) So I just think it would be best for all of us if we let you go. Maybe you can get some help. SAMANTHA (looking around for Al) Yeah. That would be a good idea. ARCHER I’m glad you feel that way. I know we do. Samantha stares at Archer blankly for a beat, wondering exactly what she’s supposed to do next. ARCHER (cont’d) (after a beat) I’m gonna need your hat, badge, and belt. Samantha glances down at her uniform. SAMANTHA Oh. She sets her hat on the desk, removes a BADGE from her shirt, and then deposits her belt on Archer’s desk. ARCHER (offering a handshake) No hard feelings, Mo. And for what it’s worth, this isn’t uh, you know, a cultural thing. SAMANTHA Thanks... I think. She walks out of his office, having just been fired for the first time in her life. INT. PUBLIC RESTROOM - MOMENTS LATER Samantha slowly walks into a MEN’S ROOM - finally stopping to look at herself in the MIRROR. But this time, the reflection she beholds belongs to MOHAMMED BASHANI, a forty-eight-year-old Pakistani man-- and now unemployed security guard. SAMANTHA Hello. Well, I’m not sure where I am or who you are-- but I’m afraid you just got sacked. Al steps into view beside her, a troubled look on his face. 65. AL I gonna do my best to fill you in on that one, Samantha. But I think we should step outside. CUT TO: EXT. PLAZA - MOMENTS LATER Samantha and Al pass through a revolving glass door and begin to cross a wide plaza. SAMANTHA What a drag. If it’s all the same to you, I would’ve much rather stayed at Live Aid to watch Sting than show up here and get stung. AL I feel the same way. SAMANTHA What’s wrong? AL Everything. SAMANTHA Al, are you okay? Al shakes his head, gesturing back over her shoulder in the direction they’ve just come from. AL No. Nobody is. And then, for the first time, Samantha looks back to see the gargantuan skyscraper she’s just exited... which just happens to have an identical building just across the plaza from it. And for a brief, sickening, second-- all the air leaves Samantha’s lungs. SAMANTHA (reeling) Oh my God... ANGLE ON - THE TWIN TOWERS of THE WORLD TRADE CENTER in New York City. A SUPER FINALLY APPEARS, reading: September 10, 2001. FADE OUT. END OF ACT FOUR 66. ACT FIVE EXT. WORLD TRADE CENTER PLAZA - EVENING Samantha takes one horrified look at her watch and sees the date for herself: 9/10/2001. SAMANTHA No, Al. No, no, no. This isn’t possible. AL I’m afraid it is. SAMANTHA Then this is our big chance. We can stop it! She immediately charges back across the plaza toward the SOUTH TOWER and Al hates himself for trying to stop her. AL Samantha, wait-- you can’t. SAMANTHA What do you mean, I can’t? What’s the point in traveling through time if you can’t fix it? AL Guppy and I have been running the numbers all afternoon-- and even with all the possible permutations of this leap-- somehow tomorrow’s tragedy is still going to happen. SAMANTHA Not on my watch. AL But it’s not your watch, sweetheart-- you’ve got to understand that. Right now you’re only borrowing someone else’s life- SAMANTHA Yeah, well, I may not have known him long, but I’m pretty sure he’d want me to do something worthwhile with it. She urgently shoves her way back through the revolving doors-- leaving Al to stand alone outside and watch through one of the cathedral arched windows. 67. INT. LOBBY COUNTER - CONTINUOUS A still-employed member of Trade Center security named LOGAN looks up from behind the counter. LOGAN Hey, Mo. Sorry about what happened, man. But I’m sure you’ll land on your feet. SAMANTHA No. (off his NAME TAG) Logan-- something terrible is going to happen tomorrow morning. Worse than terrible. A pure act of evil, you hear me? And both of these Towers are gonna fall to the ground. BEHIND THE COUNTER - Logan offers apologetic glances at people as they pass, then hits a silent PANIC BUTTON. LOGAN Okay, Mo. Take it easy. Why don’t you just try to keep your voice down and we’ll take a walk and talk about it. Logan rises, trying to lead Samantha back out, but she pulls away, defensively. SAMANTHA Don’t patronize me. You don’t understand. I know what I’m talking about. LOGAN I’m sure you do, Mo. But I promise you, we’ve got the whole situation under control. A GROUP OF OTHER SECURITY OFFICERS suddenly approach-- and ARCHER, the boss who just fired her, is one of them. She rushes toward him. SAMANTHA Ted, please-- I know you just fired me, but thousands of people are going to die. ARCHER Is that some kind of threat? 68. SAMANTHA No, of course not, it’s not like that. I’m just trying to tell you that a group of terrorists are gonna hijack two planes and ram them into these Towers tomorrow if you don’t- ARCHER Give you your job back, right? Well, I tell you what-- why don’t you give your relatives a call and tell them to book another flight back to wherever they came from-- and make sure they buy a seat for you while they’re at it, alright? ANGLE ON A BALCONY ABOVE - where Al shakes his head in dismay. ANGLE ON SAMANTHA - doubly stung by Archer’s racism and just the irony of it all. So she angrily grabs at his lapels, getting right in his face. SAMANTHA I thought you said this wasn’t a cultural thing. ARCHER I thought I said you were fired. Archer suddenly pulls a TASER from his belt and gives Samantha a SHARP JOLT with it, sending her writhing to the floor. ARCHER (cont’d) (to the other guards) Call the cops and haul his paranoid ass out of here. And as Al watches helplessly from above- CUT TO: INT. FBI NEW YORK BRANCH - EVENING A small task force of ANTI-TERROR AGENTS are cloistered inside a high-security COMMUNICATIONS CENTER. As they monitor various forms of incoming intel on computers and surveillance monitors in the foreground... IN THE BACKGROUND - CAMERA FINDS SPECIAL AGENT RON PARKS, visible through a GLASS PARTITION. Parks is on the phone, scribbling info on a pad. A beat later, he hangs up, and rejoins his subordinate AGENTS in the bullpen. 