Shock Theater

Thanks to R. Joy Helvie & TVNewsCam

Teaser

Act One

Act Two

Act Three

Act Four

TEASER

FADE IN

INT. THERAPY ROOM - DAY - CLOSE ON SAM

An implosion of Quantum light reconfigures into Sam, his arms flailing, as he is thrashed by two pairs of white clad arms.  A fist slugs Sam.

BUTCHER'S VOICE
That's for punchin' me Beederman.

WIDER ANGLE

Sam wears a straight jacket but his arms are free.  Long extensions of fabric hang far below his hands.  He struggles as two black men drag him back onto a table.  BUTCH, "the Butcher", grabs Sam by the hair and jerks him against the wall, stunning him.

NURSE CHATMAN'S VOICE
Butch!  What are you doing?!

BUTCHER
Doctor said to calm him down.

ANOTHER ANGLE - INCLUDING NANCY CHATMAN

From the door an attractive mid-thirties nurse rushes across the spartan room.  White walls and a barred window high above the floor, fill the room with the sound and shadows of rain.  The yellow light flickers from above.  Sam is forced onto the table.  Behind his head an ominously shaped machine whirs.  Sam is strapped down.

NURSE CHATMAN
Stop it!
(beat)
Where's Doctor Masters?

BUTCHER
He's comin'.

SAM
I want to talk to the doctor!

A huge rubber tongue depressor is shoved into his mouth and globs of clear gel are slapped against his temples.  Nurse Chatman struggles to make them stop.

NURSE CHATMAN
We have to wait.  You know the
rules!

BUTCH
Shut up!  Or I'll tell Masters about
Tom Black.

She is momentarily stunned.

NURSE CHATMAN
That...that was an accident.

CLOSE ON A VOLTAGE DIAL

A hand reaches in cranking it from seventy to two hundred.

BUTCHER'S VOICE
Well, this ain't.

BACK ON ALL

She grabs at Butcher, trying to pull him away.

NURSE CHATMAN
My God, you'll kill him!

He shoves her back and turns on Sam.

CLOSE ON SAM

His eyes widen as he realizes what he's leaped into.

SAM
(garbled)
Oh, b....

Butcher throws the lever and Sam vibrates violently, as we....

FADE OUT

END OF THE TEASER

ACT ONE

FADE IN

EXT. HAVENWELL STATE HOSPITAL - STOCK

Gothic stone walls and weeping willows stretch across the rain drenched lawns.  A clap of thunder echos against the clouds.

INT. HOSPITAL CORRIDOR - DAY - TRACKING WITH GURNEY

Butcher whistles down the halls of Havenwell.  He pushes an unconscious Sam.  Around him we encounter a variety of the dregs of human society.  Lost creatures with hollow eyes, sit huddled or wander the narrow halls.  Many resemble the staff and crew of Quantum Leap about this time of the season.

INT. WARD SIX - DAY

A long grayish-blue room with Eisenhower windows that run the length of one wall.  Eight hospital beds, in dormitory placement, line the wall under the windows.  Bad Muzak plays through the tiny loudspeaker, as several men in different stages of dress sit and watch.

BUTCHER
See everybody.  Mr. Beederman's back
and he's much better now.

NEW ANGLE - FEATURING TIBBY

TIBIDO JOHNSON, a thin black man in a hospital gown, gets up as Sam and Butcher enter.  It's obvious he's frightened of Butcher.  Cautiously, he moves alongside them.  The other men stop what they're doing and watch.

BUTCHER
Any more of you lunatics swing on
me, you can believe I'll make sure
you're much better too.

NEW ANGLE

Sam is brought in and taken to the far end by the last bed.  Butcher slides him off the gurney with the help of another orderly, FREDDY, young, white, about nineteen.  They cover Sam.

FREDDY
Man, he's been in recovery for four
hours.  Doctor Masters must have
zapped him a good one.

BUTCHER
Yeah.  Yeah, he did.

TIBBY
You kill him?

BUTCHER
(looking at Tibby)
Not today.

TIBBY
You tried to though.  Didn't you?

FREDDY
Go finish your puzzle, Tibby.

TIBBY
Didn't you?  Didn't you?

BUTCHER
If I'da tried Tibby, I'da done it.

Then Freddy hands Butcher a piece of paper clamped to a clipboard and he signs it.

FREDDY
I mean it, Tibby.  Go play with your
puzzle or you won't get ice cream
tonight.
(beat)
I mean it.

Freddy walks away as Tibby locks back in on Butcher.

TIBBY
You don't like him.  That's why you
keep hurtin' him.  Ain't it?

BUTCHER
I keep hurtin' him, 'cause I don't
like you.  So if he dies Tibby, it's
gonna be all your fault.

Tibby's eyes widen at the fear of Butcher's weird reality.  He cowers and looks at Sam.  Butcher laughs at his little mind game.  Suddenly, as Tibby stares at Sam, a strange look crosses his face.

TIBBY
That ain't Mr. Beederman.  It ain't,
it ain't, it ain't.

BUTCHER
Yeah, who is it, Tibby.

TIBBY
I don't know.  But it ain't Mr.
Beederman.

BUTCHER
Maybe Beederman's dead and I brought
a stranger back in his place, Tibby?

TIBBY
He ain't dead, but that ain't him.

BUTCHER
Yeah, well when you figure it out,
you come tell me.

TIBBY
I won't.  I won't tell you nothin',
nothin', nothin'.

BUTCHER
Better not make me mad, Tibby.  You
don't like it when I get mad!

With that, Butcher makes like a b**gieman, wiggling his arms and making a horrible face, pressing Tibby back into the corner.  As Tibby cowers, Butcher laughs and exits.

ON BUTCHER

He strides down the aisle.  Two other men that had stood closer, scramble out of his way.  He waves to Freddy, who now sits inside a glass booth or room, reading a college textbook.  Freddy waves back.

NEW ANGLE - FEATURING SAM

He lays motionless.  Slowly, Tibby crawls from the corner and inches his way toward Sam.  He studies him for a long time.

TIBBY
(whispers)
You shouldn't have come here man.
These folks are crazy.
(beat)
They won't help you, you know.
They're just lookin' for a chance to
make you die.
(beat)
They are, they are, they are.

NURSE CHATMAN'S VOICE
No we're not Tibby.

WIDER ANGLE - INCLUDING NURSE CHATMAN

She stares down at Sam.  There is a real concern in her eyes as she struggles with what happened.

TIBBY
Butcher tryin' to kill him, ma'am.

FREDDY'S VOICE
(yelling)
Tibby, go to your spot!  Go to your
spot!  Right now!

INCLUDING TIBBY

Tibby scrambles back to his bed and crawls under it.  Freddy comes down standing next to Nurse Chatman.  After a beat.

FREDDY
It is kinda weird, don't you think?

NURSE CHATMAN
Weird?

FREDDY
What's happened to Mr. Beederman,
since he got here.  He was a little
down at first and all of a
sudden....

NURSE CHATMAN
What happened to Mr. Beederman,
happens to a lot of people.

FREDDY
(facetiously)
Yeah, they get committed and then go
crazy.

We hear the sound of the Imaging Chamber door.

WIDER TO INCLUDE AL

He looks around at the gruesome surroundings, then at an unconscious Sam.

FREDDY
Personally, I think he'd be better
off if he just went home.

OBSERVER
You got my vote on that one.

NURSE CHATMAN
Well, luckily for Mr. Beederman,
you're not a doctor yet.

FREDDY
Yeah, well, I hope he won't be stuck
here until I get to be one.

NURSE CHATMAN
(watching Sam)
I've been a nurse at Havenwell for
ten years, Freddy and I've seen all
kinds.  Sam Beederman's a classic
depressive and he's not mentally
equipped to handle it.

OBSERVER
Hey, you hear that!  You get your
own name.

NURSE CHATMAN
That's why he's here with us.

FEATURING AL

For the first time Al really studies Sam.  A look of concern furrows in his brow.

OBSERVER
I thought the guy in the waiting
room looked bad.
(beat)
You look terrible.

There is a low moan from Sam.

FEATURING SAM

Slowly, almost painfully, he reaches out to touch his head.  His eyes open and try to focus.  Chatman smiles at him.

