Revenge

(Evil Leaper Part III)

Thanks to R. Joy Helvie & TVNewsCam

Teaser

Part One

Part Two

Part Three

Part Four

Note:  Although just titled "Revenge", everyone should recognize this script as being the third in the Evil Leaper trilogy, "Revenge of the Evil Leaper".


Quantum Leap
Revenge
September 16, 1987


Written by:  Deborah Pratt

Executive Producer:  Donald P. Bellisario

Co-Executive Producer:
Deborah Pratt
Chas. Floyd Johnson

Supervising Producers:
Tommy Thompson
Harker Wade
Richard C. Okie

Producer:  Robin Jill Bernheim

Production #68125
Written:  January 15, 1993
Revised:  January 19, 1993 & January 21, 1993 & January 22, 1993

TEASER

FADE IN

INT. DARKROOM - DAY

As the quantum light solidifies, we hear the trail of a horrific scream.  Then pitch black.  There's a moment of panicked heavy breathing...then silence.  Sam whispers.

SAM
Alia!  Alia!

In the darkness our eyes adjust to the faintest of light and we hear Sam scurry around in the small space.  We hear a terrified muffled voice...

ALIA'S VOICE
Sam!

He slams against the wall, pressing himself as close as he can.

SAM
It's all right, I'm right here.

CUT TO

INT. DARKROOM - WITH ALIA

There is a streak of pencil-thin light.  His hair and a few features are all that can be distinguished.

ALIA
(panicked)
Where?  Where are we?

SOPHIE'S VOICE
Good Lord, only a week in the box
and you don't know where you are.

Alia's eyes widen as she pounds on the door screaming.

ALIA
Sam!

The door rips open and a blast of glaring white light rips through.  A woman grabs Alia and drags her out, throwing her on the cement ground and at the feet of Sophie.

SOPHIE
Sam?
(beat)
If you're yelling for a three
letter savior, I suggest you make
it start with a 'G.'

INT. ISOLATION CHAMBER - HALLWAY - ON SAM

He is jerked out into the blinding light.  He slams into the wall and balances himself.  He is wearing a prison jump suit.  His hands are being cuffed behind his back as he searches for Alia.  There are three woman guards, all very strong and very serious.  Sophie stands in the middle while the rest struggle with Alia.

ALIA
I have to get out of here.

FEATURING SAM AND ALIA

Their eyes connect.  Alia is in a panic.  Sam is weary as he looks around.  She calms to abject terror.

SAM'S POV

The halls of a small woman's prison.  Grey walls with barbed wire across the windows.

SOPHIE
That's simple.  All you have to
do is tell me which of you two did
it.

SAM
Did what?

ON SAM, ALIA AND SOPHIE

She shoves Sam.

SOPHIE
First, you act like you don't
know where you are, now you
pretend you don't know why?

ALIA
We don't.

SOPHIE
(poking Alia)
You don't!  Well you better,
unless you want to go back in that
box.  Which one of you murdered
Carol Benning?

SAM
Oh boy!

And we....

FADE OUT

END TEASER

ACT ONE

FADE IN

EXT. PRISON - ESTABLISHING

It is a collection of buildings in the middle of a wood.  Post and gates and barbed wire curl around the forboding walls.

SAM'S VOICE OVER
We had leaped together and
survived.  But we still didn't
know if Alia Leaped with me or I
Leaped with her?

FEATURING SAM AND ALIA

Her eyes dart from wall to wall as they pass several inmates and guards.  Sam watches her as the echo of steel cages close in the distance.

SAM'S VOICE OVER
I could tell by her face that
Alia believed it was Lothos who
had won.  And if she was right,
we both knew it was only a matter
of time before the real hell
began.

They exchange a look.

INT. PRISON CORRIDOR - ON ALL

Sophie stops Alia, pointing to a row of chairs outside the Warden's office.

SOPHIE
Sit.

SAM
Alia....

She slams Sam against a wall.

SOPHIE
(to Sam)
Nobody told you to talk.
(to Alia)
I todl you to sit!

Sam glares at her a beat.  Alia sits.

SAM
I need to talk to her.

SOPHIE
(laughing)
You got no needs.  You got no
wants.  You got no rights.

SAM
(pointed)
If you want answers, I suggest
you let us talk.

SOPHIE
Now why should I do you any
favors.

SAM
If I find out the truth, who's
doing who a favor?

