Hidden Identity
(aka Her Charm)

Thanks to R. Joy Helvie & TVNewsCam

Teaser

Part One

Part Two

Part Three

Part Four

Note:  This script is the first draft of the episode that eventually, with several changes, would become "Her Charm".

Quantum Leap
Hidden Identity
October 26, 1979

Written by:  Paul M. Belous

Executive Producer:  Donald P. Bellisario

Supervising Producers:
Deborah Pratt
Paul M. Belous

Producer:  Harker Wade

Co-Producers:  Paul Brown
Jeff Gourson
Chris Ruppenthal

Production #65416
Written:  November 30, 1989

TEASER

QUANTUM LEAP TO

INT. DINING ROOM - DAY - SAM

He's seated at the head of the dining room table with a party hat on his head and a little plastic horn in his mouth.  On the table in front of him is a birthday cake with candles blazing.  Streamers and balloons adorn the walls.  Standing over him is DIANE POTTER, a beautiful woman in her mid-thirties and TESS POTTER, their sixteen-year-old-daughter.  Both Diane and Tess are in the middle of a rousing rendition of "Happy Birthday".

DIANE/TESS
'...Happy birthday to you.  Happy
birthday to you.  Happy birthday
dear Richard/dad.  Happy birthday
to you.'

SAM'S VOICE OVER
Bouncing around in time never
gives me the opportunity to enjoy
those special moments in life that
we're all accustomed to
celebrating.

TESS
Come on, dad.  Blow out the
candles.

SAM'S VOICE OVER
I can't remember the last time
someone gave me a birthday party.
In fact, I can't remember my own
birthday.  So, here I am.  I got a
cake, and a family...I might as
well make the most of it...

Sam takes a deep breath and as he blows out the candles Diane takes a flash polaroid.  Tess wraps her arms around Sam and smothers him with hugs and kisses.

TESS
Happy birthday, daddy.

DIANE
(tenderly)
Happy birthday, darling.  I love
you more and more each day...

Diane gently kisses Sam on the lips.

SAM
I, uh, love you too.

TESS
Come on, daddy, cut the cake.

Sam picks up the knife and as he cuts the cake he reads the inscription:  "Happy Birthday, Richard."

SAM'S VOICE OVER
Judging by the number of candles,
I'd say Richard is pushing forty.

Sam picks up the Polaroid photograph and sees whoo he has leaped into.

SAM'S POV - THE PHOTOGRAPH

It's a picture of a handsome businessman, prematurely gray, in his late thirties, obviously in excellent shape.

DIANE (O.S.)
Richard, are you okay?

RESUME - SAM

He looks up at Diane and gives her a half-smile.

SAM
I look pretty good for...someone
my age.

Tess places two gifts in front of her father.

SAM
(getting into it}
For me?  You guys are too much.

Sam unwraps the gift and pulls out a piece of granite.  He examines it, attempting to figure out just exactly what it is.

SAM
A paperweight.

TESS
No, Dad.  It's a pet rock.

SAM
(smiling}
Oh, right.

SAM'S VOICE OVER
I forgot about those.  If I
remember correctly they were a
popular fad in the late seventies.

TESS
Open Mom's gift.

Sam picks up the second gift.  He has a little difficulty getting the paper off.  Finally, he quits and just rips the paper off and opens the box.  He pulls out a leather presentation case and flips it open.

SAM'S VOICE OVER
(reading)
'Richard Potter.  University of
Minnesota.  1960.'

SAM
(almost to
himself)
A law degree?

DIANE
To replace the one you had to
leave in Grand Rapids.  I know how
much it meant to you.

SAM
Thank you.

SAM'S VOICE OVER
Well, now I know my name is
Richard Potter.  I'm a lawyer.
And I've landed somehwere in the
late seventies.  The pieces of the
puzzle are beginning to fill in.

The doorbell rings and Tess jumps up.

TESS
I'll get it.

DIANE
(terse)
No!  Let your father get it.

Diane gives Sam a look of apprehension.  Sam slowly gets up from the table and crosses to the front door.

SAM'S VOICE OVER
Must be a surprise party.

ANGLE - SAM

He crosses to the front door and opens it.  Standing on the step is a man dressed in a plain dark suit that looks like it came right off the rack from Sears.  He's slightly built and hunches over when he stands.

WALTER
Richard Potter?

SAM
Yes.

WALTER
(flashing his
badge)
Walter Leadley.  Federal
Marshall's office.  You'll have to
come with me.

SAM'S VOICE OVER
Oh boy...I'm the fugitive.

FADE OUT

END OF TEASER

ACT ONE

FADE IN

INT. FRONT DOOR - DAY - SAM

He's standing at the front door trying to figure out what is going on.

SAM
Am I being arrested?

WALTER
No.

Walter stretches his neck over Sam's shoulder and attempts to look inside the house.

WALTER
Are your wife and daughter here?

Sam steps in front of him cutting off his vision.  Walter looks at him and smiles at him.

SAM
Yes.  Yes, they are.

Diane comes up behind Sam.

DIANE
Who is it, Richard?

When she sees Walter Leadley she stops momentarially almost as if she recognizes him.

SAM
(still somewhat
confused)
This is Walter Leadley from the
U.S. Marshall's office.  He says I
have to go with him.

WALTER
I think you all better come, Mrs.
Potter.

DIANE
(alarmed)
They've found us.  Haven't they.

WALTER
We don't know for sure.  But we
think there's the possibility...

DIANE
I'll get my daughter.

Diane has obviously been through this scenario before.  She turns and quickly crosses back into the house.

DIANE
(shouting)
Tess!

SAM'S VOICE OVER
Obviously the major piece to the
puzzle is unfolding and I'm caught
in the middle.

WALTER
Mister Potter...

SAM
(momentarily
distratcted)
Yes.

WALTER
I' d grab what you can.

Sam steps back into the house and Leadley follows.

INT. DINING ROOM - SAM

He enters with Leadley right behind him.  Diane is dragging out two suitcases from the closet.  But even though she appears to be completely organized she stops and crosses to the desk and begins removing small personal possessions from the drawers that are of no real significance.

WALTER
Only the things you really need,
Mrs. Potter.

ANGLE - DIANE

She slams the draws shut and briskly walks passed Sam.

DIANE
Hell of a way to celebrate your
birthday.

SAM
I guess this is one I'll always
remember.

Diane gives Sam a look and hurriedly crosses into the bedroom.

WALTER
It must be hard living this kind
of life...never knowing when
you've just got to pick yourself
up and leave.

SAM
(with a half
smile)
Sometimes leaping around has its
advantages.

WALTER
(spotting the
birthday cake)
Do you mind if I have a piece?

SAM
No...help yourself.

WALTER
Never got to finish my lunch.
(slicing a big
wedge)
What kind is it?

SAM
Uh, I don't know.  You rang the
bell before I had a chance to eat
any.

Walter shovels a huge fork full of cake into his mouth.

WALTER
(talking with his
mouth full)
Carrot cake.
(puts the plate
down)
It's not my favorite.

SAM
It's not your birthday.

WALTER
Maybe I should see what's taking
your wife so long.

WALTER
(pointing over his
shoulder)
Bedroom?

SAM
(guessing as well)
Yeah, that way.

Walter crosses out of the living room.

OBSERVER (O.S.)
Happy birthday, Sam.

WIDEN TO INCLUDE - AL

He's dressed in his day-glo Sunday brunch attire.

OBSERVER
(looking down at
the cake)
Or should I say, Richard.

SAM
It's not my birthday.

OBSERVER
Good.  Because I didn't get you a
gift.

SAM
Don't worry about it.  The party's
been interrupted.

OBSERVER
Oh, you mean Barney Fife.