FREDDY
Hey, how ya feeling today?

SAM
(groggy)
I feel...I feel....

NURSE CHATMAN
He's had a rough time, Freddy.
(beat)
He may not recognize you for a
while.

He looks at them both like they're from another planet.

OBSERVER
Well, of course he doesn't recognize
you.  He's never seen you.
(to Sam)
You're Sam Beederman, in Havenwell
Hospital for....
(punching Ziggy)
Acute depression and schizophrenia.

Sam looks at Al and says nothing, gently pushing hsi hair behind his ear several times.

NURSE CHATMAN
(gently to Sam)
It's Nurse Chatman, Sam.  And you
remember Freddy, don't you?

SAM
(looking to Al)
Freddy?

FREDDY
Sure, we're old buddy's.  Right?

NURSE CHATMAN
Do you want to say hello, Sam?

SAM
Hello.

NURSE CHATMAN
Do you know where you are Sam?

OBSERVER
Of course he does, I just told him.
(to Sam)
Go ahead.  Let them know you're not
a loony tune.

SAM
Havens...Havensweed.

OBSERVER
Havenwell!

SAM
Havenwell.

NURSE CHATMAN
That's good, that's very good.

OBSERVER
No wonder this guy's a nut case.

SAM
I'm a nut case?

OBSERVER
Well, you're not....

NURSE CHATMAN
No!  You just had your treatment and
you're still a little tired.

OBSERVER
...but the guy in the waiting room's
got a few chemical problems.

NURSE CHATMAN
He seems a little more disoriented
than usual, Freddy.  Maybe you
better go get Doctor Masters.

OBSERVER
Doctor Beaks is doing a full
work-up....

Freddy turns and heads down the ward.  Sam's eyes widen into a panic.

OBSERVER
We won't have the results for at
least...sixteen hours.

SAM
(calling after
Freddy)
Don't leave me here.

NEW ANGLE

Sam weakly tries to get up and follow Freddy.  Nurse Chatman catches him, sitting him back on the bed.

OBSERVER
Cool it, Sam.  You got stuff to do.

NURSE CHATMAN
He'll be right back.

Sam touches the burn marks at his temple and begins to panic.  Al sees the burns too, cringing.

SAM
(touching his head)
No more shock treatment!

OBSERVER
Geese, Sam, they must have....

SAM
(to Al)
I don't want to stay here.

NURSE CHATMAN
You only have to stay until you get
better, Sam?

CLOSE ON NURSE CHATMAN

She is more saddened than afraid of what she is seeing.  It's obvious Sam is not talking to her.  Calmly, she reaches forward and touches his arm.

NURSE CHATMAN
I'm sorry about what happened today,
Sam.  But everything's going to be
alright.  I promise, it won't happen
again.
(beat)
Do you understand?

ON SAM AND AL

Again Sam tries to get out of the bed but he's too weak.  Nurse Chatman forcefully sits him back down

NURSE CHATMAN
You're still very weak.  You need to
rest.

SAM
No!

OBSERVER
You're blowing this, Sam.

NURSE CHATMAN
If you don't calm down, we'll have
to....

SAM
No more shock treatment!

NURSE CHATMAN
No.  No more therapy.
(beat)
You've been through enough today.

OBSERVER
Calm down, Sam and I'll tell you why
you're here.
(beat)
Then you can do what you're here to
do.  And we can get the hell out of
this loony bin.

SAM
(trying to sound
calmer)
Okay.  Okay.  Tell me now so I can
go.

NURSE CHATMAN
(confused)
What do you want me to tell you?

SAM
How to get out?

OBSERVER
As soon as you get rid of Florence
Nightingale here.  And the only way
she's gonna split is if you cool
your heels.

NURSE CHATMAN
Doctor Masters will be here in a
moment....

OBSERVER
I forgot she called in the calvary.

NURSE CHATMAN
...but I want you to be relaxed when
he gets here, Sam.
(beat)
Promise me?

SAM
No more shock....

NURSE CHATMAN
You just stay calm.

DOCTOR MASTERS' VOICE
Does he know who he is?

WIDER ANGLE

Doctor Masters, a thin man in his mid-fourties.  Intelligent, with the eyes of a man who has too much responsibility and too little sleep.  He and Butcher rush toward the bed.  Sam stiffens at the sight of Butcher.

NURSE CHATMAN
He seems to.

TIBBY
He's not Mr. Beederman.

Doctor Masters slows his approach, seeing Sam's agitated state.  Sam points to Butcher, bringing his knees up to protect himself.

SAM
Keep him away from me.

DOCTOR MASTERS
(to Butcher)
Stay back, Butch.
(after a calm beat)
Do you know who I am, Sam?

Sam looks at him.

SAM
No.

DOCTOR MASTERS
Do you recognize Nurse Chatman.

SAM
No!  I don't now any of you....
(pointing at Al)
...and I don't care what he says,
I'm not supposed to help anybody do
anything.  I'm not!

BUTCHER
Who the hell's he talking to?

DOCTOR MASTERS
(pointed, to
Butcher)
I told you to stay back.
(to Sam)
Who says you have to help, Sam?

FEATURING AL

For the first time he realizes things are very wrong.  He becomes very calm and very direct.

OBSERVER
I want you to listen to me, Sam.
They can't see me.  I'm a hologram
tuned to your mind.  I'm here to
help you.

SAM
They can't see you?  Then how are
you going to help me get out?

DOCTOR MASTERS
Do you know who you are, Sam?

OBSERVER
You've leaped into Samuel Beederman.
You have a wife and no children.
You are suffering from....

DOCTOR MASTERS
Do you remember who you are, Sam?

FEATURING SAM

He is confused and frightened.

OBSERVER
(pointed)
You are Samuel Beederman....

SAM
(yelling at Al)
No!
(beat)
My name is....
(struggles)
My name is...Samantha Stormer.
I...I'm an executive secretary at
National Motors in Detroit,
Michigan.

Sam turns to a mirror that hangs near the corner.

SAM'S POV - MIRROR

Staring back at him is Samantha from "What Price Gloria".

SAM'S VOICE
(continuing)
It's nineteen sixty-one and I'm
twenty-six years old and some
day....

She picks up a brush and brushes her disheveled blonde hair from her eyes.

ON AL, DOCTOR MASTERS AND NURSE CHATMAN

They stand stunned, listening to Sam.  As he speaks his mannerisms become more feminine.  Sam desperately tries to fix his hair.

SAM
...I'm going to join the design
program with Gloria.
(to Masters)
I'm here because I hit Buddy Wright,
aren't I?

OBSERVER
My God, what have they done to you?

SAM
That's it, isn't it?  Isn't it?
Isn't it?

Off Al's look of horror, we....

FADE OUT

END OF ACT ONE

ACT TWO

FADE IN

INT. WARD SIX - DAY - ON ALL

They hang in a stunned moment of surprise, listening and watching Sam.  He speaks like a pouty little girl defending her deed.

SAM
I shouldn't be punished you know.
Buddy Wright deserved a lot more
than a punch in the jaw.

DOCTOR MASTERS
(softly to Butcher)
Get Doctor Wickless up here
immediately.

OBSERVER
(yelling)
Gooshie, you better get Beaks here
on the double.
(beat)
We got problems.  Big problems.

DOCTOR MASTERS
(to Chatman)
How long has he been like this?

NURSE CHATMAN
He seemed a little disoriented when
he first woke up, but he seemed to
recognize Freddy....

DOCTOR MASTERS
What did you say to him?  I want you
to remember exactly what you said to
him.

NEW ANGLE - FEATURING SAM AND AL

Sam sits on the bed brushing his hair.

SAM
So you see, it's all been a
misunderstanding and I'm sure....

OBSERVER
(slow and direct)
Sam, you're a scientist named Sam
Beckett.  Doctor Sam Beckett.

Sam stops and looks at him.

SAM
Beckett?
(beat)
I knew a Sam Beckett...in Elkridge,
Illinois.

OBSERVER
Indiana.

DOCTOR MASTERS' VOICE
Who's Sam Beckett?

WIDER ANGLE

They watch, fascinated by what's unfolding before them.

SAM
A boy I knew a long time ago.