69. PARKS How’s the chatter? Shively’s got reams of information-- most of it conflicting. SHIVELY Still coming in, sir. But it’s not pointing us anywhere specific. PARKS Well, I just got a call from the head of security over at the Trade Center. Turns out he fired some employee of middle- eastern descent- (off his pad) Mohammed Bashani. Evidently the guy started making some crazy threats about an attack on the Towers. SHIVELY Think it’s legit? PARKS I doubt it. But it’s a lead. CUT TO: INT. NYPD HOLDING CELL - NIGHT Samantha paces around a small cell she shares with two other INMATES - one, a DRUNK who’s half-demented, and the other, a jonesing PUNK with a withdrawal-inspired attitude. Oh, and then there’s Al. AL You okay, kid? SAMANTHA Who cares? DRUNK (delirious) Nobody. Nobody cares... SAMANTHA (to Al) He’s right. I’ve already told the whole sick story to three different cops and I’m still stuck in here. 70. PUNK (holding his head) Yeah, well, you’re not alone, so shut the hell up, would ya? AL I hate to agree with a punk, but you gotta remember who you are. SAMANTHA I’m Samantha Fuller. DRUNK I’m Carol Channing. PUNK God almighty- AL (to Samantha) No! You’re Mohammed Bashani. A poor guy who had just moved to this country on his own and gotten his first job working the graveyard shift at the Trade Center back when the first bomb went off back in ‘93. And God bless him, he was never quite the same after that. SAMANTHA Would you be? DRUNK Would I be what? PUNK Quiet?! AL Of course not, Samantha. But you can’t very well expect anyone to believe the guy now. Hell, even if he was playing with a full deck, no one would believe him. On September 10th we didn’t see it coming, kid. Nobody did-- until it was too late! SAMANTHA So what am I supposed to do? Just sit around killing time until it kills three thousand people in return? The drunk trades a silent but disturbed look with the punk. 71. OFFICER (O.C.) (calling out) Mohammed Bashani- Samantha and Al turn to see an OFFICER unlocking the cell door. OFFICER (cont’d) You’re free to go. SAMANTHA That’s it? You’re just gonna let me go without listening to a thing I’ve had to say? OFFICER Hey, if you really wanna stay- AL (yelling at her) GO, SAM! You’re no good to anyone in here. SAMANTHA Okay, okay, I’m going. She exits the cell and the officer re-locks it behind her, leaving the drunk and the punk alone once more. PUNK I wish I had some of whatever that guy’s been smoking. DRUNK Who, Samantha? And off the punk’s threatening look at his cellmate, we- CUT TO: EXT. CITY STREET - MOMENTS LATER Samantha angrily makes her way down a sidewalk, the TRADE CENTER TOWERS illuminated for the last time against the nighttime skyline behind her. AL We just need to figure out why you’re here, that’s all. SAMANTHA It doesn’t matter. You said yourself I can’t change time. 72. AL No, I never said that. Look, this is hard to explain, but I’m gonna try. If your father and I learned anything over the years, it was that if you want to make a big difference in peoples’ lives-- you have to focus on just that-- the people. SAMANTHA What do you think I’m trying to do? AL I didn’t say all the people. I don’t know why Samantha, but for better or worse-- some things are just supposed to happen. SAMANTHA Even heartbreaking, horrific, unimaginable things? AL Every day. And when life gets completely overwhelming-- there’s only one thing left you can do. SAMANTHA What. Al looks at her with years of hard-earned wisdom in his face. AL Sweat the small stuff. CUT TO: EXT. BATTERY PARK - MOMENTS LATER CAMERA FINDS A POSTER ON A TREE - which displays a PICTURE OF A 17-YEAR-OLD YOUNG MAN with the name NOAH LENIHAN and the words LOST - PLEASE HELP printed right above his handsome face. Samantha slowly crosses into frame, blocking our view of the poster to behold another view of her own. The harbor stretches out in the distance-- and out upon her island, THE STATUE OF LIBERTY still obliviously holds up her beacon of hope. Samantha soaks it all in as tears form in her eyes. Al steps up beside her. Then she glances at her watch. ANGLE ON THE WATCH - which reads: 11:58 PM - SEPT. 10, 2001. 73. SAMANTHA I want to go home, Al. AL I know, kiddo. ANGLE ON THE WATCH AGAIN - as WE SEE Samantha flip up its face, EXPOSING THE PORTABLE ACCELERATOR CONTROLS. SAMANTHA No, I mean it. AL (off the watch) Samantha. You can’t. I know you told me you weren’t doing this for me, or Doctor Beckett, or anyone else but yourself. But if you go, you can never come back. Except in your memories-- where you will always wonder what kind of difference, no matter how small, no matter how seemingly unrelated, you might have made. A long beat of uncertain silence passes between them, and then she turns, looking at the POSTER tacked to the tree. Her eyes linger on the words PLEASE HELP and a PHONE NUMBER at the bottom. SAMANTHA This park is gonna be covered with missing posters just like that in about twenty-four hours. Al nods. AL That’s true. But right now-- there’s only one. She swallows hard, wipes her tears, and takes the poster off the tree. She looks hard at the lost teenager’s face, then at Al. CUT TO: INT. NYPD POLICE PRECINCT - NIGHT Special Agent Parks leans angrily across a counter into the harried face of a DESK CLERK. PARKS What do you mean you let him go? 74. DESK CLARK I mean, no one pressed charges, so we wrote him a ticket for disturbing the peace and sent him on his way. PARKS To where? DESK CLARK Agent Parks, my job is hard enough baby- sitting perps in here. I don’t give a damn where they go once they leave. CUT TO: EXT. UPTOWN NEIGHBORHOOD - NIGHT Samantha rings the BUZZER on the locked door of a swank brownstone in the upper east eighties. Finally, CHRISTIAN LENIHAN, the monogrammed man of the house, sleepily unlocks the door. SAMANTHA Mr. Lenihan... we spoke on the phone. CHRISTIAN (off Samantha’s garb) You didn’t say you were a security guard. SAMANTHA Oh. I’m not. Or, I was, but-- it’s a long story. CARLA (O.C.) (calling out) Christian--? CHRISTIAN (responding to his wife) Down here, darling. (to Samantha) I told you we’d already notified the police. SAMANTHA I understand, but I’m sure they have their hands full-- and that’s only gonna get worse. CHRISTIAN I beg your pardon? 