SAM
He's a federal marshall, Al.

OBSERVER
I know.  He was sent here to
protect you...I mean to protect
Richard Potter and his family.

SAM
From who?

OBSERVER
I'm afraid you really leaped into
it this time, Sam.

SAM
When haven't I.

OBSERVER
Hey, if we could all pick and
choose who wen wanted to be...I'd
be Hugh Hefner hopping around in
the Bunny Hutch.

SAM
Al, what's going on?

OBSERVER
(punching up his
mini computer)
Well, according to Ziggy, Richard
Potter was an attorney for some
heavyweight characters back in
Kansas City.  You know, the kind
that like to eat linguini and clam
sauce while watching the
Godfather.

SAM
I'm beginning to see the picture.

OBSERVER
Well, one day he just got fed up
with defending these priscuitto's
in court.  He knew they were all
guilty and he was tired of getting
them acquitted on technicalities.
So he turned state's evidence
against his former clients and
voluntarially placed himself and his
family into the federal witness
relocation program.

SAM
And he's been on the run ever
since.

OBSERVER
Each time the government sets him
up in a new location...bam...they
find him.  He's had three new
identities in the past two years.

SAM
It must be hard on him and his
family.

OBSERVER
They all want him bad, Sam.  Those
guys have their praetorian code.

The wheels in Sam's brain spin rapidly.  The puzzle is now complete.

SAM
That's what Diane must have meant
when she said, 'they found us
again.'

OBSERVER
(slight sense of
panic)
Sam, you got to get everybody out
of here.

SAM
But what does Ziggy say I'm
supposed to do?

WALTER (O.S.)
We're supposed to go to the
Federal Building until we can
relocate you.

Sam turns as Walter enters the room carrying two suitcases.  Seconds later Diane enters followed by Tess who has a duffel bag strapped over her shoulder.

TESS
Do I have time to call Janet and
say good-bye?

DIANE
You know the routine.  No good-
byes.

Sam can sense Tess' disappointment.

SAM
You're mother's right.  The call
could be traced.  We don't want to
put anyone in jeopardy.

WALTER
Everybody ready?

Sam looks at Diane who takes one quick glance around the house.

SAM
Let's go.

ON WALTER

He crosses to the front door.  Tess, Diane and Sam follow.

ON DIANE

She abruptly stops.

DIANE
Wait!

She turns and crosses back to the dining room table.  She grabs the leather presentation case with, the law degree, off the table.  As she crosses out of frame camera holds on the Polaroid photo of Richard Potter.

CUT TO

EXT. FRONT OF POTTER HOUSE - DAY - WALTER

He's already crossing to the car as Sam, Tess and Diane run out.

ANGLE - WALTER

He opens the trunk of the car and tosses the suitcases inside.  He slams the lid shut and crosses to the driver's side.

ON SAM, DIANE AND TESS

As they begin to slide into the car Sam looks up and spots a Mercedes moving slowly up the street toward them.  He pays little attention to it as he climbs into the front seat.  Suddenly he hears the roar of the car engine and wheels spinning.  Sam looks up over the roof.

SAM'S POV - THE MERCEDES

It suddenly roars forward.

RESUME - SAM

He leaps into the car and slams the door shut.

INT. CAR - SAM

He grabs Tess by the arm and pushes her down to the floor.

SAM
(yelling at Diane)
Get down!

EXT. STREET - THE MERCEDES 300 CD

It skids to a stop in front of the driveway, blocking their exit.

ANGLE - MERCEDES

The windows are already down.  The driver pulls out a .357 Magnum and the passenger in the rear seat extends a Mach-10.  Suddenly gunfire erupts.

INT. WALTER'S CAR - THE REAR WINDOW

It explodes in a hail of gunfire as Sam and Walter duck down behind the front seat.

ON DIANE AND TESS

Diane holds Tess down as the shattered glass rains all over them.

ON SAM

SAM
(to Walter)
Start the engine!

Walter, his hand shaking, manages to slide the key into the ignition and turn the car over.  His foot has already pressed the accelerator to the floor, so when the car starts the engine is roaring.

SAM
Come on, go!

Sam sees Walter is frozen.

ANGLE - SAM

He reaches across, throws the gear into reverse, and jams his foot on top of Walter's against the accelerator pushing it all the way to the floor.  The car lurches backward.

EXT. DRIVEWAY - WALTER'S CAR

It's wheels spinning rubber roars down the driveway as the men in the Mercedes continue firing.

ANGLE - WALTER'S CAR

It plows directly into the side of the Mercedes sending it spinning across the street.

NEW ANGLE - WALTER'S CAR

It continues all the way across the street jumping the curb.

INT. WALTER'S CAR - SAM

He slaps the gear into drive.

SAM
Hit it.

Walter, still cimpletely in shock from the assault, manages by instinct and involuntary response to floor the accelerator.

EXT. STREET - WALTER'S CAR

It swerves down the street out of control and rounds the corner leaving the immobilized Mercedes behind.

DISSOLVE TO

EXT. FEDERAL BUILDING - DAY - ESTABLISHING

INT. INTERROGATION ROOM - DAY - SAM

He's pacing back across the floor.  Except for a long wooden bench propped up against the side wall there is nothing else in the room in the way of furniture.  As he continues to pace, he glances up into the one-way mirror and sees his reflection.  There is definitely a look of concern on the real Richard Potter's face.

SAM'S VOICE OVER
I'm sure you feel helpless.  But
don't worry....

SAM
I won't let anything happen to
your family.

As Sam continues to walk around the room, we go....

INT. DARK HALLWAY - THE OTHER SIDE OF THE MIRROR - ?WALTER LEADLEY

He's standing with his superior, ARTHUR TALLMADGE, watching Sam/Richard pace back and forth across the room.  Arthur is well into his fifties, colors his hair and buys his clothes off the rack at Montgomery Ward.

TALLMADGE
How's his wife and daughter?

WALTER
Nothing serious.  Slight cuts from
the flying glass.  Mostly
emotional stress and shock.

TALLMADGE
I've contacted our field office in
Raleigh, North Carolina.  They
can't take them for a couple of
days.  So I've arranged for a safe
house until they can make the
move....
(having his
doubts)
Walter, I can't give you any help
on this one.  You're going to be
out there alone.

Walter appears confident, but there is a slight feeling of doubt in his voice.

WALTER
I can handle it.

INT. INTERROGATION ROOM - SAM

As he crisscrosses back and forth Al pops into frame.

OBSERVER
I see you made it through the
assault.

SAM
(startled)
Barely.

OBSERVER
You've never let any of the people
who you've leaped into down yet.
I don't expect you to start now.

SAM
I never imagined I would fall into
something like this.

OBSERVER
Just think what the real Richard
Potter is going through.  His
brainwaves are oscillating so
rapidly he's shorted out the
encephalograph twice.  You don't
have to be a mind reader to know
what's going on inside his head.

SAM
I think I can read his mind and
Ziggy's.

OBSERVER
(punching up his
mini computer)
Ninety-nine point nine, nine,
nine, all the way out to infinity.
Not much margin for error on this
one.  The question of whether the
Potter family lives or dies rests
with you.

SAM
Can Ziggy at least narrow it down
to a time or place?

As Al continues hacking information from his mini computer Walter enters the room.

OBSERVER
ETA...within the next thirty-six
hours.  Place....

WALTER
Are you ready to go?

SAM
Where to?

WALTER
We're going to move you to a safe
house for a couple of days and
then you'll be relocated to
Raleigh, North Carolina.

OBSERVER
(with a sense of
urgency)
Sam, don't let him take you
anywhere.  According to Ziggy,
Richard and his family never make
it south of the Mason-Dixon line.

On Sam's reaction, we....