OBSERVER
Yes, he was a boy and then he grew
up and built a time machine....

DOCTOR MASTERS
Was he your friend Samantha?

OBSERVER
...project Quantum Leap....

SAM
I don't remember.

DOCTOR MASTERS
You don't remember if he was your
friend?

OBSERVER
Sure you remember.  And before it
was completed you tried an
experiment and ended up traveling
back through time, reliving little
pieces of other peoples lives.

DOCTOR MASTERS
Samantha?  Can you hear me?

Sam says nothing.  He stares at Al listening intently to him.

NURSE CHATMAN
Is he in a trance, Doctor?

DOCTOR MASTERS
I think he's listening to someone.

NURSE CHATMAN
But what's he looking at?

TIBBY'S VOICE
The guy in the...jacket.

Al and Nurse Chatman turn.  Masters throws a glance but his attention is on Sam.

INCLUDING TIBBY

He sits off to the side.

OBSERVER
You can see me?

TIBBY
Sure.  Nice jacket.

OBSERVER
Great, I'm tuned into a nut case.

NURSE MASTERS
What is it, Tibby?

OBSERVER
Don't say anything or they'll put
you into a hole so deep under this
place, you'll never get out.

Tibby looks at Masters and Chatman and turns, walking back to his bed.

TIBBY
Never mind.

DOCTOR MASTERS
Sam?

NURSE CHATMAN
I don't understand what's happening.

FEATURING DOCTOR MASTERS AND NURSE CHATMAN

Masters never takes his eyes off Sam.  The reality of what he may have his hands on has him salivating like a Pavlovian dog.

DOCTOR MASTERS
I think that Mr. Beederman
is...splitting.

She just looks at him.

DOCTOR MASTERS
It's a very rare psychosis called
multiple personality disorder.
(beat)
When the human mind can't handle a
situation, sometimes it will create
an entire other personality that
can.

ON AL

Al has started to pace.

OBSERVER
Oh, great.  Now they think your
Sybil.
(to Sam)
We gotta talk.
(slowly)
I want you to tell them your name
is Samuel Beederman and you're
very tired from your therapy.
(beat)
If you don't, you're not gonna get
outta here.

CLOSE ON SAM

He's obviously still Samantha but some survival instinct tells him to do as he's told.

SAM
I'm Samuel Beederman and I'm very
tired from my therapy.
(beat)
If you don't mind doctor, I'd like
to take a nap.

ON MASTERS AND CHATMAN

They look to Sam and then to each other.

DOCTOR MASTERS
But I'd like to talk to Samantha.

SAM
I...I'm very tired from my therapy
and I'd like to take a nap.

DOCTOR MASTERS
Of course...Mr. Beederman.  We can
talk about it later this afternoon.

OBSERVER
He's lookin' at you like a frog in
Bio. 101.
(beat)
You did good, Sam.

ON ALL

Masters smiles and walks away, nodding for Chatman to follow him.  She watches over her shoulder with a curious eye.

NURSE CHATMAN
Doctor, I...I don't understand what
happened.

DOCTOR MASTERS
I think the voice he was listening
to, told him to say he was Beederman
to make us go away.
(beat)
I want him moved to an observation
room.

NURSE CHATMAN
We have nothing available.

DOCTOR MASTERS
Clear one!

We follow Masters and Chatman for a moment.  Just as they reach the door, a white-haired man of about sixty rushes in.  He is Dr. Wickless, the head of Havenwell.  Masters stops him and they talk intensely, MOS.  From time to time Wickless looks over to Sam.

OBSERVER'S VOICE
Primary dissection has begun.

They exit.

BACK ON SAM AND AL

Sam sits, staring at Al.

SAM
Now what?

OBSERVER
I don't know.  Gooshie can't locate
Beaks.

SAM
You said you would help me get out
of here.
(beat)
I don't like it here.

OBSERVER
The only way you're going to leap
outta here, is if you figure out a
way to keep Beederman from getting
his brain drained by Frankenstein
back there.

SAM
Who are you?

OBSERVER
I'm Al.  Your buddy.  I gave you
your first shot.  And you...you were
the only person who believed in me
when I forgot how to believe in
myself.
(beat)
You brought me on this project.

SAM
Why couldn't they see you?

NEW ANGLE - FEATURING AL - SFX

As he talks, he walks through the bed and puts his hand through Sam.  Sam is totally startled.

OBSERVER
Because I'm a hologram tuned to your
brainwaves.
(beat)
Look, I can't touch you.  I can't
touch anything.  To me, you and
everything around you is a hologram.

SAM
(startled)
How...how did you do that?

OBSERVER
I'm not here.  I'm fourty three years
in the future.

Sam reaches through him and another hand does too.

NEW ANGLE

It is Tibby.  He's in total awe.

TIBBY
I gotta be over medicating.

SAM
Can anyone else see you?

Al looks around the ward.

OBSERVER
(yelling)
Hey!  Can any of you loony tunes see
me?

AL'S POV - THE OTHER MEN

Two hands go up, MORTIMER and OSWALD.  The others sit lost in their own world, oblivious to Al and most everything else.

ON SAM, AL AND TIBBY

Sam and Tibby both turn back to Al.

TIBBY
Are you really from the future?

OBSERVER
Yeah, yeah I am.

TIBBY
My names Tibby.  Tibido Johnson from
right here in Havenswell,
Pennsylvania.  Am I in the future?

OBSERVER
I'll check it out as soon as....

Al punches data into the handlink.  As he does, Sam slips back under the covers and cuddles down to sleep.

OBSERVER
What are you doing?

SAM
I'm tired.

OBSERVER
Sam!  No!  We have to talk.

Sam falls asleep ignoring Al's pleas.  Al is totally preoccupied by what to do.

TIBBY
What's it like in the future?

OBSERVER
Huh?

TIBBY
What's it like?
(beat)
I mean, is it real clean?  Are there
cars that float on air.

OBSERVER
We're working on it.

TIBBY
I like your threads.

OBSERVER
Gooshie, where's Beaks?

TIBBY
(looking around)
Who's Gooshie?

OBSERVER
He's the programmer.
(to Gooshie)
We'll damn it...I'll find her
myself.

Al starts pushing buttons.

OBSERVER
If Sam wakes up tell him....

TIBBY
(sing songy)
Her, her, her.

OBSERVER
Him.  That I'll be right back.  Tell
him not to talk to anyone.

TIBBY
Only if you tell me about the
future.

OBSERVER
Yeah, yeah.  Okay.  The future
has...microwave ovens.  And you can
cook a whole TV dinner in three
minutes.
(beat)
Now, just watch him.

NEW ANGLE - SFX

A few buttons and the Imaging Chamber door opens.  A totally stunned Tibby watches as Al steps inside and disappears.

TIBBY
Man, oh man, oh man, I like this
future stuff.

NEW ANGLE - FEATURING TIBBY

We hold on a thrilled Tibby who turns to see one of his fellow inmates, a goon-faced named Mortimer, staring at him with his mouth open.  He holds a bedpan and a wooden spoon.

TIBBY
In the future we're gonna get our
dinners outta the TV in three
minutes.

Mortimer pouts and bangs his bedpan, walking away.  On Tibby's thrilled giggle, we push past him to a sleeping Sam and....

CUT TO

INT. OBSERVATION ROOM - AFTERNOON

Doctor Masters and Nurse Chatman stand in the hub of activity preparing the small room.  A crew of overall-clad men wash down the drawing covered walls and seep the floor.  A table and chair are brought in, along with a variety of psychological test equipment.  Rorschach, spontaneity, Szondi, Taschen, Thematic Appreciation, etc.  A two-way mirror is being cleaned.

NURSE CHATMAN
What if he has developed more than
one personality?

DOCTOR MASTERS
That's what the tests will show.
(beat)
Until yesterdays therapy, Mr.
Beederman was a manic depressive
with schizophrenic tendencies.

NURSE CHATMAN
But Samantha Stormer was so real to
him.

DOCTOR MASTERS
A distinct secondary personality,
with her own life, a job, friends
and problems.  Eight years in the
future!

NURSE CHATMAN
It doesn't follow any cases I've
seen or read about.