75. Christian’s wife CARLA suddenly joins them at the door, her beauty muted by sorrow and concern. CARLA Is everything alright? CHRISTIAN This is the gentleman who called about Noah. Mr... Bashani? SAMANTHA Yes, but just try to think of me as a concerned citizen. How old did you say Noah is? CHRISTIAN Seventeen. He’ll be eighteen on Christmas Eve. CARLA He’s been gone for three weeks. SAMANTHA Have you heard from him at all in that time? CARLA Not once. SAMANTHA Any credit card charges or ATM withdrawals that might help us determine where he’s at? CARLA He hasn’t spent a dime of our money. I don’t even know how he’s eating. SAMANTHA Mr. and Mrs. Lenihan-- do you have any idea why Noah might have run away in the first place? Christian and Carla exchange a glance-- and something about the way he looks at her, keeps her mum on any further details. CHRISTIAN We just woke up one morning and he was gone. CARLA Can you help us find our son? Please? 76. Samantha sees the genuine emotion in both their eyes-- then catches another glimpse of her alter-ego in the ENTRYWAY MIRROR. SAMANTHA I’ll have you back together by sunrise. Samantha turns and heads back down their stairs to the street. Al falls in beside her with a disapproving look. SAMANTHA (cont’d) (off his look) What? How hard can it be to find the kid when you’ve got Ziggy in your pocket? AL Finding him’s not the problem. It’s reuniting them that I’m worried about. The two of them trail off down the sidewalk. BUT BEHIND THEM ON HIS DOORSTEP-- Christian Lenihan only sees Bashani. And he’s not entirely comfortable with what he’s heard. Off his unsettled face, we- FADE OUT. END OF ACT FIVE 77. ACT SIX INT. APARTMENT - NIGHT CAMERA SLOWLY PANS a series of FRAMED PICTURES in the dimly lit entryway of the humble home of Mohammed Bashani. The FIRST PICTURE shows Bashani as a young man, warmly embracing family back in Pakistan. The SECOND PICTURE shows Bashani standing proudly outside the double turrets of a MOSQUE. And the THIRD PICTURE shows Bashani standing every bit as proudly outside the TWIN TOWERS in his full security uniform. WE HOLD on that image for a beat of sweet silence until- WHAM! - THE FRONT DOOR OF THE APARTMENT IS RAMMED OPEN - and ARMED AGENTS begin to storm the apartment. ANGLE ON THE FLOOR - as ONE WELL-HEELED FOOT steps on the same framed picture of Bashani before the Towers, its glass now shattered. CAMERA TILTS UP TO REVEAL - SPECIAL AGENT PARKS. PARKS (to the other agents) Roam it and comb it, people. I wanna know exactly who this guy is. As he eyes only the PHOTO of Mohammed before the mosque, we- CUT TO: EXT. CITY STREET - NIGHT Samantha and Al make their way down a darkened sidewalk. But Al doesn’t notice their surroundings or anything else as he walks right through every trashcan and magazine stand in his path; eyes firmly glued to Ziggy. SAMANTHA Somewhere out there is a seventeen year old kid who’s only one of eight million people in this city about to wake up to the worst day of their lives. I don’t even know where to begin. Al excitedly taps at Ziggy’s screen. AL Well, I can tell you where it ends. Ziggy just found a line on the kid. 78. SAMANTHA Go on... AL According to the records of St. Francis Hospital in SoHo, Noah Lenihan is gonna be admitted to their emergency room at 4:30 this morning with multiple stab wounds. Samantha stops abruptly at a crosswalk-- SAMANTHA What?! Then watches in amazement as Al keeps walking-- and a BUS RUNS RIGHT THROUGH HIM. Without flinching, he safely arrives on the opposite curb and impatiently looks back at Samantha. AL Try not to look like you just got hit by a bus, kid. He’s a runaway. These things happen. She crosses the street, catching up with him on the other side. AL (cont’d) But at least Ziggy’s pointing us in the right direction. That gives us a little more time. SAMANTHA The glass is always half full with you, isn’t it, Al? AL Yes. And preferably with scotch. CUT TO: EXT. DARK ALLEY - NIGHT ANGLE ON A GARBAGE BAG - as a pair of DIRTY HANDS go digging for something-- and finally find it. A HALF-EATEN BURRITO from some fast food joint. REVERSE ANGLE - REVEALS NOAH LENIHAN, looking nowhere near as happy as that flyer Samantha took from the tree. But he is hungry-- so much so, that he’s willing to eat the remnants of somebody’s discarded dinner. He ravenously sinks his teeth into the cold burrito, only to have his unhealthy meal rudely interrupted by- 79. THUNK! - A HEAVY HAND ON HIS SHOULDER. Noah jerks away defensively to see A HOMELESS MAN. But this one’s much older, and much meaner after half a lifetime on the streets. HOMELESS MAN Gimme that. NOAH It’s mine. I found it. HOMELESS MAN Yeah? Well- The damaged man LUNGES at Noah just enough to make him flinch-- then backs off, laughing. HOMELESS MAN (cont’d) You’re new to this neighborhood, boy. You better learn to mind your manners. But Noah doesn’t share his twisted sense of humor. Instead, he beats a hasty retreat, foraged meal still in hand. BACK TO: INT. APARTMENT - LATER Special Agent Parks is flipping through a dog-eared copy of the KORAN on Bashani’s kitchen table as his CELLPHONE RINGS. He tosses the book and answers. PARKS (answering phone) Parks. (listening intently) Yeah. And they called it into NYPD? (a final beat) Well, tell the boys in blue to back off this time, you got me? We’re on the way. Parks hangs up, and rises, beckoning his agents. PARKS (cont’d) (to the AGENTS) Sounds like our unemployed friend has been looking for some new work uptown. CUT TO: 80. INT. SUBWAY CAR - LATER Working out a plan in her head, Samantha walks up and down a moving car which is empty save for two NIGHTOWLS and