FEATURING SOPHIE

She sizes Sam up.  Maybe even admires him for his boldness.  She stares a beat, then nods for them to talk.

SAM
Alone.

Again there is a moment and Sophie opens the door to a broom closet.

SOPHIE
Steph into my office.

The other guards laugh.  Sam nods to Alia who stands and crosses past Sophie.  Sophie grabs her arm and squeezes it.

SOPHIE
Warden's got plans for you, Angel.
Big plans.

Alia pulls her arm away and glares at Sophie.  Sophie lets go and lets her pass.  She walks to Sam and they step into the closet.

INT. BROOM CLOSET

It's small and cluttered, but as soon as the door closes Alia turns, panicked, to face Sam.

ALIA
Lothos put us here!

SAM
Be quiet and listen to me.

ALIA
He knows where I am.

SAM
We don't know that.  There's a
fifty-fifty chance this is my
Leap.

ALIA
Even if it is when they locate
me, Lothos will kill me.

SAM
He has to find you first.  Right
now you're alive and at least for
the moment, safe.
(beat)
How long does it take for Zoey to
do a location search?

ALIA
(flustered)
I don't know.  It differs.
Sometimes, a few hours.  Once or
twice I didn't have contact for
a whole day.

SAM
We've got to figure some way to
hide you.

ALIA
From myself?  Zoey's tuned into
my brain waves and once they....

SAM
Then we change your brain waves.
(beat)
Figure some way to alter your
brain patterns before Lothos can
get a lock on you.

ALIA
What?  Drugs, alcohol...some kind
of induced coma....

SAM
You'd be too vulnerable.

ALIA
There's no way to reprogram....

SAM
Hypnosis.

ALIA
You can't hypnotize me.

SAM
Why not?
(Swiss-cheesed)
There was this leap.  I...I lost
my memory and it was just enough
to alter my brain waves.  I
remember Al couldn't keep a
connection with me.
(beat)
They had to give me...shock
treatment to get me back.

ALIA
Shock.

SAM
Alia, you have to trust me.

FEATURING ALIA

She looks at him trying to believe.

ALIA
I just want to be free.

SAM
You're free right now, Alia.
(beat)
Let me help you stay that way.

ALIA
What do I do?

SAM
Trust me.

NEW ANGLE

She searches his eyes for some answer as to why he's helping her.  She nods.  Sam looks around the tiny room and finds a small stepladder.  He sits her on it and turns her to face him.

SAM
Relax.  Close your eyes.

She gives him one last look as Sam brushes her face, closing her eyes.

SAM
Think of nothing.  I want you to
forget everything, the fear the
anger, the past...everything.
(beat)
I want you to imagine yourself on
a mountain top.  You're standing
on the top of a mountain.
(beat)
Can you see yourself there?

She closes her eyes and nods yes.

SAM
Can you see the sky?  The deep
warm sunset of a summer sky?  Can
you feel the warm wind on your
face and watch as it carries the
clouds?

Again she nods.

EXT. VOID - ON ALIA

She stands is what looks to be a wall-less room.  Bright glow of gold and orange streak around her.  There is smoke and clouds.  A gentle wind blows across her face, billowing in her hair.  She wears a sheath of draped silk that catches the wind.

SAM'S VOICE
Tell me what you see.

ALIA'S VOICE
Clouds, white clouds and miles and
miles of sky.  It's almost as if
I...

SAM
Where are you?

OBSERVER
Mallard Correctional Facility.

INT. BROOM CLOSET - ON SAM, AL AND ALIA

Alia sits with her eyes closed, lost in another place.  Sam shoots Al a dirty look trying to tell him to back off.

OBSERVER
You did it!  She leaped with you!

SAM
Be quiet!

OBSERVER
What are you doing?

SAM
(whispering)
Hypnotizing her.

OBSERVER
You have seven degrees Sam, not
one of them say shrink.

SAM
I've got to alter her brain waves
so Lothos won't be able to get a
fix on her.

ALIA
I'm frightened, Sam.
(beat)
I don't know where I am.

OBSERVER
(looking around)
You're in a broom closet.

SAM
You're in the Mallard Correctional
Facility for women.

OBSERVER
(off handlink)
Mallard, Ohio.  September 16,
1987.

SAM
(more to Al)
Your name is Jenson.  Angel
Jenson.

NEW ANGLE

Al feeds the data into the handlink, then reads it back.