DOCTOR MASTERS
The Cooke girl was the only case of
multiple personality I've actually
interacted with, and hers were all
from child related traumas.
(beat)
But Sam's created a personality
totally unrelated to his own
experiences.  That has never been
recorded.

NEW ANGLE

Masters looks at her for a long beat, considering the option, then turns his head to gaze back to one of the tests, lost in the thrill of his new discovery.

DOCTOR MASTERS
It's the aspect of time displacement
that has me fascinated.
(to himself)
Perhaps we should perform some of
the tests under sodium-amytal.

NURSE CHATMAN
(concerned but
direct)
Doctor Masters, Mr. Beederman is a
patient in need of our help.
(beat)
I'm a little worried that this type
of research may overshadow interest
in him as a person.

DOCTOR MASTERS
(coldly)
I'm sure if I become overzealous,
Doctor Wickless will let me know.
(beat)
That will be all, Nurse Chatman.

He dismisses her with a turn and goes back into his preparations.  After a beat she exits and, we....

CUT TO

INT. WARD SIX - AFTERNOON - ON TIBBY

He sits in a chair next to Sam watching him sleep.  The sound of the Imaging Chamber door turns his gaze.

NEW ANGLE - INCLUDING AL

He sees that Sam is still asleep.  Tibby gives him a big warm smile.

TIBBY
Hi, Al.

OBSERVER
Hi, Tibby.

TIBBY
Any word on my future?

OBSERVER
Oh, yeah.
(reading the
computer)
It's not all that great.  But it can
be changed.
(beat)
As a matter of fact, you're the
reason Sam ended up in this loony
bin in the first place.

TIBBY
She was going to get me out?

OBSERVER
He.  Yes.  So now I guess I gotta do
it.  But I gotta take care of Sam
first.  Okay.

TIBBY
Okay!  Okay!  Okay!

OBSERVER
How'd you get here in the first
place?

TIBBY
Headaches.  I used to have these real
bad headaches when I was little,
made me crazy.  My folks brought me
here to get fixed.  I guess they
never came back.
(shrugs)
Too many kids and not enough food.
I'm not mad at 'em though.

OBSERVER
What about your head now?

TIBBY
I still get 'em but I don't tell
nobody.  Nope, nope, nope.

OBSERVER
(reading Ziggy)
Ziggy says you've got severe
migraines.  Let's see, you get outta
here in seven years and end up on
the streets...unless....
(beat)
Did they ever teach you to read in
this joint?

TIBBY
Nope.  Nope.  Nope.

OBSERVER
Well, maybe we can change your fate.
Get some books.  Learn to read.

TIBBY
Yeah, I could do that.  I could, I
could, I could.

OBSERVER
First you've got to stop talking
like a loony tune.

TIBBY
(brightening)
I gotta keep all the letters
straight.  I wish letters was like
music.  I used to like music.
(referring to the
Muzak)
Not that stuff.  Jazz and BeeBop.
(beat)
What's music like where you come
from?

OBSERVER
Huh?

TIBBY
Future music?  What's it like?

OBSERVER
Well, it's....
(strains to
describe it)
You haven't even heard rock and
roll.  Or acid rock.  Then there was
funk and pop and new wave.  Oh yeah,
then heavy metal.

TIBBY
Heavy metal?

OBSERVER
Well, I've been under the desert
listening to golden oldies for five
years....
(beat)
Hip hop was the last real flash.
Scratch.  Rap music.

TIBBY
Rap?

OBSERVER
Like jive talkin'?

Tibby ponders for a long beat.  Al looks for a way to show him and starts to punch the buttons on the handlink.

OBSERVER
Maybe I can show you.
(beat)
I was writing this, kinda love song
to my girl Tina.  Maybe I didn't
erase....

The little handlink starts to sound out the rhythm and scratch of a rap song.

NEW ANGLE

The two men that raised their hands move closer.  One, Mortimer, with his bedpan and the other, Oswald, whose thing is mouth sounds of explosions.  They listen amazed.  Tibby starts to groove to the beat.  Oswald mimics the sound

TIBBY
Kinda African.

OBSERVER
Okay, first you gotta get the
groove....
(beat)
Tibido, Tibido, Tibido...Tibido,
Tibido, bop bop.

With that he points to Mortimer, whose band is his bedpan, gets sort of in rhythm.

TIBBY
Bop, bop.

OBSERVER
Tibido, Tibido, Tibido...Tibido,
Tibido, Bop bop.

Tibby joins in, keeping the groove.  Al is leading his funky band, as the other patients sneak closer to the strange sound.

OBSERVER
Alright, we've got a groove.

TIBBY
What about the rap part?

OBSERVER
Oh, okay.  Now this is all...you
know, attitude.  The Rap would be
something like...
(beat)
Uh...you're a loony tune in a big
white room/I'm a hologram from the
future/Movin' fast, back into the
past but I got to say I'm pleased to
meet 'cha/Tibido, Tibido,
Tibido...Tibido, Tibido, bop bop.
(points to the
band)
Tibido, Tibido, Tibido...Tibido,
Tibido, bop bop.
(to Tibby)
ABCDEFG...HIJKLMNOP-QRS-TUV...WX-YZ.

TIBBY
Hey!

OBSERVER/TIBBY
ABCDEFG...HIJKLMNOP-QRS-TUV...WX-YZ.
(beat)
Tibido, Tibido, Tibido...Tibido,
Tibido, bop bop.

NEW ANGLE - FEATURING SAM

He stands watching in amazement with the other inmates.  Al sees him.  Some of the inmates start to do primal dances.

OBSERVER
(aside to Sam)
I think I found a way to save Tibby.
So you can leap!
(rapping to all)
Now Sam's my man, I'm a fan, you got
to understand/He's an alright cat
from the futcha/He can party,
harty, drink some Bacardi/And I
got to say I know it would suit
cha.... (more to come)

TIBBY
ABCDEFG...HIJKLMNOP-QRS-TUV...WX-YZ.

OBSERVER
(to Tibby)
You're a loony tune in a big white
room/I'm a hologram from the
future/Movin' fast, back into the
past but I got to say I'm pleased to
meet 'cha.

TIBBY
But I got to say I'm pleased to meet
cha!

OBSERVER
Yeah!

ALL
Tibido, Tibido, Tibido...Tibido,
Tibido, Bop bop.  Tibido, Tibido,
Tibido...Tibido, Tibido, bop bop.

Several inmates join in with the group and groove, building into a frenzy of song and dance and begin tearing up the room.

FEATURING SAM

Sam watches quietly with a knitted brow.

FREDDY'S VOICE
What the hell is going on here?

NEW ANGLE - INCLUDING FREDDY

He rushes toward them in a rage.  His scream freeze most of them.

FREDDY
Stop it!

OBSERVER
Uh, oh.

Tibby laughs.

FREDDY
You think this is funny Mr. Johnson?

He says nothing.  Now everyone scurries and cowers.

FREDDY
You nut cases are gonna clean this
place up.  Right now!

NEW ANGLE

Some of the inmates become agitated, others could care less.  Tibby goes back into his groove.

FREDDY
I said, stop that noise.

SAM
It's rap music.

All focuses turn to Sam.  Al is instantly next to him, excited about the fact that the music may have touched something in his mind.

OBSERVER
Yes.

FREDDY
What?

OBSERVER
(thrilled)
You hated rap music, Sam.

SAM
I'm not Sam.

FREDDY
Right, Samantha.  Just get your
stuff together.  Masters wants you
moved.

SAM
Samantha?
(beat)
My name is Tyler.  Jesse Tyler.  And
I only sat at that counter 'cause I
was hungry.

OBSERVER
Oh, no.

SAM
You shouldn't punish a man for bein'
hungry.  I had money and I know skin
color matters to you, but it
shouldn't.

FREDDY
I better get Masters.

FEATURING AL

He frantically punches his computer, as Freddy races for the door.

OBSERVER
Don't do this, Sam.  Ziggy says I
saved Tibby.  He's going to learn to
read and get a job when he gets out.
He'll be alright!
(beat)
You gotta leap!

Sam turns and walks back to his bed.

AL'S POV

With each step, Sam's walk changes to that of a feeble, broken old man.  Al yells to Gooshie.