Al. SAMANTHA (to Al) We can’t tell his parents about the stabbing, because it hasn’t happened yet. And God knows I’m not going back to the cops. So I guess all we can do is hit the shelters and then canvass the streets. If we’re lucky we’ll find him before he gets hurt. The nightowls exchange a wary glance and then rise, wasting no time in exiting the car at the very next stop. As the doors close- SAMANTHA (cont’d) (to Al) I keep forgetting I’m the only one who sees you. I must have totally freaked those people out. AL You kidding? They’re New Yorkers. And as the train moves on once more- CUT TO: EXT. NEW YORK FIRE MUSEUM - NIGHT A red and yellow BANNER marking the stone facade of a former pump station turned museum fills the frame. CAMERA CRANES DOWN TO- EXT. SIDEWALK VENT A HANDFUL OF TRANSIENTS fitfully slumber over a stretch of grating where warm, dank, air blows up from the city’s subterranean depths. CAMERA DOLLIES along one grime-worn sleeping bag in particular, finally resting on NOAH’S “peacefully” SLEEPING FACE. CUT TO: EXT. SOHO YOUTH SHELTER - LATER Establishing. Just one of many places in the big city charged with the task of taking in a multitude of troubled teens. 81. INT. SHELTER - CONTINUOUS Samantha makes her way through a throng of young STREET KIDS to an ATTENDANT behind SAFETY GLASS. She sticks the flyer with Noah’s picture against the window. SAMANTHA Excuse me. Have you seen this young man? ATTENDANT Are you a relative? SAMANTHA No. Just someone who cares. ATTENDANT Well these kids could sure use a few more folks like you. (apologetic) But I’m afraid I can’t help you. SAMANTHA Because I’m not related? ATTENDANT For starters. But also because I’ve never seen him before. SAMANTHA Please. His name is Noah Lenihan. He’s in grave danger. She looks through the glass at the Samantha as Mohammed-- sees the genuine concern in her/his face. Then she sighs and quietly enters Noah’s name in her computer. A beat later, and she shakes her head. ATTENDANT Well, he’s not in our records. But if it makes you feel any better-- and I know it won’t-- every one of these kids is in grave danger. SAMANTHA Right. She walks away from the window, only to be stopped by a young RUNAWAY who looks like she’s not old enough to be out of junior high, much less out of a home. RUNAWAY You lookin’ for Noah? 82. SAMANTHA Yeah. You know where I can find him? RUNAWAY He usually sleeps over at the Fire Museum on Spring Street. (chuckles) It’s warm over there. SAMANTHA Thanks. She starts to walk away, until- RUNAWAY Hey-- you got anything for me? Samantha stops. SAMANTHA Sure. Where you from? RUNAWAY Tulsa. Samantha retrieves Bashani’s wallet, emptying all the cash inside. It’s not much, but it’s more than this kid has seen in awhile. She gives it all to the girl, but holds on to her hand. SAMANTHA Okay. Then I’m gonna give you all of this and a little advice. Go home. Work things out with your folks and remind them that everyone makes mistakes but most people have good hearts. And if they own stock in Enron, tell them to sell it and take you on that family vacation they’ve been promising you, okay? RUNAWAY (rattled) Ohhh-kay... Samantha heads for the door, where Al awaits, shaking his head and waving a finger. SAMANTHA (to Al) Don’t start. Just tell me how to get to the damn Fire Museum. CUT TO: 83. EXT. FIRE MUSEUM - LATER ANGLE ON A CORNER OF THE BUILDING - as the deranged HOMELESS MAN who accosted Noah earlier, stumbles into view. He’s dragging his own bedroll, and looking for a nice place to turn in. He spots the nearby SIDEWALK VENT where a half-dozen transients are still sleeping. And then, without hesitating, the imposing man begins to SHOVE several of them aside to claim some warm space of his own. HOMELESS MAN Scoot over. Go on, move your ass- Most of them only groan or mumble in protest, desperate enough for some peace that they let him have his way. But one of them rolls over just long enough to give him what for. ANGLE ON NOAH - half asleep, frowning. NOAH Move your own. We were here first. Noah rolls back over, turning away from the man and curling up in a fetal position just to try and stay warm. ANGLE ON THE HOMELESS MAN - who has had all his raging mind can handle of this kid. He reaches into the pocket of his stained parka and- ANGLE ON HIS HAND - pulls out a RUSTY KNIFE. HOMELESS MAN (under his breath) I told ya to learn some manners. Guess I’ll have to be the one to teach ya. Glaring at the oblivious youth from behind, he grips the shank tightly in his dirt-blackened hand and slowly creeps toward him. Then, reaching Noah’s sleeping bagged body, he raises the blade over his head and-- HOMELESS MAN (cont’d) Aghhhhhhh!!! SOMEONE ABRUPTLY GRABS HIS ARM FROM BEHIND. Noah rolls over with fright to see an unemployed Pakistani security guard (Bashani) holding his attacker at bay. 84. ANGLE ON - THE MIRROR-TINTED WINDOWS of a PARKED TRUCK, where WE SEE Al watching anxiously from the curb beside Noah as Bashani and the homeless man are reflected trading punches and wrestling to the sidewalk. Fortunately, Samantha knows how to take care of herself-- even in a fight with someone who’s got at least two hundred pounds on her. Rolling to her feet, she squares off with the knife-wielding man with one last warning. SAMANTHA Drop the knife and walk away. HOMELESS MAN Take it and make me. SAMANTHA (sighs) Alright. And with that, she does a full roundhouse, high-kicking the blade from his hands and finishing her 360 with an unforgiving heel to the man’s groin. He goes down hard. AL (wincing) Ooooh. So much for walking away. SAMANTHA (looking around) Where’s the kid? Unfortunately, Noah isn’t just walking-- but running away. AL Oops. My bad. But Samantha doesn’t waste time laying blame. Instead, she simply hightails it down the sidewalk after him. SMASH CUT TO: INT. PROJECT QUANTUM LEAP - CONTINUOUS GUPPY monitors a number of screens at the console. One shows the scene as Al sees it. Another shows a detailed GPS MAP OF THE AREA with TRACKING BLIPS which identify their current location. GUPPY He’s running east up Bleeker, Professor. 