OBSERVER
(off handlink)
Angela Jenson.  Nicknamed Angel.
Age nineteen.  Arrested for
selling marijuana.  It was an
election year and they threw the
book at her.

SAM
What has Ziggy got on me.

OBSERVER
Just a second.  We've got Ziggy
in overload trying to cover the
two of you.
(beat)
One of the women in the waiting
room says she's Liz Tate.
Elizabeth Tate.  In for murder.
The other's in a state of shock.

SAM
(to Alia)
My name's Liz.  Liz Tate.  Can you
remember that Angel?

OBSERVER
Says it was the fifteenth time her
husband had beat her and she shot
him.

SAM
That's not murder, that's
self-defense.

OBSERVER
Not according to the jury.

Sam looks around to find a filthy mirror hung behind some mops.  He takes a rag and wipes it enough to see Liz.

SAM'S POV - LIZ IN MIRROR

She is an attractive woman, whose eyes show the stress of a hard life.  A thick gash runs down her forehead.

ALIA'S VOICE
Liz?

WIDER ANGLE INCLUDING ALL

Sam turns back and looks at Alia and then at Al.  Alia's eyes are closed.

Sam
I'm right here.

ALIA
Someone is coming.  In the
distance I can see....

OBSERVER
What's she talking about?

SAM
Who's coming?

ALIA
(frowning)
I...I don't know.  She's looking
for something.

EXT. VOID - ON ALIA

She stands in the coral nothing watching.  Frightened.

ALIA'S VOICE
I'm afraid, Liz.

ALIA'S POV

A figure in the distance approaches.  She's getting closer.  Her stride is strong and purposeful.

INCLUDING ALIA AND WOMAN

She stands, her eyes frozen, but her body turns to face the woman.  The woman comes through the clouds enough to see she is ZOEY.  As she closes in on Alia there is a moment of tension and Alia puts out her hand.  Zoey walks right past Alia and away.  Alia turns and watches.

SAM'S VOICE
Your name is Angel Jenson.

INT. BROOM CLOSET - ON SAM, AL AND ALIA - SFX

She sits calmly, her eyes still closed.  Her hand extends through the air.  Slowly, she lowers it.

SAM
You only know what Angel knows.

OBSERVER
How can she protect herself?  At
best she's got a little piece of
Angel's memory.

SAM
(to Al)
It'll have to be enough.
(to Alia)
I want you to find Angel.  Her
pain, her hope, her past.  Every
piece of her that's left.  That's
all you are now.  Only Angel.  Do
you understand?

Alia nods and Sam watches as she sinks deeper into Angel.

OBSERVER
I hope you know what you're doing.

SAM
Angel?
(beat)
I'm going to count to three and
when I do, I want you to open your
eyes.

OBSERVER
Aren't you supposed to give her a
secret word or something to get
her back to Alia?

SAM
You will stay Angel Jenson until
I say the word....

OBSERVER
Rumplestiltskin.

ALIA
Rumplestiltskin.

OBSERVER
(off Sam's look)
Well, it worked for him.

SAM
(realizing)
She heard you.  Say something.

OBSERVER
Can you hear me Angel?

She nods.

OBSERVER
Maybe you switched her brain waves
close to your own.

SAM
What's your name?

ALIA
Angel Jenson.

SAM
Angel, on the count of three you
will wake up.  You will remember
only what I told you.
(beat)
One -- two -- three.

Alia's eyes flutter open.  Just as she starts to get her bearings there is a bang and the door swings open, right through Al.  Sophie reaches through a startled Al, pulling Alia out the door.  Al jumps, backing out of her way, definitely shaken by her aggressiveness.

SOPHIE
All right, tea time's over.  Get
out here.

INT. PRISON CORRIDOR - DAY - ON ALL

Al stands waiting as Sam and a dazed Alia are taken and seated in the hard wooden chairs outside WARDEN MEYERS' office.  One of the guards is a tight stocky black woman named VIVIAN.  She speaks to Sophie.

VIVIAN
He's off the phone.  You first.

Sophie crosses to the office and gives a short knock.

WARDEN MEYERS' VOICE
Come in.

INT. WARDEN MEYERS' OFFICE - DAY - ON SOPHIE

She enters the room and starts talking.  She obviously respects this man or fears him.  CAMERA follows Sophie as she makes her way around the room.

WARDEN MEYERS' VOICE
Are they ready to talk?

SOPHIE
Angel's ready to crack, but Tate,
she's tough.