OBSERVER'S VOICE
What's going on?

CLOSE ON AL

His face is a mix of sadness and fear.

OBSERVER
Ziggy says you can't leap because
you're not Sam.

ON SAM

He looks into the little mirror.

SAM'S POV - JESSE

Jesse's face stares back, tired and confused.

OBSERVER'S VOICE
(beat)
And if you don't get back to Sam
Beckett....

ON AL

He looks up from the handlink.

OBSERVER
....you'll be stuck here forever.

FADE OUT

END OF ACT TWO

ACT THREE

FADE IN

INT. OBSERVATION ROOM - LATE AFTERNOON - MIRROR SHOT

Jesse Tyler stands in a hospital gown looking at himself, then down at the table of books, charts and test cards.

DOCTOR MASTER'S VOICE
Would you like to play some games
with me, Jesse?

ON SAM AND DOCTOR MASTERS

Sam looks up from the books, then lets his eyes slowly scan the room.

SAM
I'm to old to be playin' games.
(beat)
'Sides, I can't read.

DOCTOR MASTERS
You don't have to read.  I'll show
you some pictures and you tell me
what you think they mean.
(beat)
Please, sit down.

Sam slowly sits, moving as though his body ached from years of hard work.  Doctor Masters joins him and picks up a set of Rorschach cards.

CAMERA PANS

around the room and we see Al standing in a corner watching.  He and Sam exchange a glance.

OBSERVER
I'm right here, Sam.

Camera continues to move past Al and through the mirrored wall into....

INT. VIEWING ROOM - FEATURING NURSE CHATMAN

Doctor Wickless and four other doctors, in white lab coats, sit on chairs and watch intently as Chatman speaks.

NURSE CHATMAN
(whispers)
This is Jesse Tyler, a third
personality.  It seems he's a negro
of about seventy, who feel he's
being persecuted unjustly for some
type of civil rights disturbance.
(beat)
He believes he's living in 1955.

DOCTOR MASTER'S VOICE
All right.  Now I want you to look
at this and tell me what you see.

INT. OBSERVATION ROOM - FEATURING SAM

He looks at the blob of ink beofre him and says nothing for a beat.

SAM
A mess.
(beat)
That ain't no picture.

OBSERVER
He wants you to use your
imagination.

DOCTOR MASTERS
Of course there is.  Look closer.

SAM
Burnt chittlin's.
(matter-of-fact)
A pot 'a burnt chittlin's.

DOCTOR MASTERS
All right.

Next card.  Sam looks for a moment and his eyes fill with tears.

SAM
(softly)
That's...that's blood.

DOCTOR MASTERS
What blood Jesse?

SAM
(dazed)
Nell's.  They ran my granddaughter
off the road and I found her....

CUT TO

FLASHBACK - COLOR OF TRUTH

Sam gathers Nell from the crash and carries her to Miss Melony.

SAM'S VOICE
She was bleedin' bad.  Miz Melony
and I, we got her to the hospital.

NEW SCENE - AT HOSPITAL - MOS

Sam stands holding Nell, screaming at the doctors.

SAM'S VOICE
But it was the white hospital over
in Legade.  They wouldn't take her,
but Miz Melony told 'em they had
better and....
(wonderment)
...I...knew what to do.

ON SAM AND AL

Al has moved closer to the table.  He can see that Sam has tapped into something.

SAM
I knew the proper medical procedure.
I...I told the doctors.

OBSERVER
That's because you're a medical
doctor.

DOCTOR MASTERS
But I thought you couldn't read.

OBSERVER
Sam Beckett is a medical doctor.

Sam looks slowly at Al.  A door somewhere in his subconscious is cracking.  Al moves closer to him.

DOCTOR MASTERS
What is it, Jesse?

OBSERVER
(softly)
Leave him alone.
(to Sam)
You hold seven degrees, Sam.

SAM
I...I can't read.

OBSERVER
Yes, you can.

DOCTOR MASTERS
So you couldn't have known the
proper medical procedure.

OBSERVER
Jesse can't, but you can.

SAM
(getting upset)
No!  I can't!

INT. VIEWING ROOM

As Sam continues to talk about his lives as the son of a slave, the other doctors watch in amazement.

SAM'S VOICE
We...we were share croppers.  My
folks been slaves, they didn't do no
readin' and writin'....

DOCTOR WICKLESS
Who's he talking to?

NURSE CHATMAN
Doctor Masters thinks it's a
hallucination.  His name is Al.

SAM'S VOICE
I saw to it my boy, Willis, got
educated.  He's a preacher, you
know.

NURSE CHATMAN
Doctor Wickless, is Al another of
his personalities?

DOCTOR WICKLESS
(shaking his head)
An external personality would be the
aberration of a schizophrenic, not
someone with MPD.

INT. OBSERVATION ROOM

Sam is on his feet and talking directly to Al.

DOCTOR MASTERS
(gently)
Jesse?

SAM
(to Al)
It's not that Willis didn't try
teachin' me, but I'm stubborn as a
mule and twice as slow.

OBSERVER
(eyes on Masters)
Sam, sit down.
(beat)
Sit down and if you have to talk to
me, don't look at me.

SAM
Why the hell not?

DOCTOR MASTERS
Is there a problem with your friend,
Jesse?

OBSERVER
Because these yoyo's can't see me.
And I don't want them thinking
you're any crazier than they already
do.
(beat)
Now tell Dracula to finish sucking
your brain.

SAM
What?

DOCTOR MASTERS
I said, is there a problem?

OBSERVER
(anxious)
Finish the test so we can get out of
here.

SAM
Get on with the test so we can get
the hell outta here.
(beat)
And I don't know, who Dracula is,
but I'm powerful thirsty too.  Could
a man get a glass 'a water?

DOCTOR MASTERS
Of course, Jesse.  We'll have some
in here from now on.

He nods to Dr. Wickless and let's Sam settle back into his chair.  Masters holds up the next card.  There is a moment and a perplexed expression crosses his face.

DOCTOR MASTERS
What do you see, Jesse?

SAM
It's the...sub-atomic structure of a
quark.
(beat)
What's a quark?

DOCTOR MASTERS
I don't know, what a quark is Jesse.

OBSERVER
It's a micro particle of a neuron or
a proton.
(beat)
You also have a degree in quantum
physics.

NEW ANGLE

Sam is starting to get agitated, trying to grasp the contradictions that are spinning in his mind.  Just then there is a knock at the door, Dr. Masters crosses to open it, allowing Butcher to enter with a pitcher of water and two glasses.

FEATURING SAM

As soon as he sees Butcher he panics.  The rush of pain from the shock therapy floods his mind and he stands, knocking the chair back.  He cowers in the corner and points.

SAM
Ambush!  VC!  VC!  Ambush!

FLASHBACK - VIET NAM

It's the opening sequence.  The small group of men stand in the river.  Automatic weapon-fire rings out from all directions.  The sound is deafening and then silence.

INT. OBSERVATION ROOM

Sam huddles, weaponless in the corner.

OBSERVER
Take it easy, Sam.

Dr. Masters signals for Butcher to leave.

BUTCHER
I didn't....

SAM
(desparately to Al)
We were set up by the hochoy, sir!

DOCTOR MASTERS
(to Butcher)
Get out!

OBSERVER
Hold your position soldier.

Butcher exits as Masters looks toward the mirror.  It's obvious another personality has emerged.  Sam stands huddled in the corner his hands on his head.

SAM
(in Vietnamese to
Masters)
Am I a prisoner?

DOCTOR MASTERS
I...I don't understand what you're
saying.

OBSERVER
He wants to know if he's a prisoner.

DOCTOR MASTERS
Who are you?

SAM
(in Vietnamese)
Are you VC?
(beat)
Are you VC?

DOCTOR MASTERS
I...I don't understand.

SAM
(aside to Al)
What should we do sir?

INT. VIEWING ROOM

The group is totally lost.

NURSE CHATMAN
What language is he speaking?

DOCTOR WICKLESS
(shaking his head)
I don't know.

INT. OBSERVATION ROOM

Dr. Masters beacons for Sam to sit back down in his chair.  Reluctantly, as if at gunpoint, he moves close to the table and sits.