85. ANGLE ON - THE IMAGING ROOM - where Al calmly walks in place; his every movement being scanned by the LASER GRID and projected by the SENSORS. CAMERA GOES CLOSE on Al’s face; his watchful gaze still obscured by the VIEWMET he’s wearing. AL Yeah, I can see that, Guppy. SMASH BACK TO: EXT. STREET - CONTINUOUS As Noah dangerously darts between cars in traffic with Samantha close on his heels, Al manages to keep up at his own cross- dimensional holographic pace without even breaking a sweat. In fact, he visually appears to be the only thing moving in slow- motion amidst the fast-paced and frenetic scene. EXT. ALLEYWAY - CONTINUOUS Noah finally makes a wrong turn-- running right down a dead-end alley blocked by razorwire fence. He starts to climb up, but finally realizes he can only run so far. So he drops back down to the ground and turns to see-- Bashani bent over and breathless in the alley behind him. SAMANTHA (out of breath) Why... am I... so winded? Al effortlessly looks down from his transported perch on a FIRE ESCAPE just above their heads. AL Now you know how it feels. I get that way just putting on my socks. NOAH I thought cops were supposed to be in better shape. SAMANTHA (catching her breath) I’m not a cop. I’m a friend. NOAH You’re not gonna arrest me? SAMANTHA No. I just want to talk to you. 86. NOAH About what? SAMANTHA Why you ran away. I mean, most kids your age are crashed at home right now-- not getting slashed on the sidewalk. NOAH Thanks for saving me. I don’t know what that guy’s problem is. SAMANTHA Twenty years on the sidewalk, I’d imagine. But you still haven’t answered my question. Noah stares at the security guard for a beat, then looks down. NOAH It’s my parents. SAMANTHA They seem like nice enough people to me. NOAH Great-- so they sent you to find me? SAMANTHA Actually, I volunteered. But only because I’m assuming they must have given you at least some good reason for sleeping on the sidewalk. And don’t tell me it’s warm there, ‘cause I just got a pretty chilly reception. NOAH I was there because it’s where I want to be. SAMANTHA On the streets? NOAH No. The Fire Museum. AL Geez, whatever happened to field trips? NOAH I spend like every day there trying to cram on as much as I can. 87. SAMANTHA You’re trying to learn about fires? NOAH And firefighters. That’s what I’ve always wanted to be. AL Me, too. (off Samantha’s look) What? It’s true. SAMANTHA Wow. Noah. (ignoring Al) That’s a really admirable goal, But... aren’t you kinda going about it the wrong way? NOAH I’m guessing you didn’t go to Harvard like my old man. SAMANTHA No, M.I.T., actually. But I bet I’m still sharp enough to see where this is going. Your father expects you to follow in his Ivy League footsteps, am I right? NOAH (nodding) I wanted to try for the Academy, but he thinks firefighting is too blue collar... too low-paying... too embarrassing to talk about over cocktails with his friends. SAMANTHA What about your mom? NOAH She’s just worried I’ll get hurt. SAMANTHA I think she’s a lot more worried about where you are, right now. NOAH Well, I’m sorry, but I just couldn’t take their crap anymore. Dad was always on me about test scores and interviews and my financial future-- and I stopped needing band-aids from Mom a long time ago. (MORE) 88. NOAH (cont'd) It’s my life, you know? If I want to spend it trying to save other people’s lives that ought to be okay. SAMANTHA It is okay. Better than okay, if you ask me. But you can’t go destroying your folks’ lives in the process, Noah. And besides, the last time I checked, being able to face your fears ranks pretty high on a future firefighter’s list of job qualifications. AL That and balls the size of grapefruits. NOAH What’s your point? Samantha puts a firm but caring hand on Noah’s shoulder. SAMANTHA My point is, I saved your life tonight-- so I’d like you to return the favor. NOAH How? SAMANTHA Well, if intelligence and bravery are the backbone of firefighting-- then I want you to show a little backbone of your own and come home. Noah looks back at her, struck by her words. Then he nods. AL Nice. SAMANTHA (looking at Noah) Thanks. Al suddenly slides down the fire escape with a smirk. Startled, Noah looks, but sees nothing but an empty swinging ladder. Samantha, however, can plainly see Al shaking his head. AL Unfortunately, you gave away all your cab fare and it’s a long walk back up to the East Side. 89. NOAH What was that? SAMANTHA Oh, just the wind. (to Al) A big old bag of it. Off Al’s look, Samantha turns her attention to the eastern sky, where the DAWN is slowly beginning to break. SAMANTHA (cont'd) Come on. Let’s get going. The three of them move back out of the alley and across the street out of view-- as a beat later, CAMERA CATCHES A PASSING CAR. INT. UNMARKED CAR - CONTINUOUS Agent Parks drives swiftly down the same street, THREE OTHER AGENTS in the car along with him. CAMERA PANS to one of them in the passenger seat, who holds the PHOTO of MOHAMMED BASHANI IN FRONT OF THE MOSQUE. And right now, that’s all the evidence they need. PARKS (eyes on the road) Warmer, boys. We’re definitely getting warmer. As he punches it through an intersection, CAMERA GOES CLOSE on a TRAFFIC LIGHT changing from YELLOW to RED and we- FADE OUT. END OF ACT SIX 90. ACT SEVEN EXT. UPTOWN NEIGHBORHOOD - MORNING A NEW SUPER READS: 7:00 AM - September 11, 2001. The morning sun is up all over Manhattan-- it just costs more to feel it on this side of town. And as Samantha, Noah, and Al reach the narrow stairs leading up to his family’s brownstone- THE DOOR OPENS - REVEALING Noah’s father Christian, dressed for work with Carla by his side. Overjoyed, both of them rush down the stairs to embrace their son as Al and Samantha look on. CARLA Oh, thank God you’re alive- CHRISTIAN Son, you had us worried sick- NOAH I’m okay, I’m okay... CARLA (to Samantha) God bless you. You kept your word. Samantha glances at Al, who’s sitting on the stoop. SAMANTHA I always do. But before Al can say a word, his attention is drawn to Ziggy, which suddenly CHIMES with an ALARM inaudible to the others. ANGLE ON ZIGGY’S SCREEN - flashing the words: P.O.P. ALERT. Al frowns, and starts scrolling down through a variety of info. CHRISTIAN How did you find him? SAMANTHA That’s not important. All that matters now is, he’s home. CARLA To stay? SAMANTHA If you’re willing to make him feel welcome. 