FADE OUT

END OF ACT ONE

ACT TWO

FADE IN

INT. FEDERAL BUILDING HALLWAY - DAY - WALTER

He is escorting Sam down the corridor.  Al is a few paces back tagging along.

OBSERVER
Sam, did you hear what I said back
there!?!

Sam ignores him as he continues to follow Walter down the corridor.

OBSERVER
Sam!...Sam, read my lips
(articulately
enunciates each
word)
You...don't...make it!

Walter stops at a door.

WALTER
(turning back to
Sam)
I'll get your wife and daughter.
Then we can move to the safe
house.

OBSERVER
Safe house?  Boy that's a misnomer
if I ever heard one.

Walter opens the door and enters inside.

ON AL

He steps in front of Sam and waves both hands in front of his face.

OBSERVER
Do we still have audio and visual
contact?

SAM
Al, I heard everything you said.
But as long as Richard and his
family are under the Federal
government's protection there is
nothing I can do.

OBSERVER
Sam, you are holding the lives of
three people in your hands...four
including your own.

Sam's attention is diverted to some notices tacked on the bulletin board on the far wall behind Al.  He crosses and stares intently at the notices pinned on the board.

OBSERVER
So, instead of following these
guys around like sheep heading for
the slaughter house I'd be
thinking of some way out of
this...Sam, yoiu're ignoring me
again.

SAM
(concentrating on
a cut-out
newspaper
tabloid)
No, I"m not...Al, where am I?

OBSERVER
Where are you?
(gesturing with
his hand)
You're up to here in....

SAM
No, I mean what city?

OBSERVER
Hold on a sec...
(punches up the
mini computer)
...bean town.  Boston.  Why?

SAM
(racking his
brain)
I've been here before.  I know I
have.

OBSERVER
Of course you were here.  You
whipped through a four-year
college curriculum in two years.
And most of that time was spent
locked up in a science laboratory.

SAM
(thinking)
Mass...Massaachu....

OBSERVER
Massachusetts Institute of
Technology

SAM
M.I.T.  Al, I went to M.I.T.

OBSERVER
I know.  You were the youngest
person to graduate magna cum
laude.

SAM
There's a connection.  I know
there is.

OBSERVER
I'm glad you're getting part of
your memory back, Sam.  But right
now we've got more important
things to worry about.

SAM
(under his breath)
Boston...Boston....
(snapping his
fingers)
Berkshires!

OBSERVER
A great place to spend the weekend
in the fall and watch the leaves
turn a myriad of colors, but what
does that have to do with
anything?

Suddenly the door opens.  Diane and Tess emerge followed by Walter.  Sam crosses to them.

SAM
Are you all right?

DIANE
We're fine.

OBSERVER
No, we're not fine.  Sam, would
you mind telling me what the
Berkshires have to do with this?

Sam looks at Tess who has a slight cut and abrasion on the side of her face.  He puts her hand under her chin and tilts her head to one side.

TESS
(gently removing
his hand)
It's nothing, Daddy.  I'm okay.

DIANE
Mr. Leadley says they're moving us
to Raleigh, North Carolina.

SAM
That's where they'd like to take
us.

DIANE
(half-joking,
half-troubled)
I've always been a midwest
farmer's daughter.  I don't know
how I'm going to fare as a
Southern belle.

WALTER
We really have to go.  The van's
downstairs.

Walter ushers them to the elevator at the far end of the hallway.

OBSERVER
Sam, don't leave me in the dark
like this.

CUT TO

INT. UNDERGROUND GARAGE - THE ELEVATOR DOORS - DAY

They slide open.  Walter steps out leading Diane, Tess and Sam.  As the elevator doors close....

SFX

Al walks through the elevator doors.  He follows Sam.  The others are a few paces ahead.

OBSERVER
Animal, vegetable or mineral?
Could you at least give me a
hint...or a clue.

SAM
Something flashed through my mind.
That's all I know.

OBSERVER
And it had to do with the
Barkshires.

SAM
I think so.

OBSERVER
Does it have anything to do with
Arthur Fiedler and the Boston
Pops?

Sam gives him a look.

OBSERVER
You know, Tanglewood.  Open air
concerts.

SAM
Sorry, Al.  It's all a blur.

Sam picks up his pace in an effort to catch up with the rest of the group.

OBSERVER
It would have been so much easier
if your mind had come with you
when you leaped.

ON WALTER, DIANE AND TESS

As Sam catches up.  They cross to an area where three identical white panel vans are parked.

WALTER
The three vans will leave
simultaneously.  We'll be in the
third one.  So, if our friends
from the house have us under
surveillance, they'll have a one
in three shot at picking the van
we're in.

Walter slides open the panel door.

WALTER
Okay.  Let's go.

Diane and Tess climb in.

OBSERVER
Sam, if you go with him you'll be
putting everyone in jeopardy.

SAM
(to Al)
I have no intention of putting
anyone in jeopardy.

WALTER
I appreciate your concern, but I
can assure you, you and your
family will be perfectly safe.

OBSERVER
Sam, three identities in two
years!

SAM
(to Al)
I know.

WALTER
Then I think we should be on our
way.

SAM
(to Walter)
Can I talk to you for a second.

ANGLE - SAM AND WALTER

They cross back of the van.

SAM
I'm not going to tell you people
how to run your operation, but I
don't think we should go to the
safe house.

WALTER
Mr. Potter.  I can't alter the
plans.  Everything has been
arranged.

SAM
Change them.

WALTER
I can't do that now.

SAM
You've going to have to.

WALTER
But there's no other place we can
take you that's secure.

CUT TO

EXT. UNDERGROUND GARAGE - ENTRANCE/EXIT - DAY - THE THREE WHITE VANS

They pull out of the structure in single file.  The camera pulls back inside of a car parked across the street.  The two men who assaulted Sam at the house watch as the three vans merge into traffic.

ANGLE - THE THREE VANS

The first one turns left and heads into traffic.  The second turns right and merges into traffic.  And the third follows the first white van and takes an immediate left at the first intersection.

EXT. CITY STREET - THE PARKED CAR

It whips out into traffic and follows the third van that hung a left at the first intersection.

EXT. UNDERGROUND GARAGE - ENTRANCE/EXIT - AN ND ?GOVERNMENT SEDAN

It emerges from the structure, hangs a quick right and gets lost in the flow of traffic.

DISSOLVE TO

EXT. BERKSHIRE MOUNTAINS - DAY - TRAVELLING SHOT - ND SEDAN

It follows the winding blacktop road through the bucolic meadows deeper into the high tree line forest.

SAM
At least you'll have a butt when
this is over.

WALTER
Could you at least tell me where
we are going?

SAM
I'm trying to find a cabin I used
to use on weekends when I was in
college.

DIANE
Richard, how could you use a cabin
here on weekends?  We went to the
University of Minnesota.

SAM
(catching himself)
I, uh, meant, I, uh, used during
weekends on my summer break when I
was in college.
(glancing out the
window)
Wow, look at the deer with her
baby fawn over there!

TESS
(looking out the
window)
Where!?!

SAM
It just darted into the woods.
They're pretty quick.  If you
don't keep alert you'll mis a lot
of things.

Sam glances into the rearview mirror to see if he's been able to distract Diane from his faux pas about the cabin.  He notices her head is turned away and looking out the other side of the window.  He breathes a slight sigh of relief.

EXT. BERKSHIRE MOUNTAINS - DAY - THE SEDAN

It continues travelling up the road deeper into the mountains.

CUT TO

INT. SAFE HOUSE KITCHEN - DAY - BATALINO AND MERCK

The two men who assaulted Sam and his family are standing in the kitchen.  Batalino is talking on a walk phone while his partner, Merck, raids the refrigerator.