DOCTOR MASTERS
Who you are?

He looks to Al and then to Masters.

SAM
Signalman First Class Herbert
Williams.  SEAL division, United
States Navy.  Serial number
52437490576.

DOCTOR MASTERS
I don't understand.  You're in the
Navy?

SAM
Signalman First Class Herbert
Williams.  SEAL division, United
States Navy.  Serial number
52437490576.

DOCTOR MASTERS
Tell me where you are Herbert?

SAM
Signalman First Class Herbert
Williams.  SEAL division, United
States Navy.  Serial number
52437490576.

DOCTOR MASTERS
Are you in Germany or the Pacific?
Can you tell me what year it is?

SAM
(beat)
1971.

DOCTOR MASTERS
Another one in the future?

FEATURING AL

He is punching data into Ziggy

OBSERVER
Ziggy says Magic was captured in
seventy-one and held in a POW camp
until seventy-four.
(beat)
That was a year and half after you
were there to save your brother,
Sam.

Sam and Al just look at each other for a long time.

OBSERVER
Tell them you want to go back to
your...pen.  Tell him you're tired
now.  No more talk.

SAM
(in Vietnamese)
No more talk.
(gesticulating)
Sleep.  Sleep.

WIDER ANGLE

Masters looks up to the mirror.

DOCTOR MASTERS
All right...Herbert.  We'll let you
rest.  But you can stay right here.
(beat)
See, you'll have your own room.

OBSERVER
No!  Say you want to go back to your
bed.

SAM
No.

OBSERVER
Gooshie says Beaks is back and I
need you some place where she can
talk to you, other than under this
microscope.

DOCTOR MASTERS
It'll be okay....

SAM
No!

DOCTOR MASTERS
All right.  Whatever you say.

Dr. Masters rises and crosses to the door, opening it.  Sam looks to Al who nods, it's okay.  Sam rises, holding his hands as if they are tied, walking as if his feet are tethered in some way.  He makes his way to the door and gives a last look at Al.

OBSERVER
You go on up, I'll be there in just
a little while.
(beat)
Go on.

As Sam and Dr. Masters exit, we hold on a concerned Al a moment and, then....

SLOW DISSOLVE TO

FLASHBACK - THE LEAP HOME - PART ONE

A field of corn.  Sam moves through it, stopping, smelling, enjoying the moment.  He realizes he's home.

CUT TO

WIDE SHOT

Sam running, running.

WIDER

The sound of anxious breathing.  A small figure in the f.g. running.

CLOSE ON SAM

as he pounds on the front door.  The door opens and, we....

SMASH CUT TO

INT. BOXING - TIGHT ON TIGER JOE JACKSON

His ugly mug growls into camera.

WIDER

Sam in the ring.  It's the final fight.  The crowd is screaming.  Sam faces off with Tiger.

FEATURING TIGER

He's just about to pulverize Sam and, we....

SMASH CUT TO

INT. WARD SIX - NIGHT - TIGHT ON SAM

He sits straight up in bed.  The heavy breathing is his.  He is drenched in sweat.  Frantically, he looks around the room.

SAM'S POV

As the camera pans the room, it is lit only by moonlight and the soft glow of the night-light left on in Freddy's booth.  The other inmates sleep soundly.  Some in bed.  Some under the bed.

ON SAM

He lays back down, still disoriented and confused.  The sound of the Imaging Chamber door opening and closing.  Sam looks to the sound.  He lies still, watching.

NEW ANGLE - INCLUDING AL

Al stands at the end of Sam's bed.  There is a look of genuine concern.

OBSERVER
Sam?  Sam, are you awake?

SAM
(whispered)
Are you talkin' to me?

OBSERVER
Yeah, yeah I am.

SAM
Did I beat him?

OBSERVER
Beat him?

SAM
Tiger Joe Jackson.
(beat)
This is a hospital.  Was I hurt bad?

OBSERVER
No.  No, you're okay.  Sort of.

SAM
Where's Dixie?

OBSERVER
Dixie?
(to O.C. person)
She was the live-in cupcake that
worked as a stripper.  She and Kid
Cody got married.

SAM
Why you talking about me like I was
dead or somethin'?
(beat)
I ain't dead, am I?

OBSERVER
No, you're not dead.

SAM
then who the hell are you talking
to?

OBSERVER
Verbeena Beaks.  She's a doctor and
she's in the Imaging Chamber with
me.

SAM
How come I can't see her?

OBSERVER
She's not tuned into your brain.
Would you like to see her?

Sam looks at him as Al extends his hand.  Suddenly Verbeena Beaks appears.  She is a strong woman of about fourty.  She has kind eyes and a reassuring smile.

VERBEENA
Can he hear me?

OBSERVER
Can you hear her, Sam?

VERBEENA
Don't call him Sam....

OBSERVER
(to Verbeena)
I will call him Sam because we don't
have time to mess around.

SAM
Time for what?

OBSERVER
To help you get home.

NEW ANGLE

Sam sits up and moves a little closer.

SAM
Yeah, I'd like that.  I'd like that
a lot.

VERBEENA
Then you've got to help us get you
back inside your own mind.

SAM
I ain't punch drunk!  And I ain't
nuts!

OBSERVER
Nobody thinks you're nuts.  You just
stepped out from behind the wheel.

VERBEENA
You've been doing some very special
work.  The whole time you were doing
it, you were picking up pieces of
other peoples lives.  Now you can't
separate them.

SAM
You're the nut case.

OBSERVER
Listen to me, Sam.

SAM
I ain't Sam!

OBSERVER
Each time you leap, you pass through
the entire life of the person you've
leapt into and in that passing, you
two kind of mush all of your memories,
emotions and experiences.

VERBEENA
Until you were given that electro
therapy, those memories were all
filed away somewhere deep in your
subconscious.

SAM
(totally lost)
What is this?  The plot to a bad
monster movie?

OBSERVER
It's your life.
(beat)
And until we can find a way to get
you back to being Sam Beckett, you
can't leap out.
(beat)
That's the way the game works.

SAM
Wait a minute.  I'm not the one
nobody can see.  I'm not the one
standing around holdin' hands like
you're goin' to the damn prom.
(beat)
And I'm not crazy.

OBSERVER
No, you're not crazy.  You're stuck
in the past for the rest of your
life.

SAM
You tellin' me I ain't never gonna
get outta here?

OBSERVER
According to Ziggy's stats, Samuel
Beederman spends the rest of his
life in mental confinement.

VERBEENA
And right now, everyone around here
thinks you're Samuel Beederman.

SAM
Well, I ain't staying here!

VERBEENA
Then you've got to get back to your
first person.  Samuel Beckett.

FEATURING SAM

The words he's hearing are frightening and confusing, yet again somehwere in the far reaches of his mind, the real Samuel Beckett tries to understand.  Cautiously, he speaks.

SAM
What do I have to do?

Al looks to Verbeena.

OBSERVER
Ask Doctor Masters....
(beat)
...for another session of electro
therapy.

SAM
(remembering)
No.

VERBEENA
It has to be at the same voltage as
the original.
(beat)
It's the only chance we have.

SAM
What do you mean?

OBSERVER
I mean, we're running out of time.

VERBEENA
The longer the alternate
personalities are allowed to take
over, the more chance there is of
losing communication with Sam
Beckett.

OBSERVER
We're losing contact with you, Sam.

SAM
You mean you can't ever come talk to
me?  And I'll never get out of the
hospital.

OBSERVER
And you'll never leap out of 1954.

CLOSE ON SAM

There is a barrage of fears that flood his mind, but the most important is the small light of knowledge, that what Al is saying is true.  The rain continues to pour and a distant rumble of thunder echos, as we hold on him, we....

FADE OUT

END OF ACT THREE

ACT FOUR

FADE IN

INT. WARD SIX NIGHT - ON SAM AND AL

There is a long pensive moment as the knowledge of Al's information sinks in.  The rain continues to pound on the windows.

SAM
How do I get back to this...Sam
person.
(beat)
And I want you to know that this
ain't making no sense at all.

VERBEENA
I want you to tell me, of all the
people you've leaped into, who would
be the most susceptible to....