91. CHRISTIAN Don’t be ridiculous. Our son is always welcome in our home. SAMANTHA I’m sure he is, Mr. Lenihan. But your son also needs to feel welcome to be himself. NOAH I want to be a firefighter, Dad. CHRISTIAN Noah- NOAH Stop, Dad. I know it doesn’t fit the plans you have for me-- but it’s the plan I’ve chosen for myself. So as soon as I finish high school, I’m enrolling in the Fire Academy. CHRISTIAN I’m late for work. We’ll talk about this later. SAMANTHA There’s no time like the present. Christian looks around uncomfortably. CHRISTIAN Listen, Mr. Bashani... And Al suddenly looks a bit unnerved, himself. AL (looking at Ziggy) Uh-oh. Not good. SAMANTHA No-- please, Mr. Lenihan-- your son will never grow up to be half the man he can be if you don’t give the room he needs to grow in the first place. CHRISTIAN Well, as much as my wife and I appreciate you finding our son... CARLA Christian. That’s enough. 92. Christian looks at his wife-- a determined man surprised by his wife’s own determination. AL (off Ziggy) Oh boy. CARLA He’s right. I’m not going to stand here and tell you that I want Noah to put himself in harm’s way-- but if he has to, then it by God better be on terms we can all be proud of. SAMANTHA (to Christian) I promise if you’ll just let Noah find his own way, you’ll all find happiness together. But if you don’t-- he won’t-- and the world will lose a new hero when they need one the most. Both of Noah’s parents are clearly touched by Samantha’s sentiment. Christian almost guiltily so. He hugs his son once more and then glances across the street at a PARKED CAR. CHRISTIAN (to Bashani) Thank you. (quietly, to his family) I think we should all go inside, now. NOAH What about work? CHRISTIAN The Trade Center will still be there tomorrow. Samantha’s eyes widen-- as she realizes she’s just saved this family in more ways than one. But behind her, Al rises, looking anxiously across the street. ANGLE ON THE PARKED CAR - as AGENT PARKS and his THREE FELLOW AGENTS slowly exit the vehicle. AL We gotta go, Sam. Right now. PARKS (calling out) Mohammed Bashani... 93. Samantha turns, sees the men approaching with GUNS DRAWN and BADGES ON DISPLAY. SAMANTHA (to Christian) What have you done? CHRISTIAN I’m so sorry. And as a SCHOOL BUS passes, momentarily blocking the oncoming agents’ path-- all Samantha can do is... RUN. The bus moves on, the agents aim their guns. PARKS Halt! Federal Agents...! But Samantha has already rounded her first corner out of sight. Parks and his men scramble back toward their unmarked car. EXT. CITY STREET - CONTINUOUS Samantha ducks through a crowd-- frantically searching for a way out as AL HOLOGRAPHICALLY APPEARS AT DIFFERENT POINTS BESIDE HER. SAMANTHA Why are they chasing me? AL Because they think you’re a terrorist. SAMANTHA Am I? AL Of course not-- but in about an hour, that won’t matter any more. SAMANTHA Can’t I just explain? AL Sweetheart, they’ve been soaking up so much intelligence chatter over the last few weeks-- they won’t hear a thing you have to say. SAMANTHA Then what am I supposed to do? 94. AL I don’t know. But you’re forty-eight years old and in lousy shape-- so if I were you, I wouldn’t run much further. With that, Samantha spots a TAXI CAB at the curb. As ONE PASSENGER exits, ANOTHER starts to enter until-- SHE PUSHES HIM ASIDE. PASSENGER Hey! SAMANTHA Sorry- INT. CAB - CONTINUOUS She ducks in, slams and locks the door behind her, then looks through the back window, where Parks and his agents are visible careening around a corner in their car. SAMANTHA (cont’d) (to the CABBY) I need to get to the World Trade Center. Now. Clad in a NEW ENGLAND PATRIOTS JERSEY, the gruff-looking CABBY PULLS AWAY as Al looks around from his new position in the passenger seat. The cab is decorated with various NFL DECALS and BOBBLEHEADS. There are SPORTS PAGES scattered everywhere. AL Wouldn’t have been my first choice of destinations. SAMANTHA I know what I’m doing, Al. The CABBY frowns at her in his rearview mirror. AL (shakes his head) Yeah? Well, then I’m surprised you got in this linebacker’s cab without pads, a helmet, and a dime to your name. Samantha sighs-- then something dawns on her. SAMANTHA (realizing) Names. That’s what I need. CABBY Pardon me? 95. SAMANTHA Have you got a pen and paper? The Cabby passes his RECEIPT PAD with a PEN back through the sliding window. SAMANTHA (cont’d) Thanks. Now do me a favor and just keep driving as fast as you can, okay? (to Al) And you start giving me the names of every terrorist responsible for what’s about to happen. Both men unwittingly answer in unison. CABBY AL * ** Whatever you say. Whatever you say. * ** And as the cab swiftly threads the needle through morning traffic- INT. UNMARKED CAR - CONTINUOUS Parks’ right-hand man Shively retrieves a WALKIE TALKIE SHIVELY Want me to call for backup? PARKS (waving him off) No. He’s our collar. Parks reaches out his open window and puts a PORTABLE SIREN LIGHT atop the car, then guns it. INT. TAXI CAB - CONTINUOUS As the cab continues racing through traffic, Samantha keeps scribbling on the pad, NOW FILLED WITH THE NAMES OF AL QAEDA OPERATIVES who orchestrated the attacks. SAMANTHA Anyone else? AL Not without getting Guppy carted off to Guantanamo while we’re at it. You wanna tell me what you plan on doing with this list of baddies? 