WARDEN MEYERS
She's a survivor.  Besides, three
years in a state penitentiary has
that effect on people.  Makes them
mean.  Hard.
(beat)
Just how I like them.

Sophie stops just off of Meyers' desk.  We see the profile of a strong-boned African-American man of about fifty.  His hair attractive, with flecks of grey to give him a look of powerful distinction.  He wears a sensible suit with sensible brown shoes.  He sits, reading over a report.

SOPHIE
Why don't you put the thumbscrews
on.  Make them squirm a little.
It always amazes me when you put
the fear of Meyers on them, just
how quick they fold.

WARDEN MEYERS
Let's just make sure one of them
hangs.  That way everybody's
happy.

INT. PRISON CORRIDOR - ON ALL

Sam and Alia wait just outside the door.  Al pounds on the handlink.

SAM
(to Al)
Why am I here?

VIVIAN
You're here because you were
stupid Liz.  Really stupid.

OBSERVER
I'm getting something Sam.

SAM
Stupid?

VIVIAN
How long you been in here, Tate?

OBSERVER
Three years on a life sentence.

SAM
Three years.

VIVIAN
Then you should know enough not
to mess with the Bennings.

SAM
Bennings?

OBSERVER
Ziggy says there's a seventy-
three-point-two-percent chance
you're here to keep Elizabeth Tate
from being executed for killing
a fellow inmate, named Carol
Benning.

ALIA
We didn't kill her.

VIVIAN
(genuinely, to
Alia)
I understand what you went
through when they put you in
that box.  I couldn't take it
either.  But I can't help you.
Not this time.

ALIA
(Swiss-cheesed;
to Sam)
Carol told you the truth.

SAM
Told me what.

ALIA
I...I can't remember.

VIVIAN
If you didn't do it tell them
who did and walk away.  Don't
let tehm put you back in there.

OBSERVER
(to Angel)
Don't say anything Angel.  Not
around this group of Nazis.

NEW ANGLE

The door opens and Sophie comes out.

SOPHIE
Come on ladies, showtime.

OBSERVER
I'm going back to see what I can
get out of Ziggy.
(beat)
Watch her.

He punches the handlink and we....

INT. WARDEN MEYERS' OFFICE - MEYERS - SFX

hears the ring of the chamber door.  Meyers sits reading a file when suddenly he is covered in a Quantum wash of red.  When it subsides Zoey sits in his place.  She lifts her hands, studying them and a smile breaks across her face, as we:

FADE OUT

END OF ACT ONE

ACT TWO

FADE IN

INT. WARDEN MEYERS' OFFICE - DAY - FEATURING ZOEY

She looks up as the door opens and Sam and Alia enter.  Sophie cloes the door behind them.  Sam and Alia exhange a look as they move forward.

ZOEY'S VOICE
So why don't we just start at the
beginning.

ON SAM AND ALIA

From their expression, it's obvious neither of them recognize anything.

SAM AND ALIA'S POV

Meyers sits facing them.  He leans back into the chair, folding his arms.

ON ALL - FEATURING ZOEY

She leans in the same position.

ZOEY'S POV

The real Angel and Liz stand before her.

ON SAM, ALIA AND ZOEY

There's a beat of silence.

ZOEY
I'm waiting

As the players face each other and don't know it, Zoey stands and crosses to a wood-framed mirror that hangs on the wall.  Zoey straightens her tie and smiles.

REVERSE ON MIRROR

In the mirror we see the real Meyers and behind her the real Liz and Angel.  They watch as Meyers studies his reflection.

ZOEY
Well?

FEATURING ZOEY - SFX

She's still studying the image in the mirror and obviously charged with the expectation of what's to come.

SAM
Well what?

She turns on Sam and Alia, her smile holds.

ZOEY
Don't get smart.  Smart-mouthed
people bore me.
(beat)
And when I get bored, I get angry.
And trust me, you don't want to
make me angry.
(to Alia)
I'm waiting.

Alia frowns, trying to remember.

ALIA
I...I can't remember anything.

Alia looks to Sam, confused.

SAM
(covering Alia)
She's confused from being in
isolation.

Sam crosses next to a perplexed Alia.  Behind them the water door appears and through it walks a tall angular African-American, impeccably dressed in what might become BOSS in the year 2020.  He is holding Zoey's handlink.  His name is THAMES.  Zoey looks at Sam and then back to Thames.  He walks through the room and waves his arm through Sam and Alia.