BATALINO
...there's nobody here...they
never showed up...how do I
know?...you want us to wait or
what?...whatever you want us to
do, we'll do.

He hangs up the phone and crosses to his partner who is in the process of making himself a sandwich.

BATALINO
We're out of here.

MERCK
What about lunch?

BATALINO
(as he opens the
back door and
exits)
Get it to go.

Merck rolls up a couple of pieces of bologna, dips them in a jar of mustard and sucks it into his mouth.  He sticks a couple of celery stalks in his shirt pocket and picks up a box of Oreo cookies as he bounds out the door.

CUT TO

EXT. MOUNTAIN CABIN - DAY - ESTABLISHING

Camera pulls back as Sam pulls the car up to the front of the cabin.

ANGLE - SAM

He climbs out of the car and stares at the cabin and then looks back over his shoulder to the lake.  He appears to be in familiar surroundings but his memory keeps fading in and out.  He turns back to the cabin one more time just to make sure.

SAM
This is it.

ON DIANE

She stares out at the glass lake and bushreeds that hug the water's edge.  A small dock juts out into the water.  You can hear the waves softly beating against the wood pilings.  The total silence is broken  only by the call of a loon calling to it's mate.

ANGLE - DIANE

She walks over to Sam and puts her arms around him.

DIANE
It's beautiful.  How come you
never brought me here?

SAM
I had a hard time remembering
where it was.

DIANE
It should stay hidden.  From
us...from other people...from the
rest of the world.

TESS
At least from the people whoo are
trying to kill us.

DIANE
Tess!

SAM
It's all right.  We'll be safe
here.

WALTER (O.S.)
Doesn't seem to be anyone home.

Sam and Diane look around and see Walter standing on the front porch.  The door is open to the cabin.

WALTER
I think we should all get inside.

SAM
(to Diane)
Go ahead.  I'll unload the car.

Diane and Tess cross to the cabin as Sam crosses to the trunk of the car.

ANGLE - SAM

He unloads the suitcase and slams the trunk shut.  He crosses to the cabin.  As he get up to the steps he stops and turns once more back to the lake.

SAM'S VOICE OVER
The question that was running
through my mind now was, why I was
actually here.  In helping the
Potter family, would I find out
something about my past that I had
forgotten.

CUT TO

INT. CABIN - DAY - SAM

He enters carrying the suitcases.  The main floor is one large room with a bathroom and bedrooms off to the back.  It's decorated sparsely with Ethan Allen furniture.  A large rag rug covers most of the living room area.

ON DIANE

She comes out of one of the bedrooms.

DIANE
Well, there's only two bedrooms.
I guess the three of us can take
the large room and Walter can have
the small one.

ON WALTER

He's going through the kitchen cabinets and refrigerator checking to see what if anything has been left behind.

WALTER
You folks can each take a bedroom.
I'll take the couch over there.
That way I can stay up in case...

SAM
It's all right, Walter.  We're the
only ones who know we're here.

WALTER
(checking the last
cabinet)
Well, who ever was here last
didn't leave much in the way of
food behind.  The place we should
have gone to was fully stocked.

SAM
We passed a roadside stand on the
way up.

TESS
All they were selling was apples
and hard cider.

WALTER
Well, it's something.  I'll take
the car and stop there first.
Maybe they can tell me if there's
a market nearby.

Walter crosses to the door.

WALTER
Keep the door locked.

He's about to exit, then turns back.

WALTER
Oh, and stay inside until I get
back.  And keep the curtains
closed.  And if you see any
suspicious hikers don't let them
see you.  And....

SAM
Walter, if you don't leave now
you'll never get back before dark.
And there are no street signs to
guide you back.

WALTER
I'll be back as soon as I can.

Walter exits.

DIANE
Richard, do you think we should
have gone to where they wanted us to
go instead of coming here?

Sam can detect an edge of concern and doubt in her voice.

DIANE
I mean, you took it upon yourself
to remove us from the government's
protection.  You've never done
anything like that before.

SAM
I had to do it.  For you.  And for
Tess.

DIANE
Is there something you're afraid
to tell me?

SAM
(hesitant)
Diane, you have to trust me on
this one.

DIANE
Richard, I've never questioned
your motives before, but this
concerns all of us.

SAM
I know.

DIANE
When we decided to give up the
life we had been living and go
into hiding, we made that decision
as a family.  Don't shut us out
now.

SAM
That's the last thing I want to
do.

Diane crosses to Sam and embraces him.

DIANE
We've gone through a lot.  And
we'll go through a lot more before
this is over.

SAM
After this, I hope you'll be safe
forever.

DIANE
We will be safe forever.  Remember
that.  You're not in this by
yourself.  We're a family.  Tess
and I made the choice to come with
you.  We supported you then and
we'll support you now.

She reaches up and gives Sam a tender and passionate kiss.

DIANE
I love you.

SAM
(smiling)
Richard Potter is a very lucky
man.

CUT TO

EXT. ROADSIDE FRUIT STAND - DAY - WALTER

He's standing in a phone booth talking on the phone while balancing a sack of apples and a one-gallon jug of hard apple cider.  In the b.g. is the open-air stand stacked with bushels of apples, jugs of cider, and maple syrup.  We will intercut the following conversation.

WALTER
...I know I broke procedure...but
there was nothing I could do...he
refused to accept our
protection...I'm not sure.  I'm
calling from a cider stand.

Walter leans his head out of the booth and checks for road signs.  He spots a post sign "STONEBRIDGE 8 Mi."

WALTER
It's somehwere off route
two..oh..two...near
Stonebridge...it's by a lake,
that's all I know.

INT. ARTHUR TALLMADGE'S PRIVATE OFFICE - DAY - TALLMADGE

He's sitting behind his desk talking with Walter.

TALLMADGE
Well, stay with them until we can
get to you...that's all right,
Walter...no, there was no point in
forcing them to go with you...you
did the right thing by staying
with them...fine..fine...just stay
there until I can get some men up
there to help you...

WALTER
Yes, sir.

Walter hangs up the receiver and crosses back to his car.

ON TALLMADGE

He hangs up the phone.  As he gets up from his desk the camera pulls back to reveal Batalino and Merck seated across from him.

TALLMADGE
They are somewhere off route
two...oh...two.  That's all he
knows.

BATALINO
(rising from his
chair)
That's all I need.

As the two men start for the door TAllmadge follows.

BATALINO
What are you doing?

TALLMADGE
I'm coming with you.  If he sees
me we'll be able to get in close.

FADE OUT

END OF ACT TWO

ACT THREE

FADE IN

INT. MOUNTAIN CABIN - NIGHT - SAM

He's alone in the room sitting on the couch reading.  The room is half-lit from the single small-wattage floor lamp.  The embers from an earlier fire cast a soft glow across the room.

SAM'S VOICE OVER
There were a lot of similarities
to the lives Richard and I were
leading.  both of us were on the
run trying to get to a place where
we would be safe.  And we both
have people who love us and
strongly support us.  And you need
the Diane's and Al's when you're
out there all alone.

In the b.g. the bedroom door opens and Diane steps out.  She's dressed in cotton nightshirt that clings to her fine form.

DIANE
Are you coming to bed?

Sam looks up and sees Diane standing in the doorway.  It would be hard for any man to turn this offer down, but SAm, the purist that he is, looks for any excuse he can to get out of spending the night with another man's wife.  Especially when he's in the body of that man.

ANGLE - SAM

He quickly reaches over, grabs a paperback book off the coffee table and randomly flips it open.

SAM
I, uh, found this old copy of The
Last Of The Mohigans.

ON DIANE

She suductively crosses to Sam.

SAM
I started reading it...and, uh,
I'd hate to put it down before I
find out who the last one is....