96. SAMANTHA You said yourself that as soon as I’ve fixed someone’s life in one time-- is the same time I’ll leap to another, right? The cabby glances once again at Bashani in his rearview mirror. AL Right. So? SAMANTHA So if reuniting that family was all it took, I’d be anywhere but here right now. We’ve got more work to do. The cabby looks back out his windshield just in time to SLAM ON HIS BRAKES-- narrowly averting a rear-end collision with another car in front of them! AL Not in this kind of traffic, sweetie. Al PUTS HIS HEAD THROUGH THE CLOSED PASSENGER WINDOW-- harmlessly and holographically taking a look up the street. SAMANTHA What’s the hold up? FROM AL’S POV - WE SEE A FLOODED INTERSECTION JUST AHEAD. WATER IS GUSHING UP FROM AN OPEN MANHOLE COVER and WORKERS are attempting to shut it off as TRAFFIC COPS divert the oncoming cars down a small side street. AL Looks like a broken water main. Samantha peers back over her shoulder-- just in time to see PARKS AND HIS MEN spilling out of their own car thirty yards back. SAMANTHA We better watch our step then. She throws open her door, pausing only to look back in earnest at the cabby through his open window. SAMANTHA (cont’d) (to the cabby) Look, I’m really sorry I can’t afford to pay you-- but I can tell you this. The Patriots are gonna beat the Rams in next year’s Super Bowl, 20-17. And with that, she bolts. 97. ANGLE ON THE CABBY - who simply watches her go for a beat, then reaches for his phone, and speed-dials his BOOKIE. CABBY (into phone) Billy, it’s Rob. I wanna put a thousand on the Patriots for the Super Bowl. (a beat) Yeah, I know it’s not until January. ANGLE ON PARKS - who screams from behind them as he and his agents rush between stopped, honking cars. PARKS F.B.I.! ANGLE ON SAMANTHA who sprints through the knee-deep water-- making quite a splash among the workers. ANGLE ON AL who simply walks across the surface, amused. AL Wow. I always wanted to do this. And just as Parks and his men begin to splash through the intersection themselves- EXT. SUBWAY ENTRANCE - CONTINUOUS Samantha bounds down a set of steps into the subway. INT. SUBWAY STATION - MOMENTS LATER Samantha ducks into a train just before the doors close. Al is already holographically seated inside, looking out the window with a forlorn expression. SAMANTHA (consulting a wall map) The “E” line ought to get us straight down to the Trade Center. (noting his expression) What’s wrong? AL Nothing. Guess I just never cared much for the subway. SAMANTHA Why? 98. AL (remembering Sam) I don’t like to leave folks behind. He keeps his eyes trained on the station, wondering where his old friend Sam Beckett could be-- as THE AGENTS RUSH the platform. INT. PLATFORM - CONTINUOUS But they’re too late. The train pulls away, disappearing into a dark tunnel. Parks angrily slams his fist atop a nearby trashcan. EXT. SUBWAY ENTRANCE - MOMENTS LATER Parks comes back up the stairs with his subordinates. SHIVELY Where you think he’s headed? Parks looks into the distance downtown-- where the TWIN TOWERS are visible a hundred long blocks away. PARKS I’ll give you two guesses. He grabs the agent’s WALKIE TALKIE and puts out the call. PARKS (cont’d) (into walkie talkie) This is Special Agent Parks calling in an APB on suspected terrorist Mohammed Bashani-- all units in the vicinity of the World Trade Center please respond- And as Parks loosens his tie, we- CUT TO: INT. WTC SUBWAY STATION - LATER A NEW SUPER READS: 8:30 AM - September 11, 2001. As Samantha makes her way out of a crowded car, she’s nearly overwhelmed by all the innocent people around her, obliviously on their way to work. She stumbles against a column, tears welling. AL I told you we shouldn’t be here. Let’s just go-- before the Feds show up and lock Bashani away for good. 99. But before she can seriously contemplate climbing back on the next outbound train-- her eyes and ears are drawn to a place on the nearby platform. ANGLE ON AN IRAQI MUSICIAN - who quietly strums an ethnic LUTE and sings a poignant ballad in ARABIC. So beautiful. So peaceful. Yet he too, will soon be gone. And that’s when it hits her. SAMANTHA (softly) No. That’s it. Don’t you see? It’s his life I have to put right. AL The musician’s? SAMANTHA Bashani’s. None of these people deserve what’s about to happen to them. Especially him. I mean, he was afraid this would happen again after the first attack. Terrified. But I’ve still got to be brave enough to do what he would have done. Taking care of people was Mohammed’s job-- just like those agents chasing us. And even if they’ll eventually figure who was responsible for causing all this pain-- when the smoke clears, they’re also gonna need to know who tried to stop it. A SIGN on the wall beside them reads: STAIRS TO WTC PLAZA. Al swallows hard. AL First strike hits the North Tower at eight forty-six. South Tower gets hit seventeen minutes later and falls at nine fifty- nine. North falls at ten twenty-eight. ANGLE ON SAMANTHA’S WATCH - it’s 8:36. Only ten minutes to go. SAMANTHA There’s just not enough time... AL Then do the most you can with the time you’ve got. Samantha closes her eyes. This is an impossible choice. 