SAM
Just give us a little more time.

ZOEY
You still haven't answered my
question.

THAMES
I am going to love this.

ZOEY
(to Sam)
So since she's drawing a blank...
(to Thames)
...why don't you tell me why we're
all here.

THAMES
(toying)
My, my, did we Swiss cheese a
little on our first Leap?

SAM
We didn't kill Carol Benning.

THAMES
Murder.
(handlink)
Let's see, you are Clifton Meyers,
age fifty-five.

ZOEY
Really.

THAMES
Principal Warden at the Mallard
Women's Correctional Facility in
Mallard, Ohio.

ZOEY
(to Alia)
Then, who did.

ALIA
I don't know.

SAM
Neither of us knows.

ZOEY
You're not making this easy.

THAMES
It's September 16, 1987.
(beat)
Which pinpoints our last trace
before we lost contact with the
fair Alia.
(beat)
Right as she leaped...here.

NEW ANGLE

Zoey turns and looks at him, her memory starting to fall into place.

THAMES
Lothos says there's a seventy-nine
point nine percent chance that
when she leaped, so did the good
Doctor Beckett.
(beat)
Which means find Sam...find Alia.

SAM
If we knew anything we'd tell
you.

THAMES
Find out what wrong Sam Beckett
is here to right, and the rest is
history.

Zoey crosses to the doro and opens it.  She gestures to Sophie, who enters the room.

ZOEY
My guests claim they know
nothing.

SOPHIE
That's a crock.  Fiddler was
cleaning the toilets when Liz and
Angel dragged Carol in.

Thames starts adding data to the handlink.  As she listens, Zoey crosses to the desk and picks up a manila file and starts to read.

SOPHIE
Fiddler couldn't hear what they
were saying 'cause that little
accident last spring blew out her
ears.  But she saw Carol all bent
over.  Next thing she knew, these
two ran out and left her there,
dead on the floor in a pool of
blood.

THAMES
Carol Benning, age twenty-eight.
In for possession and robbery.

ZOEY
(reading)
Autopsy says she was stabbed.
(to Sam)
Which of you did it?

SAM
We didn't.

SOPHIE
So Fiddler's a liar?

THAMES
Girl after my own heart.  When in
trouble...deny...deny...deny.

ZOEY
(to Sophie)
I want to talk to Fiddler.

NEW ANGLE

Zoey comes extremely close to Sam

ZOEY
(about Sam and
Alia)
Our friends here aren't being very
cooperative.

SOPHIE
Maybe I pulled them out of the
cooler too soon.

ZOEY
I guess you did.
(beat)
Why don't you escort them back.
I'm sure a few more days in
isolation will make them remember.

Alia turns to Sam; she becomes very edgy.

ALIA
I don't want to go back in there.

THAMES
(enjoying this)
Ooo, this little one's got a case
of the shakes.

SOPHIE
Angel got a bad case of
claustrophobia.  We practically
had to knock her out to get her
in.

ALIA
I can't go back!

SAM
It'll be all right....

ALIA
No.  No, it won't.

She grabs Sam's arm.  There is panic written across Alia's face.  Sam sees it and his mind starts to race.

SAM
Warden, sitting in a small dark
room and thinking about something
that we have no information on
isn't going to help either of us.
(beat)
Why don't you let Angel and me go
back into the community.  Find
out what happened.

THAMES
And the big one wants to be a
stooly to protect the little one.
Sweet.

Zoey crosses to the desk.

ZOEY
Why should I?

SAM
Because if you put us back in a
box nobody will find out anything
and Angel and I will get the rap.

ZOEY
The rap?  How perfectly Forties.

THAMES
Liz is right.  You won't get
anywhere because nobody is going
to...to...

ZOEY
Nobowy will rat to the Warden?

THAMES
I love prison stories, they're so
colorful.

SAM
Exactly.  But they might talk to
us.

There is a long pause and Zoey sits at Meyers' desk.

ZOEY
(looking at Sam)
You go back on C-Block.
(to Alia)
You go back into the box.
(to Sam)
As an incentive to have you find out
the truth.

ALIA
No!

ZOEY
No?
(beat)
You don't have the slightest
choice in the matter.

SAM
No.  We both go back on the block
or you can get your own
information.

ZOEY
Illusions of power.  A very
foolish thing for a prisoner to
have.
(to Sophie)
Take Angel back to the cooler.