Diane takes the paperback out of Sam's hands.

SAM
Uncas, or uh, Chingachgook.

DIANE
Where's Walter?

SAM
Walter, he's outside...walking
around...making sure we're safe.

ON DIANE

She, tosses the book aside, leans over the couch, wraps her arms around Sam and gently begins nibbling on Sam's ear.

DIANE
(coyly)
How long do you think he'll be
gone?

Diane continues her foreplay as Sam squirms for anyway out he can.

SAM
Ummm, he didn't say.

Diane begins kissing Sam on the neck and unbuttoning his shirt.

DIANE
How does the thought of lying on a
bearskin rug in front of fire and
making love to your wife sound to
you?

SAM
Uh....
(glancing down to
the floor)
...there's no bearskin rug.

She puts her hand under his chin and brings his head close to her.

DIANE
Let it be our fantasy.

As she moves in for the kill the front door opens and Walter enters.

WALTER
I don't think we have to worry
about anybody showing up tonight.

DIANE
(the mood broken)
Want to bet.

The sight of Diane half-undressed almost embarrasses Walter.  He crosses to the kitchen area making a concerted effort not to look at Diane.

SAM
(getting up off
the couch)
See anything?

WALTER
A lot of tiny red eyes shinging in
my flashlight.

SAM
Well, unless we're attacked by a
band of mauauding raccoons, we
should be safe for the night.

DIANE
I'm going to bed.
(to Sam)
Are you coming?

ON SAM

He walks over to where the book is laying and picks it up.

SAM
(flipping through
the pages]
I'm on the last eighty-seven
pages.

DIANE
You always were a fast reader.
I'll wait up for you.

She crosses to the bedroom and as she's about to close the door she gives Sam one last long seductive bedroom-eye look.

SAM
(to Walter)
Am I going to be keeping you up?

ON WALTER

He's standing in the kitchen area making himself a cup of instant coffee.

WALTER
No.  If I have to stay awake I'd
rather talk to someone than drink
coffee.

Walter turns off the gas stove and crosses to Sam.

WALTER
It must be very hard on your
family living like this.

SAM
Today proved that.

WALTER
A lot of the people I work with
have the attitude that everybody
who goes into the witness
protection program is a criminal.
They don't want to make the
distinction between those who
committed the crime and those who
testified against them.

SAM
And how do you see me?

WALTER
I don't know that much about you.
All I've seen from yoru case file
is that you were a top lawyer who
represented some pretty tough
characters.

SAM
Guilt by association.

WALTER
Oh, I don't think you're a
criminal....
(staring at him
for a beat)
...you don't have the eyes of one.

SAM
(casually glancing
away)
I guess you've looked into the
eyes of a lot of criminals.

WALTER
Not that many.  I haven't been
doing this for very long.
(after a beat)
Actually, you're the first
assignment I was given to handle
by myself.  They don't trust me to
work alone.  I botched a few in
the past...not that anybody ever
got hurt...more in the line of
policy screw-up.

SAM
You've done a pretty good job so
far.

WALTER
You forget, I froze when the
shooting started.  You're the one
who got us out of there.

SAM
I guess when a man sees his family
in danger he reacts differently.

WALTER
I should have reacted differently.
I was trained for these
situations.

SAM
Why did you want to become a
Federal Marshall?

WALTER
I didn't.  I mean, I wanted to be
an FBI agent but I couldn't pass
the entrance examination.  And
when I tried to get into the local
and state police I failed the
physical...I had rheumatic fever
as a kid...left me with a heart
murmur.  So, as determined as I
was to get into law enforcement I
kept trying until somebody took
me.  And here I am.

SAM
I admire your perseverance and
determination.

WALTER
And I admire yours.

Sam gets up and crosses to the fireplace.

SAM
If we're going to stay up all
night I better get this fire going
and keep the room warm.

He throws a few more logs on the fire.  The camera pushes into the burning ember, and we....

DISSOLVE TO

EXTERIOR - CLOSE ON SUNRISE - ESTABLISHING

EXT. LAKE - MORNING - SAM

He's standing by himself on the dock staring out across the crystal glass lake.  The early morning chill causes him to button the top button of his pendleton.  He blows on his fingers and places his hands in his pockets.  Sam watches a loon bob up and down diving for fish near the water's edge.  The surface tension from his motion causes the water to gently lap against the wood pilings.  The sound of Canadian geese honking overhead distracts Sam momentarialy causing him to look up.  He looks away and then turns his attention back to the cabin.

SAM'S VOICE OVER
I'd like to attribute my thinking,
I've been here before, to deja vu.
But the real reason was lost
somewhere between my past memory
and my future recollections.

OBSERVER (O.S.)
Beautiful sight, Sam.

WIDEN TO INCLUDE - AL

OBSERVER
Nothing beats having a sunrise
like this all to yourself.

SAM
I wish we could stop time and hold
onto these moments.

OBSERVER
Well, enjoy it while you can.
It'll all be gone by 1995.
There'll be condo's over
there...private homes over
there...and a floating marina
smack dab in the center of the
lake.  By the time the developers
get through with this place, you
can kiss mother nature and all her
glorious splendor good-bye.  It's
a damn shame.

SAM
Al, I've been here before.  I know
I have.

OBSERVER
(pointing to the
topography)
Here, here.  Or here....
(pointing to his
head)
...in here?

SAM
Al, there's a definite reason why
I'm here.

OBSERVER
And Ziggy says it has to do with
keeping Richard and his family
alive.

SAM
There's more than that.  Something
that has to do with just me.

OBSERVER
(punching up his
mini computer)
Sam, we've got you're whole life
on a three and a half inch disc.
And I'm coming up with nothing
that indicates any association
between you and this place.

SAM
It's something that's inside me.
It won't be on any computer disc.

INT. MOUNTAIN CABIN - DAY - DIANE

She crosses to the cabin window and pulls open the curtains to let in the morning light.  She sees Sam standing on the dock apparently talking to himself.  She watches him for several beats, then turns and walks away from the window.

EXT. LAKE - DOCK - SAM AND AL

They are still standing on the dock talking.

OBSERVER
...whatever it is that's haunting
you, in the back of your mind,
will come to you when it's ready.

SAM
(hostile emotion)
But I'm ready.  Why can't I
remember!?!

OBSERVER
Don't try and force it, Sam.
It'll only make fondue out of your
swiss cheese memory.

There is a long pause between both men.  Sam is at a loss because his memory has failed him again.  And Al is at a loss because there is nothing he can do to help his closest friend.

SAM
I better get back inside.

Sam turns and crosses back to the cabin.

OBSERVER
Hang in there, Sam.

CUT TO

EXT. ROADSIDE FRUIT STAND - DAY - BATALINO

He's standing by the truck talking with the farmer.  After several beats he crosses back to the Mercedes parked just off the road.

EXT./INT. MERCEDES - MERCK

He is seated in the car staring into the sideview mirror, watching Batalino cross back to him.  Tallmadge is in the backseat.

ANGLE - BATALINO

He opens the door and slides in.

BATALINO
We're close.

MERCK
How come you didn't get any
apples?

His partner turns and gives him an incredulous look.

MERCK
You never get fresh apples like
these in the city.

BATALINO
Make it quick.

Merck pops open the door and hops out.

MERCK
(turning back to
his partner)
You want me to get you guys a bag?

TALLMADGE
You got thirty seconds or we'll
leave you here.

On Tallmadge's reaction, we....

CUT TO

INT. MOUNTAIN CABIN - DAY - DIANE

She's in the kitchen area drying off several dishes and placing them in the cabinet.  Tess is stretching a dining room scarf across the table and replacing the centerpiece.

TESS
Mother, when is this going to end?

DIANE
I don't know, dear.