OBSERVER
Why are you asking him, he's null
and void.

VERBEENA
I have a case file of....

She lets go of Al's hand to reach for something and disappears.

SAM
This is really wierd.

OBSERVER
(thinking)
Okay, okay.  Who?
(beat)
Leonard!  He wasn't workin' on all
burners.
(to Beaks)
This small town lawyer.  Not a very
good lawyer mind you....

Al reaches out and in a nanosecond, Beaks is back.  She holds a computerized file, that looks about the size of a thin brick.

SAM
Will somebody let me in on this.
I'm startin' to feel like a retard.

OBSERVER
Jimmy!
(beat)
Sam leaped into a young man who was
mentally handicapped...sometime in
the mid-sixties!

VERBEENA
LaMatta.  He would susceptible.

NEW ANGLE - INCLUDING TIBBY

He has inched his way closer to Al and Verbeena.  Sam spots him.

SAM
(hard to Tibby)
What are you starin' at?

TIBBY
You're the one in trouble, trouble,
trouble.

OBSERVER
Stay out of this Tibby.

TIBBY
Who's she?

OBSERVER
She's here to help us get Sam back.

TIBBY
If he gets out, I want to get out,
too.

VERBEENA
We have to get you in touch with
Jimmy....

SAM
You sayin' I got to act like a
retard to escape this place.

TIBBY
Not without me.  No sir, no sir, no
sir.

OBSERVER
Nobody's breakin' out of here.
(to Tibby)
Let me talk to Sam....

SAM
Kid!

OBSERVER
(to Sam)
Kid.
(to Tibby)
And after I've worked this problem
out, I'll see what I can do for you.

TIBBY
I got books to read.  I been
practicin my letters.

OBSERVER
That's good.

TIBBY
Tell me about the future.  Tell me,
tell me, tell me.

SAM
What is this guy, a parrot?

VERBEENA
According to research after you get
out, you start some of the first
halfway houses in the state.
(beat)
You do real good Tibby.

TIBBY
I'm a help people?

Verbeena and Al nod yes.  A happy Tibby walks to his bed and sits.  After a beat, he is off into his own world.

ON SAM AND AL

Al turns very serious and moves a little closer to his friend.

SAM
Okay, so what's the game plan?

VERBEENA
We have to hypnotize you.

SAM
Pass.

OBSERVER
It's the only way to put you in
contact with Jimmy.

SAM
I ain't bein' no retard!

OBSERVER
(pressing on)
It's mentally handicapped and it
will make you more susceptible to
the shock therapy.

Sam freaks, pulling back the hair from his burned temples, to show Al.

SAM
Forget it!  I'm not gonna let them
burn me again.

Al turns to Beaks.

VERBEENA
Then we can't help you, kid.

FEATURING SAM

He has that cornered look.  The sweat begins to roll down his face as the pressure of the decision weighs on him.

SAM
I can't do it.

OBSERVER
You don't have a choice.  In seven
hours I'll be gone and you'll be a
pichinco ball bouncing around your
own brain, flipping from one person
to another unti....

SAM
(reluctantly)
What do I do?

VERBEENA
You have to trust me.

SAM
I don't trust you, I trust him.

VERBEENA
I'll talk you through it.
(to Sam)
We miss you Sam.  I hope you'll get
to come home soon.

With that, she lets go and vanishes.  He punches on the hand link and it begins to strobe and twinkle.  He holds it toward Sam.

OBSERVER
I want you to lay back and relax.
(beat)
Listen to my voice.  You can hear
nothing but my voice.
(beat)
Now, concentrate on the light.  Let
your body go and try to empty your
mind.

Al's instructions are underscored with a gentle roll of thunder as Sam falls under his voice.

OBSERVER
Take a deep breath.
(slower)
Deeper...and release....

Sam allows himself to fall under Al's voice, as we....

DISSOLVE TO

EXT. HAVENWELL HOSPITAL - MORNING

Its stone structure hangs like Hill House in the morning rain.  The huge outreached arms of leafless trees stand naked against the sky.  The spiked-iron fence reaches like tortured fingers above the high stone wall washed in the distant thunder.

BUTCHER'S VOICE
You'll be spending a lot of time with
Masters.

INT. HOSPITAL CORRIDOR - DAY - BUTCHER AND NURSE CHATMAN

It's early, so only a few of the loonies are lurking about.  Butcher is on Chatman's heels.

NURSE CHATMAN
I'm a nurse, he's a doctor and we
happen to be working at the same
hospital.

BUTCHER
I just don't want you makin' any
mistakes

She stops and turns to face him.

NURSE CHATMAN
What are you talking about?

BUTCHER
I'm talking about Masters not
finding out what happened to
Beederman.

She looks at him for a long hard minute.

NURSE CHATMAN
Mr. Beederman came in here as a
depressive.  Six weeks later he
started showing signs of
schizophrenia.  Now he's split into
not one, but several personalities.
(beat)
If what you did in that treatment
room had something to do with it, I
will tell them.

She starts to walk away.  Butcher's words stop her.

BUTCHER
You'll got to prison for what you did
to Tom Black.  And I'll be sure to
tell them that too.

NURSE CHATMAN
I was trying to help him.

BUTCHER
To do what?  Slit his throat?
(next to her)
You were playing doctor, I don't
think Wickless and Masters are gonna
like to hear that their nurses are
playing mind games with their
patients.
(beat)
Do you?

Butcher smiles and nods a good morning, as he opens the door to the viewing room.  Chatman can't even look at him as she slips inside.

INT. VIEWING ROOM

She stands for a moment alone in the dimly lit room, tortured by her conversation.  A sound from the observation room brings her attention to the glass.

NURSE CHATMAN'S POV - THROUGH THE TWO-WAY GLASS

Sam enters.  By his awkward shuffle and dim eyes, we an see he is Jimmy.  Sam crosses to the window and looks in, making a funny face.  Nurse Chatman steps closer and her reflection can be seen in the dark glass.  Slowly, she sinks into the chair as Wickless and several other doctors enter and sit.

INT. OBSERVATION ROOM - ON JIMMY - MIRROR SHOT

He sticks his tongue out and laughs, pointing at himself.  Freddy crosses next to him and turns him from the glass, guiding him to the chair.

NEW ANGLE - FEATURING SAM

Freddy helps him into the chair.  Sam picks up some different shaped blocks and begins to play with them.

DOCTOR WICKLESS'S VOICE
He told us this morning his name was
Jimmy LaMatta.  he says that he
has a real job.  Again, this
person lives in the future.

INT. VIEWING ROOM

Nurse Chatman tries to hold a professional attitude, but it is obvious she's torn.  Four other doctors have entered into the viewing room to observe.

NURSE CHATMAN
From his physical limitations and
speech patterns we believe the
personality of Jimmy to be
re...mentally handicapped.

YOUNG DOCTOR
Do we have any inclination as to
what first brought this behavior on?

DOCTOR WICKLESS
Doctor Masters believe that the
electro shock therapy yesterday
might have triggered some traumatic
childhood memories, and Mr.
Beederman's inability to cope with
those memories, opened a glod gate
of....
(beat)
...people.

OLDER DOCTOR
People who exist in his mind?

DOCTOR WICKLESS
People he invented to protect
himself.

YOUNG DOCTOR
From what?
(beat)
According to his family history,
nothing traumatic occurred in either
his childhood or early adult life to
merit this.

DOCTOR WICKLESS
Unless the traumas never registered
in his conscious mind.

Nurse Chatman looks from Wickless to Sam, more worried than ever.

INT. OBSERVATION ROOM - FEATURING SAM

He plays quietly with his shapes.  Freddy rises and exits just as Doctor Masters sits down.

DOCTOR MASTERS
Hello, Jimmy.

SAM
(looking up)
Hi ya.
(beat)
You wanna make a ship?

DOCTOR MASTERS
What kind of ship Jimmy?

SAM
(thinking hard)
A spaceship!

OBSERVER'S VOICE
It's time, Sam.

NEW ANGLE INCLUDING AL - SFX

He flickers in and out for a beat and then focuses in.  Sam looks up.  He is frightened.

OBSERVER
You've got to tell Doctor Masters
that you want a therapy session.