100. SAMANTHA God help me. She bolts into the stairwell and- CUT TO: EXT. PLAZA - CONTINUOUS As the door slams open and Samantha rushes across the plaza toward the NORTH TOWER. ANGLE ON AL - who suddenly hears the sound of GUPPY’S VOICE. GUPPY (V.O.) Uh, Professor-- we have a situation. AL I know, Guppy. SMASH CUT TO: INT. PROJECT QUANTUM LEAP - CONTINUOUS Guppy shakes his head over the console, his eyes glued to the GPS MONITOR, which is now tracking a THIRD BLIP onscreen. GUPPY No sir, not that situation. It’s Dr. Beckett. Unless I’m reading this wrong-- he just leapt into your exact location. EXT. REVOLVING DOORS And indeed, just as Samantha reaches the entrance, Sam walks out the front door wearing a GUARD UNIFORM of his own. She stops in her tracks, breathless. SAM Samantha? Al steps into frame beside them, stunned. AL Sam... what are you doing here? SAMANTHA And why are you wearing that uniform? SAM I just leapt into it. (glancing at his nametag) I don’t even know who... Ted Archer is. 101. SAMANTHA Bashani’s boss. Maybe we can save two reputations while we’re at it. AL Do you have any idea what’s about to happen, Sam? SAM I wish I didn’t. But I’ve leapt as far forward as 2010. Can we stop it? AL Nope. But you can leave it. SAMANTHA Al- AL Just listen to me. Both of you. She’s wearing a portable accelerator. If the two of you hold hands and she hits the button-- we can put this whole nightmare behind us. SAMANTHA No we can’t Al. No one can. Al falls silent, knowing she’s right. Sam looks his daughter as Parks and a plethora of FEDERAL AGENTS begin to run toward them from the other side of the plaza. SAM What should I do? Samantha gives her AL QAEDA LIST to Sam. SAMANTHA Give this to them. It might help later. And then just do what you can. She rushes off toward the NORTH TOWER. AL You’d be proud of her, Sam. SAM I already am. A beat later, Parks and his men descend on Sam-- HIS REFLECTION AS ARCHER VISIBLE IN THE REVOLVING DOOR GLASS beside them. 102. PARKS Archer-- tell me that wasn’t Bashani. SAM It was. PARKS Then why the hell did you let him go? SAM Because I was wrong. (handing over the list) He’s one of the good guys. CUT TO: INT. NORTH TOWER LOBBY - MOMENTS LATER Samantha bolts toward a BANK OF ELEVATORS. INT. ELEVATOR - CONTINUOUS She rushes inside and quickly proceeds to PRESS EVERY OTHER BUTTON ON THE PANEL, sending her car upward TO STOP AT EACH OF THE TOWER’S 110 STORIES. And as the SUBWAY MUSICIAN’S HAUNTING BALLAD rises once again, weaving its way through an emotional score- INT. MONTAGE SEQUENCE - VARIOUS LOCATIONS Samantha stops at the first of many floors, stepping just outside the doors to PULL A FIRE ALARM on the wall. She jumps back in and continues on her way. EXT. LIBERTY ISLAND - MORNING Liberty proudly begins another day looking over New York Harbor. INT. SOUTH TOWER - MORNING Sam begins flipping alarm switches on a SECURITY PANEL. INT. FIFTH FLOOR - MORNING Samantha yanks another FIRE ALARM, yelling at people to clear out. EXT. SIDEWALK - MORNING The deranged homeless man rages at the sky, voicing all the world’s anger at once from his fragile mind. 103. EXT. FLAGPOLE - MORNING Old Glory waves majestically in the wind over-EXT. BUS STATION - MORNING Where the RUNAWAY Samantha gave all her money to is boarding the next bus home to TULSA. EXT. FIRE MUSEUM - MORNING Noah walks hand in hand through the door with both his parents. INT. STAIRWELL - MORNING Sam carefully helps a DISABLED WOMAN down some stairs. INT. THIRTY-SECOND, FIFTY-SIXTH, SEVENTY-FIRST FLOORS - MORNING RING-- RING-- RING-- Samantha tirelessly hits one alarm after another. EXT. M.I.T. CAMPUS - MORNING Gerard sits alone beneath a tree. He opens a GUIDE TO EUROPE, and tucked between its pages is a picture of Samantha. He closes the book and his eyes along with it. INT. PROJECT QUANTUM LEAP - MORNING Guppy works feverishly at the console, trying any calculation he can to stop the inevitable; tears streaming down his cheeks. INT. ESCALATOR - CONTINUOUS As Samantha finally reaches the 110th Floor. The doors open, and she HITS THE STOP BUTTON. A BUZZER SOUNDS and she exits. INT. OBSERVATION DECK - CONTINUOUS Fortunately, at this early hour, the deck is only sparsely filled with visitors. Winded, she pulls the last fire alarm and calls out once more. SAMANTHA Please exit down the stairs... Please exit down the stairs... Please exit down the stairs... As the frightened visitors follow her directions-- Samantha crosses toward an observation window on the far side. 104. SAMANTHA (cont’d) (exhausted, softly) Please exit down the stairs... Please exit down the... AL (O.C.) (calling out) Samantha. She turns, glad for a moment to see she’s no longer alone. He tries to put a holographic hand on her shoulder. AL (cont’d) It’s okay. They’re gone. She tries to hug him. But technology never works the way you wish it would. SAMANTHA I tried... AL I know, sweetie. I know. SAMANTHA Dr. Beckett... my father... is he still- AL In the South Tower? Yes. SAMANTHA Do you think we’ll ever see him again? AL One day, maybe... when the time is right. She looks out the window, soaking in the Manhattan skyline for one last time from this particular vantage point. A quiet beat and then... Samantha glances at her watch as the time changes to 8:46 AM. SAMANTHA Everything seems so calm. Al looks back at her in the last seconds before the storm. AL It always does. They “hold hands,” two new friends in two different times, and as the last ray of unbroken morning sun shines on their faces... 105. A BRILLIANT BURST OF LIGHT EMANATES FROM SAMANTHA’S BODY-- OUTSHINING ALL THE DARKNESS TO COME, AND WE- LEAP TO: INT. OLYMPIC HOCKEY ARENA - DAY A SUPER READS: February 24, 1980. And before we know what’s happening-- AN ICE COLD HOCKEY PUCK SAILS RIGHT INTO CAMERA doing a hundred miles an hour, easy. REVERSE ANGLE - shows a GOALIE, dressed in the red, white, and blue TEAM UNIFORM of THE U.S.A. CLOSE ON THE GOALIE - as he removes his face mask just long enough TO REVEAL that it’s SAMANTHA! AS THE CROWDS GO WILD AROUND HER, Samantha looks around for some kind of clue about what to do next. And then she finds one-- in the form of AL-- looking back at her from behind the GOAL BOX PLEXIGLAS. SAMANTHA Al? Where are we? AL Well, I don’t know about you, but I must have died and gone to heaven. Because this looks like the final match against the Soviets in the ‘80 Moscow Olympics. SAMANTHA But I don’t know the first thing about hockey! AL Don’t worry, sweetheart. You’re playing on the right side! She shoves her mask back down, steadying for the next shot as Al lights a CIGAR and sits back with a smile. AL (cont'd) And believe me, the game has just begun. And as the CROWD GOES WILD, we- FADE TO BLACK. THE END |