TESS
I wish it was over now.  I wish we
could live like a normal family.

DIANE
Tess, we've been through this.

TESS
Doesn't it bother you that
everywhere we go we have to lie.
We lie about our names, we lie
about who we are, where we come
from....

DIANE
It's part of the life we chose.

TESS
(distraught)
Just once I'd like to be able to
tell people my real name.

DIANE
Tess, I know this is extremely
difficult for you but I can't
change what's happened.

TESS
I know that.

DIANE
(becoming
impatient)
Then why are you bringing it up
again!?!

We can sense the tension building.  Both Diane and Tess are on the verge of cracking.

TESS
Because it's not fair.

DIANE
Do you think your father or I like
living like this!?!  Do you think
we want to spend the rest of our
lives on the run, always afraid
every time we hear the doorbell
ring...or knowing that every
person who looks at you peculiarly
could possibly be someone who
wants to kill us?

Tears begin to form in Tess' eyes.  The strain is becoming too much for her and she starts to cry.

TESS
(trembling)
I just...want...it to be over.

Diane takes her dauther in her arms and caresses her gently against her bosom.

DIANE
I know, baby.  I know.  I want it
to be over, too.

Sam enters, balancing a load of firewood in one hand.  He holds the door open with his other hand as Walter enters behind him.  Walter has both arms extended out and has the wood stacked up to his chin.

SAM
Well, we shouldn't freeze tonight.

ANGLE - SAM

He crosses to the fireplace and drops the wood into an antique metal bin.  He looks up and sees the expressions on both Diane's and Tess' face.

SAM
What's wrong?

DIANE
Can we take a walk?

Sam looks at her and then at Walter.

WALTER
Just don't go too far from the
cabin.

CUT TO

EXT. WOODS - DAY - SAM AND DIANE

They are following a path away from the lake deeper into the trees.

DIANE
I think we have to make a
decision.  And I don't think the
solution is going to be an easy
one.

SAM'S VOICE OVER
I was hoping that what Diane was
about to say could have waited
until the real Richard came back.

SAM
I know this hasn't been easy for
you or for Tess.

DIANE
We've gone through too much in the
past two years.

SAM
Do you regret the choice you made?

DIANE
No.  Not for a minute.  But I
think it's reached a point where
we have to ask ourselves, do we
want to continue living like this.

SAM
I can't think of any alternatives.

DIANE
You already have, when you refused
the governments protection and
brought us here.

Sam looks at her almost afraid to guess what she might be thinking.

DIANE
We should leave the witness
relocation program and take our
chances on our own.

SAM
Diane....

DIANE
We wouldn't be any worse off than
we are now.

Sam struggles to find the words that would change Diane's mind.  But she's already shooting back her arguments.

DIANE
At least the choice of where we
wanted to live would by ours.

SAM
But we'd be leaving ourselves out
there without any protection.

DIANE
Richard, every time the government
places us in a new home and gives
us a new identity they find us.
The system doesn't work...at least
not for us.

SAM
What do you want?

DIANE
I want us all to start living
again.  I want you to be able to
practice law.  Not work in some
menial job that I know you're
miserable doing.  And I want Tess
to grow up like a normal child.
Be able to keep friends and not be
afraid to have them come over to
our house.

She comes closer to Sam.

DIANE
Richard, let's stop running, let's
start now...here...let's go back
and tell WAlter we don't want the
government's protection anymore.
They can't force us to stay in the
program.  We made the decision to
enter it, we can make the decision
to pull out.

SAM'S VOICE OVER
I kno Al will hate me for this.
But I feel a decision of this
magnitude shouldn't be made by me.
It was their lives.  It should be
their choice.

SAM
Well, you didn't seem too keen on
North Carolina.

She reaches up and wraps her arms around Sam and kisses him passionately.

DIANE
I love you so much.  We can make
it.  I know we can.

CUT TO

EXT. DIRT ROAD - DAY - THE MERCEDES

It's pulled off the side of the road.  Tallmadge, Batalino and Merck are standing by the rear of the car.  Batalino and Merck are unloading their automatic weapons from the trunk.  As Batalino slams the lid down we can see the cabin in the distant f.g., with Walter's car parked in front.

ANGLE - THE THREE MEN

They begin to walk slowly toward the cabin.

CUT TO

INT. MOUNTAIN CABIN - DAY - TESS

She peers out the window and sees Tallmadge, Batalino and Merck slowly coming up the road toward the cabin.

TESS
Mr. Leadley.  There's somebody
coming.

ON WALTER

He quickly crosses to the window and pulls Tess aside.  He then looks out and sees Tallmadge leading two men toward the cabin.

ANGLE - WALTER

He crosses to the front door.

WALTER
(somewhat
relieved)
It's all right.  They're federal
Marshalls.

EXT. MOUNTAIN CABIN - WALTER

He steps out onto the front porch, walks down the steps, and crosses to Tallmadge.

TALLMADGE
Walter, are the Potter's inside?

Walter is about to answer when he glances at Batalino and Merck.

WALTER
I don't recog....

Before Walter can finish his sentence, Batalino pulls out his automatic weapon and opens fire.

ON WALTER

The bullet shatters his kneecap sending him spawling to the ground.

CUT TO

EXT. WOODS - DAY - SAM AND DIANE

The sound of the gunshot echos across the lake.  They look in the direction of the cabin in terror.

OBSERVER
Sam!  They found you!

DIANE
Oh, my God.  Tess!

SAM
(to Diane)
Stay here!

Sam rushes off in the direction of the cabin and we....

FADE OUT

END OF ACT THREE

ACT FOUR

FADE IN

EXT. MOUNTAIN CABIN - DAY - WALTER

He is laying on the ground in a half-fetal position holding onto his bloody knee with both hands.  He is in extreme pain and agony.

ANGLE - WALTER

He attempts to get to his feet, but as he rolls over and pushes himself up, Batalino walks up to him and kicks his leg out from under him sending him sprawling to the ground in excruciating pain.

ON BATALINO

He stands over Walter and presses his foot on top of Walter's shattered knee.  Walter let's out an agonizing scream.

BATALINO
Are they in the house?

He applies more pressure on Walter's knee.  Walter screams in pain as he desparately reaches for the man's ankle.  He manages to grab a piece of the gunman's pant leg but the gunman swats his hand away.

TALLMADGE
Tell him, Walter.

ON SAM

He comes to the end of the treeline, near the edge of the lake keeping himself partially concealed behind a row of trees.

SAM'S POV - TALLMADGE, BATALINO AND MERCK

They are standing over Walter.

OBSERVER (O.S.)
Sam, you can't let them get to
Tess.

RESUME - SAM AND AL

A thousand thoughts flash through Sam's mind as he frantically searches for a way to neutralize the scene that is unfolding in front of him.

OBSERVER
What are you going to do?

SAM
The only thing I can do right now.
Improvise.

Sam moves off through the trees circling around toward the rear of the cabin.

ON WALTER, TALLMADGE, BATALINO AND MERCK

Merck bends down, reaches under Walter's coat, and removes the pistol from the shoulder holster.

ANGLE - MERCK

He turns around and heaves the gun far out into the lake.

TALLMADGE
I'll check the house.

Merck looks down at Walter.

BATALINO
Forget about him.  He's got no
gun.  And he's a cripple.  What
can he do?

Tallmadge draws his gun and begins to climb the steps of the cabin.  Walter attempts to reach out and grab him.

WALTER
(shouting)
Run!!!!!!

Batalino kicks Walter in the side of the head knocking him unconscious.

INT. CABIN - TESS

She's moving away from the window having witnessed everything that has happened outside.  As she backs up she's startled by the sound of the kitchen door flying open.  She wheels around and screams.