Angel freaks.  Sophie rips the door open as Sam rushes to Alia's side.

SOPHIE
Vivian!  Kat!  I need a hand here.

FEATURING SAM AND ALIA

Sam pulls her to him.  He looks into her eyes and speaks very firmly and very straight.

SAM
You'll be all right.

ALIA
I won't.  I...I'm claustrophobic.
I....

SAM
I know you are, Angel.  It's okay.

ALIA
But I....

SAM
Listen to me.  Just breathe and
go back to the mountain.  I'll get
you out of there as soon as I can.
(beat)
Wait on the mountain.

With that, Alia is pulled away by Vivian and another guard.  She stares at Sam, her eyes locked onto his until she is gone.

FEATURING SAM

He turns back to Zoey.  He's pissed but calm.

ZOEY
What do you mean, wait for me on
the mounta, Liz?

SAM
Just a dream we have.

ZOEY
You have twenty-four hours to find
who killed Carol or the death
report will read stabbed by
Elizabeth Tate and Angela Jenson.

SAM
I'll need free access to all the
other inmates.

ZOEY
Do whatever you want.  Just do it
fast.
(to Sophie)
Take her back to C-Block.

Sam looks at Zoey.  Their eyes are in a deadlock.  Sophie places a hand on Sam and he turns.  Sophie and Sam exit the room.

NEW ANGLE ON THAMES AND ZOEY

The door closes and Thames crosses to the middle of the room, showing himself off and sings to the tune of "A Pirate's Life For Me".

THAMES
Yo ho, yo ho, a hologram's life
for me.
(beat)
Bloody brilliant, that machine!
Don't you think?

Zoey gets up and rounds Meyers' desk, going back to the mirror.

ZOEY
Just tell Lothos to get me data
on every inmate in here.

THAMES
My, my, aren't we the testy one.

ZOEY
Don't play with me, Thames.  I
want Alia and I don't want
anything happening to her before
I've had a chance to rip her head
off.

THAMES
(off handlink)
All we know is that she Leaped
into this prison.  We were just
locking onto her brain waves when
she vanished.

ZOEY
How the hell could she vanish; she
connected to my mesons?

THAMES
We don't know.  Lothos calculates
once you Quantum Leaped somehow
it affected the transmission.

ZOEY
Well, reconfigure.

THAMES
We did that.

ZOEY
And?

THAMES
And so far we're 0 for 0.

ZOEY
Damn!
(beat)
I want you to go back and talk to
whoever leaped into the holding
chamber.

THAMES
More bad news, darling, there's
no one in the holding chamber.

ZOEY
That's impossible.

THAMES
When dealing with Quanta, nothing
is impossible.

ZOEY
Run a trace on the last
nanosecond before you lost her.
Rerun the Leap a million times,
but get me a lock on Alia.

FEATURING THAMES - SFX

He is obviously disappointed.


THAMES
Oh Zoey, sweetheart.  I was at
least hoping to stroll through the
women's shower once or twice.  I
mean, after all, it is my first
day as a hologram.

Zoey crosses right up in his face.  She is dead calm.

ZOEY
Now, Thames!
(beat)
Or did youforget that I'm on
borrowed time here?

THAMES
You're here until you do what
you're supposed to do.

ZOEY
(beat)
I have a forty-eight-hour window
after my first Leap to get home.
After that the percentage drops
with every Leap.
(beat)
Now get back there and do what I
told you to!

Thames looks at her and punches his handlink.

CLOSE ON ZOEY

Behind her we hear the water door open and shut.  Zoey turns back one more time to the mirror and adjusts herself.  She smiles approvingly.

ZOEY
Well, perhaps for the sake of
science I should find out how the
other half lives.

CLOSE ON MIRROR - MEYERS

He buttons the buttons on his double-breasted jacket.

On his smile we....

INT. PRISON - CELL BLOCK B - SUNSET - ESTABLISHING

The long rows of cells clang shut.  The hallowed halls echo with each slam and remind us there is no way out.

INT. CELL - SUNSET - ON SAM

He sits pouring over whatever books and/or papers that fill Liz Tate's quarters.  He stops and looks at a small digital clock that sits on her desk.

SAM'S VOICE OVER
I've been Leaping long enough to
know that when you cross minds
with a phobic, whatever fears they
have now belong to you.
(beat)
Alia was holding for the moment,
but I had to ask myself...how
long.  How long before what was
left of Angel cracked and Lothos
could lock onto Alia.