SAM
But I don't.

DOCTOR MASTERS
Don't what, Jimmy?

OBSERVER
If you don't, I won't be able to
come back.

Al flickers.

SAM
You came back.

DOCTOR MASTERS
Is that your friend Al?

OBSERVER
Then you tell the doctor you want a
shock therapy session.

SAM
Al says if you don't give Jimmy a
shocker, he goes back to the future
forever.

Al starts to flicker out.  Sam jumps terrified to his feet.

SAM
No!  Don't leave Jimmy!

OBSERVER
Tell him to hurry.

DOCTOR MASTERS
Nobody's going to leave you Jimmy.

INT. VIEWING ROOM

The doctors are totally engrossed.

OLDER DOCTOR
What's happening?

DOCTOR WICKLESS
Through all the personality changes,
two things have remained constant.
An invisible friend named Al and the
memory of his last electro therapy
session.

INT. OBSERVATION ROOM

Sam is rocking, bumping his shoulder into the wall and trying to calm himself, upset by the thought that Al will leave him.

OBSERVER
I'm running out of time and Ziggy's
running out of power.
(beat)
It's taking everything he's got to
keep us connected.

Sam turns from Al to Masters, back to Al and back to Masters.  He is caught in an anxiety of total desperation.

DOCTOR MASTERS
It's all right, Jimmy.  Now come sit
down and let's play some games.

OBSERVER
Tell him!

SAM
(to Masters)
You give Jimmy shocker or Al will go
away.
(beat)
Don't let Al go away!

NEW ANGLE

Sam is starting to get violent.  Al knows that the more he riles Sam the more the likelihood of him getting a shocker.  The thunder booms outside, building beneath the scene.  Doctor Masters reaches out to guide Sam back to the chair.  Sam jerks away.

DOCTOR MASTERS
Al won't go away if you don't want
him to.

OBSERVER
Yes I will!

SAM
He says yes.

OBSERVER
And it's all Masters fault!

Again Masters reaches for Sam.  Sam slaps his hand away.

SAM
(to Masters)
Your fault!
(beat)
Your fault Al goes away!

This time he pushes Masters to the floor.  Masters calls for help.

OBSERVER
I'll be gone forever.  Make them
give you a shocker now!

SAM
Give shocker now!

NEW ANGLE

The doors burst open and Butcher and Freddy rush into the room.  They all grab a terrified Sam.  He struggles in the hands of his captors.  Sam screams for help.  Nurse Chatman enters right behind them.

NURSE CHATMAN
Give him a moment!

SAM
Help Jimmy, Al!  Help Jimmy!

OBSERVER
I can only help you if you get a
shocker!

SAM
Shocker!  Give Jimmy a shocker!

NURSE CHATMAN
Try and calm down.  Please.

BUTCHER
Get a straight jacket!
(sotto)
I'll give you a shocker, you freak.

SAM
Let Jimmy go home.
(crying)
Let Jimmy go home.

DOCTOR MASTERS
(to Nurse Chatman)
Get the therapy room set-up.

NURSE CHATMAN
That's two sessions in forty-eight
hours.  It could kill him.

She doesn't move her concentration from Sam.

DOCTOR MASTERS
(yelling)
Nurse Chatman!
(to Freddy)
Get the therapy room set-up!

Sam struggles as Butcher restrains him.  Freddy runs out.

INT. VIEWING ROOM

The room is a buzz, Wickless the center of questions.  As we push through the glass to Al, the pain on his face tells how hard this is for him.  Another deafening crack of thunder rattles the windows and, we....

CUT TO

EXT. HAVENWELL HOSPITAL - DAY

The rain pours down in sheets.  Heavy winds gust, tearing at the twisted branches of the trees.  Sam's anguished screams echo through the halls, as a huge crack of lightening whites the black sky.

INT. TREATMENT ROOM

Sam is strapped to the therapy table.  His screams are drowned out by the boom of another clap of thunder.  Masters, Chatman, Buster and Freddy hustle around the room prepping for Sam's treatment.

SAM
Al!
(beat)
Don't leave!

OBSERVER
I'm here.  I'm right here.

DOCTOR MASTERS
Set the voltage at ninety.

NURSE CHATMAN
Doctor Masters please, his treatment
yesterday was....

Butcher shoots her a look.  Masters is losing it.

DOCTOR MASTERS
If you can't perform as a
professional then I don't need you
in this therapy room.
(beat)
Do I make myself clear?

OBSERVER
(to Sam)
Tell them you want the same voltage
as yesterday.
(beat)
Tell them!

BUTCHER
We're set Doctor.

SAM
It hurts!

OBSERVER
Tell them!

NURSE CHATMAN
(softly to Sam)
It will be alright.  I promise.

FEATURING NURSE CHATMAN, SAM AND AL - SFX

She moves next to Sam trying to take his hand and reassure him.  He's frightened by everything that's happening, but his concentration is on Al.  Al flickers in and out.  He turns and yells to Gooshie.

OBSERVER
Then turn up Ziggy's power!
(beat)
Turn it to MGL.  Just keep me here.
(to Sam)
You gotta tell 'em buddy.  I can't
hold on much longer.

SAM
Same shocker from yesterday.
(yelling)
Sam shocker from yesterday.

NURSE CHATMAN
No.

NEW ANGLE

The rain beats against the window as the full wrath of the storm unleashes itself.  Lighting.  Thunder.  Sam looks to Chatman.  She is his only chance.

OBSERVER
(pleading)
It has to be the same.

SAM
Same that Butcher put yesterday.

DOCTOR MASTERS
What's he talking about?
(to Butcher)
What was the voltage you set
yesterday?

BUTCHER
I...I don't remember.

DOCTOR MASTERS
(pressing Butcher)
What voltage did you give him
yesterday!

NURSE CHATMAN
It was over two hundred!

OBSERVER
Now Sam!  Now!

SAM
Shocker!  Now!

NURSE CHATMAN
Butch was angry that Sam hit him and
raised the charge.

BUTCHER
That's a lie!

OBSERVER
Do it!

Butcher and Masters are in a screaming match as Sam touches Nurse Chatman.

FEATURING SAM AND NURSE CHATMAN

Sam looks to her.  His eyes are filled with pleas of fear and compassion.  Suddenly it's as if a moment of Sam Beckett breaks through.  He pulls her close to him.

SAM
(softly)
It's the only way you can save my
life.
(beat)
Please.  There isn't any more time.

She's torn and confused by the situation.  She looks at the dial.

TIGHT ON DIAL

It sits at ninety.

TIGHT ON HER EYES

They go from Sam, to Masters and Butcher.

CHATMAN'S POV - MASTERS AND BUTCHER - MOS

They are in the throes of an argument about what happened.

ON SAM, CHATMAN AND AL

She struggles for a moment more.  The dull glaze of Jimmy crosses Sam's eyes and a brave little smile breaks on his face.

OBSERVER
Do it!

She reaches for the dial, cranks it and throws the lever.  Sam releases a primal scream and a huge crack of lighting and thunder rips through the sky, as Sam....

QUANTUM LEAPS

INT. LIVING ROOM - SMALL HOUSE

The glow of Quantum Light fades and Sam and Al stand staring at each other dazed and breathless.  After a beat.

OBSERVER
Wow!  What a rush.
(beat)
Ziggy must have been so juiced up
that I leaped....
(looking at Sam)
Are you alright?

A little woozy.

SAM
Yeah.  Yeah.  I think so.
(swoons)
Maybe I better sit down for a
minute.

NEW ANGLE - SFX

Sam crosses to an old stuffed chair and sits, falling through to the floor.

OBSERVER
Uh, oh.

Sam scrambles to his feet as Al tries a few buttons on the little handlink.  It's dead.

SAM
What's going on Al?

OBSERVER
Your guess is as good as mine.
(yelling to
Gooshie)
Gooshie, open the door.

With that, Al walks right into a wall, slamming hard and rebounding.  Stunned, he looks for the first time and notices that his clothes are different.  Sam is in his bathrobe.  The two men look at each other aghast.

OBSERVER
Oh, boy.

FREEZE FRAME

TO BE CONTINUED

Conclude this episode with the script For THE LEAP BACK. Click here.