ON SAM

As he comes through the front door.  She runs to him and grabs on to him.

SAM
Tess, we have to get out of here.

Before he can take two steps, the front door begins to open.  Frantic, Sam picks up the fire poker from the wrought iron stand.

NEW ANGLE - SAM

He crosses to the front door just as Tallmadge's arm comes into frame from behind the door.  Sam raises the poker over his head and sends it crashing down against the man's forearm.  The gun falls from his hand and skids across the floor as he cries out in pain.

TALLMADGE
Ahhh!  Son-of-a....

The gun is too far from Sam's reach.  He grabs Tess and drags her out the kitchen door, dropping the poker on his way out.

TALLMADGE
Around back!  He's around back!

EXT. CABIN - BATALINO AND MERCK

They have walked halfway down to the lake.  Tallmadge's scream causes them to quickly turn around and run back toward the cabin.

EXT. REAR OF CABIN/WOODS - SAM AND TESS

They are running away from the cabin into the woods.  Automatic gunfire cracks and bullets whizz all around them and ricochet against overhanging branches.

EXT. CABIN - BATALINO AND MERCK

They are standing by the side of the cabin firing their weapons.  Batalino has the Mach-10, Merck is firing a Henkler and Koch machine pistol.

BATALINO'S AND MERCK'S POV - SAM AND TESS

They are disappearing into the dense coverage of the trees.

RESUME - BATALINO AND MERCK

They follow after them.

EXT. WOODS - SAM AND TESS

Sam is leading her by the hand as they dart in and around trees and over rocks.

ANGLE - TESS

Sam's pace is much too fast for her.  She's losing her breath and her balance and finally stumbles over several rocks.  She falls to the ground almost yanking Sam down with her.

SAM
(pulling her to
her feet)
Are you all right?

TESS
(out of breath)
Yes.

OBSERVER
You got to keep moving, Sam.  He's
not that far back!

SAM
Tess....
(pointing)
...that way...find your mother.

TESS
But....

SAM
(pushing her)
Go!...I'll be right behind you.

Tess runs off into the woods.  She stops and turns back to Sam.

SAM
Go!

She hesitates a beat, then turns and runs deeper into the woods vanishing from view.

OBSERVER
Okay, Sam.  Let's take these guys.

SAM
I got lucky with the first one,
Al.  I don't think I can handle
two more.

OBSERVER
Don't worry.  I'll help you.

SAM
How?

OBSERVER
I was shot down in Vietnam,
remember.  I had to survive in the
jungle for two weeks with VC all
around me.
(looking around)
This place doesn't look too much
different.  If I did it there.  I
can do it here.

SAM
Al, you got caught.

OBSERVER
Only because I fell asleep in some
elephant grass and one of them
Charlie's tripped over me.

Suddenly gunfire erupts all around Sam.  He dives for dover sprawling to the ground.

OBSERVER
You're on the move, Sam.  Go!
Stay low!

ANGLE - SAM

He scrambles to his feet and moves off through the trees.

MOMENT LATER - BATALINO AND MERCK

They run into frame.  Al sticks out his leg in an effort to trip Batalino....

SFX

Batalino runs right through it continuing after Sam.  We can sense the frustration in Al's expression, knowing he's a halogram and is unable to help his friend at all.

CUT TO

EXT. WOODS - DIANE

She's standing in the blind where Sam told her to wait.  She hears the sound of gunfire crackling in the distance.  Disregarding Sam's orders she begins to run back toward the cabin.

ANGLE - DIANE

She only gets a short distance before she runs straight into Tess.  The sight of her mother sends a calm relief in Tess' expression.  And the sight of her daughter, safe, brings an ever great sense of relief to Diane.

NEW ANGLE - DIANE AND TESS

DIANE
Where's your father?

Tess looks back over her shoulder still trying to catch her breath.

TESS
(motioning with
her hand)
Back there.

As Diane moves in the direction of Sam, Tess grabs her by the arm.

TESS
Mother!

DIANE
It's going to be all right!

Their attention is diverted to the sound of running footsteps rustling through the fallen leaves.  As they look up....

ON SAM

As he crashes through the low lying branches.  He runs up to Diane and Tess.  There is a sense of relief from the three of them that they are all together, safe, if only for the moment.

DIANE
Are you okay?

SAM
(breathing
heavily)
I'm fine...I'm fine.  I think it's
the same men from before.  I can't
tell.

DIANE
What happened to Walter?

SAM
I know he's hurt.  I just don't
know how bad.

WIDEN TO INCLUDE - AL

Stepping up to group.

[center]OBSERVER
Sam, they're closing in!

Sam spots a partially buried rock shelf.

SAM
(to Diane and
Tess)
This way!

He grabs Diane and Tess and leads them over to the rock shelf.

ON - THE HALF-BURIED ROCK FIELDS

SAM
Stay under here.

Sam all but pushes Diane and Tess under/behind the rocks.

SAM
When it's safe.  Follow the lake
around to the other side.  Stay on
the road until you find help.

DIANE
Richard....

SAM
I'll catch up.  I promise.  Now
stay down.

Sam moves off.  Camera holds on Diane as she huddles with Tess behind the rocks.

CUT TO

ON BATALINO AND MERCK

They're loping through the treeline searching for some sign of Sam.  Batalino is in the front, Merck lags behind as he begins to suck wind.

ANGLE - BATALINO AND MERCK

Batalino slows his gait to a walk allowing Merck to catch up.  They stop near the rock slide where Diane and Tess are concealed.

NEW ANGLE - BATALINO

He listens acutely for any sound in an effort to detect which direction Sam is moving.

ON DIANE AND TESS - THEIR POV - BATALINO AND MERCK

Batalino is circling in place looking up into the trees.  As he turns and appears to be looking in their direction....

RESUME - DIANE AND TESS

Diane pulls Tess down as close to the ground as they can possible get.

LOW UP ANGLE - CLOSE ON BATALINO

He stands silently for a beat.  Then, hearing or seeing nothing he motions for Merck to move off in one direction.  After a brief moment, Batalino goes off the opposite way.  Camera pans over to the rock slide and holds for a beat.

ON DIANE AND TESS

They emerge from their hiding place.  Diane has Tess by the hand.  She starts leading Tess back toward the cabin.

TESS
(letting go of her
grip)
Daddy said follow the lake.

DIANE
(pulling her in
the opposite
direction)
This way.

As they move off, we....

CUT TO

EXT. WOODS - SAM

He bounds over a dead tree then stops to catch his breath.  He looks back over his shoulder to see if his pursuer is within sight.

OBSERVER
This is not a good place to stop.
Too open.  Stay on the run.

SAM
Al, I'm not a marathon runner.

OBSERVER
It's all right.  We almost got
them where we want them.

SAM
(doubting)
Right.

OBSERVER
Sam, you've got the advantage.

SAM
Al, they've got the guns.

OBSERVER
Doesn't matter.

Sam gives Al an incredulous look.

OBSERVER
You're the hunted.  You know where
you're going...they don't.  Now
come on.  Just a little further.
Then we'll have them.

Sam sucks air in one more time and moves off.  Camera holds on Al who looks back with a confident smile.

OBSERVER
(as if talking to
Batalino and
Merck)
Come on.  Keep coming.  This way.

CUT TO

EXT. WOODS - BATALINO

He's moving through the trees cautiously stalking Sam.  Where he once appeared confident, he now seems to be becoming concerned that he's lost Sam completely.

NEW ANGLE - BATALINO

He's walking very slowly now.  He appears to be disoriented.  Any natural sound causes him to jump.  He stops and stands motionless.  It's becoming a game of nerves.  The sound of a rock thumping against dry leaves cause him to spin around.

ON - A PILE OF DEAD LEAVES ON THE GROUND AT THE FEET ?OF BATALINO

They explode up into the air.

ON SAM

As he leaps up from his camouflaged lair and throws himself into Batalino's body.

ANGLE - SAM AND BATALINO

Sam's momentum sends Batalino crashing to the ground.  His gun discharges several spurts wildly.

CUT TO

EXT. WOODS - MERCK

He's cautiously moving around a tree as the sound of gunfire echoes through the woods.  He stops, turns and quickly runs in the direction of the gunfire.

CUT TO

EXT. WOODS - SAM AND BATALINO

They wrestle for control of the gun with neither man gaining the upper hand.  The fight continues (To Be Staged by Diamond) ending with Sam making sure Batalino is taken out completely.

OBSERVER
Nice going, Sam.  Now pick up the
gun.

Sam reaches down and picks up the Mach-10.

SAM
Al, I don't know how to use one of
these.

OBSERVER
(somewhat
frustrated)
All right.  Stick the barrel into
the ground.

Following Al's instructions, Sam jams the nose of the barrel deep into the soft earth then retracts it.

OBSERVER
Now toss it aside and get out of
here.

Sam hesitates for a beat.

OBSERVER
Come on!  It's no good to
anybody....
(looking back)
...one to go.

Sam moves off deeper in to the woods.  Moments later Merck appears stumbling over buried rocks and leaves.  He spots his partner laying on the ground and runs up to him.

ANGLE - MERCK

He bends down beside the unconscious Batalino, picks up the Mach-10 and scans the perimeter.  Alone, we can sense his nervousness.  He checks behind him then moves off in the direction Sam went.

EXT. WOODS - MERCK

He's moving with extreme caution through the low hanging pine branches.  His hands clenched tightly around the Mach-10.  Every twig snapping, every leaf rustling, has him jittery.

ANGLE - MERCK

As he clears himself through the branches, a pine cone tumbles down from above and hits him on the shoulder.  He spins around and looks up raising his gun straight into the air expecting to find Sam above him.  But there is only sky.

NEW ANGLE - MERCK

He takes a few steps backward, turns, and a pine branch whips into frame, smashing him right in the face.  The force of the branch knocks him partially off balance.  Sam flies into frame crashing into Merick with a side body block.

ON SAM AND MERCK

Sam's momentum throws Merck backward up against a tree trunk.  Sam bounces off him and tumbles to the ground.

ON SAM

He rolls over and staggers to his feet preparing to attack Merck one more time.  Before he can launch his assault Merck jams the barrel of the Mach-10 into his face.

ON MERCK

He flashes a sardonic smile as he wraps his finger around the trigger.

OBSERVER
Dive, Sam!

Simultaneously, as Sam lunges out of the way Merck jerks the trigger and the gun explodes in his hands.  As Sam shields his face, the force of the concussion knocks Merck back off his feet killing him.

ON SAM

He's in a semi-state of shock as he staggers to his feet.  He's partially blinded from the explosion.

OBSERVER
Sam, are you all right?

SAM
Al...the explosion.

OBSERVER
I know.  The gun blew up in his
hand.  The mud stuffed down the
barrel....

SAM
No...that's what happened
before...there was an explosion in
the lab....
(his mind begind
to click)
Jonas...my lab assistant....

OBSERVER
When you were at M.I.T.?

SAM
We were calibrating radiation
detectors.  Somehow the door to
the lead box jammed exposing the
cobalt-60.  There was a bright
flash.  And Jonas...he shielded
himself in front of me as he
sealed up the source.

OBSERVER
And the exposure from the gamma
rays gave him radiation poisoning.

SAM
(nodding his head)
He died two weeks later.
(looking around)
We crammed for finals here.  Or I
should say, I crammed.  He never
had to study...he had such a
brilliant mind.

OBSERVER
I'm sorry you had to remember it
this way.

Camera pushes in on Sam.  The recollection of this somber moment from his past burns deep.

CUT TO

EXT. MOUNTAIN CABIN - DAY - DIANE AND TESS

They are crossing to the car when suddenly Tallmadge jumps out from behind the shed and grabs them.  The two woman scream.

TALLMADGE
Where is he!?!
(shouting into the
air)
Come on!...

Tallmadge fires his gun into the air.

TALLMADGE
I've got your wife and kid!

He pulls Diane and Tess back toward the car as he searches the trees for some sign of Sam.

SAM (O.S.)
Don't hurt them.

Tallmadge spins around and sees Sam stepping out from behind the cabin.

DIANE
Richard, no!  Don't!

TALLMADGE
(pulling Diane by
her hair)
Shut up!

As sam moves toward them, Tallmadge keeps pulling a struggling Diane and Tess back with him towards Walter's car.

SAM
How do you want to play this out?

OBSERVER
Careful, Sam.

TALLMADGE
I'm leaving you all here dead.

OBSERVER
You don't have the element of
surprise anymore.

SAM
(as he moves
closer to them)
I'm the one you want.

TALLMADGE
(cocking the
hammer to his
gun)
Sorry.  Three were bought and paid
for.

Suddenly the driver's door from Walter's car flies open and crashes into the back of Tallmadge.

ANGLE - TALLMADGE

The force of the door sends him, along with Diane and Tess, forward tumbling to the ground.

ON SAM

He lunges at Tallmadge, picks up him and throws him up against the side of the car.  His head squashes against it like a canteloupe and he slumps to the ground unconscious.

ON DIANE AND TESS

As they run into Sam's arms, grateful that they're all safe.

SAM
(comforting them)
It's over...it's all over.

ANGLE - SAM

He crosses to the car and looks inside.  Walter is laying across the front seat with his feet hanging out the door.

SAM
Thanks.

Sam helps Walter as he slides out of the car.

ANGLE - WALTER

He hobbles to his feet and sees TAllmadge laying on the ground.

WALTER
(to Sam)
I'm sorry.

SAM
The other two are back in the
woods.

WALTER
I'll get some people out here.

Sam looks at Diane.  He can tell by her expression what she would like him to say.

SAM
Walter, we're pulling out of the
program.

WALTER
Don't tell Tallmadge....

SAM
He's only part of it.

WALTER
(after a beat)
Where will you go?

There's a brief pause between them.

WALTER
I guess it's better if you didn't
tell me...the keys are in the car.

SAM
(to Diane)
Why don't you get our things.

Diane crosses to Sam and gives him a warm tender embrace.

DIANE
I love you.

Sam smiles as she releases her grip and follows Tess into the house.

ANGLE - SAM

He saunters toward the lake.

OBSERVER
(punching up the
mini computer)
You were right, Sam.  Richard and
his family left the witness
relocation program and settled
safely in Tacoma, Washington...
you know what he did?

Sam glances at Al without responding.

OBSERVER
He went back to law school under a
different name, got his degree and
practiced law again.

SAM
That's great, Al.

OBSERVER
And Walter, this assignment gave
him the confidence he needed to
stay on as a federal marshall.  He
moved right up through the ranks
and became district supervisor.

He walks on ahead of Al.

EXT. LAKE - SAM

He's standing on the edge of the dock.  The wind cuts across his face turning his cheeks red.  Al walks into frame.

SAM
'I went to the woods because I
wished to live deliberately, to
front the only essentials facts of
life, and see if I could not learn
what it had to teach, and not,
when I came to die, discover that
I had not lived.'

OBSERVER
I think you've lived more than any
man I know.

After a long beat we hear the sound of a car horn O.S., Sam looks up and sees Diane and Tess standing by the car.

DIANE
(calling)
Let's go!

OBSERVER
Time to leave, Sam.

Sam looks at Al and as he takes a step toward Diane the blue light consumes Sam, and we...

QUANTUM LEAP

FADE OUT

END OF ACT FOUR