OBSERVER'S VOICE
We've got problems, Sam.

NEW ANGLE INCLUDING AL

He stands near the double bunks that line the walls of this sis-by-six grey cell.

OBSERVER
Sam, Ziggy says there's another
leaper.

SAM
She's picking up Alia.

OBSERVER
We've counted her, Sam.

SAM
They sent someone after Alia?

OBSERVER
Bingo.
(beat)
Ziggy's hoping we discover them
before they discover you and
definitely before they get to
Alia.

Sam stands.  He starts to pace.

SAM
Did you check on Alia?

OBSERVER
She's not looking too great, Sam.
(beat)
I went down to talk to her but all
she's doing is rocking back and
forth and saying something about
it wasn't her.

SAM
What wasn't her?

OBSERVER
Doesn't make sense to me either.
(beat)
She just kept saying it wasn't
her.

Sam paces, pondering on what Al has just said.

SAM
Maybe it's Alia talking.

OBSERVER
Trust me, if it was Alia, Lothos
would have zeroed in on her like
a Patriot on a SCUD.

SAM
Then it's residual from Angel.

OBSERVER
Residual what?

SAM
Memories.

WOMAN'S VOICE
H-h-how's Angel?

Sam and Al turn.

NEW ANGLE INCLUDING FIDDLER

A heavyset woman whose nerves twitch and jump with every paranoid glance.  There's something mentally flawed about her.

FIDDLER
I...I didn't mean to get you in
no trouble.  They just said,
Fiddler, what did you see and I
told 'em.  I told 'em.

Sam and Al exchange a look, and Al begins adding data to the handlink.

SAM
What did you see, Fiddler?

She twitches and itches.  Al shrugs, he's doing the best he can.

FIDDLER
I...I was cleanin'.
(with pride)
On bathroom duty.  That woulda
meant it was Thursday, 'cause I
always clean the toilets on
Thursday.

SAM
And you do a real good job, too.

FIDDLER
Yeah, I do, don't I?

SAM
What happened?

FIDDLER
You and Angel came in and you was
fightin' about somethin'.
(defensive)
I couldn't hear what, though.

SAM
Then what?

OBSERVER
I'm getting something, Sam.
(beat)
Fedelia Jimmerson....

FIDDLER
Then Carol come in, she was crying
and real upset, there was blood
on her and she was holding
herself....

OBSERVER
Arrested in 1981 for
kidnapping....

FIDDLER
She was real scared.  But like I
said, I couldn't hear nothin'.

SAM
What was she afraid of, Fiddler?

OBSERVER
It turned out to be a case of
mistaken identity and she was
released this year.

FIDDLER
I don't know but she was real
scared.

SAM
Sophie's got a different version
of this story.

NEW ANGLE

Al goes back to the handlink.

OBSERVER
Something weird's gonig on here,
Sam.  After Fiddler was released,
she vanished.  Ziggy's got
nothing.  Zip.

FIDDLER
Looks like she was beggin' you
for help.

SAM
From Liz.  I mean me?

FIDDLER
Yeah.  Angel went to get towels.
(beat)
Then Miss Sophie and her gang run
in and Carol just fell over, dead.
(snapping her
fingers)
Whiter than a sheet, she was.
Blood all over the floor.  And
I'd just cleaned it.

SOPHIE'S VOICE
Ain't this nice.

NEW ANGLE INCLUDING SOPHIE

She stands hinged in the doorway.  Fiddler all but cowers like a frightened puppy.  Sam and Al turn to face her.  She enjoys intimidating Fiddler.

SOPHIE
Kind of like a family reunion, ain't
it?

OBSERVER
What's Mean Jean here after?

SAM
The Warden told me I have
twenty-four hours.

She checks her watch.

SOPHIE
Actually you only got sixteen.
(beat)
How time flies when you're having
fun.
(to Fiddler)
Take a walk.

She gives Fiddler a hard look and she all but vanishes out the door.

OBSERVER
What is this one, an escapee from
a B-movie?

SAM
Since I know this isn't a social
visit, why don't you tell me what
you want.

SOPHIE
I don't want nothin'.  But the
Warden...
(double
entendre)
...wants you...to come talk to him
in his room.
(beat)
I'll pick you up in ten minutes.
(beat)
Just in case you want to...freshen
up.

OBSERVER
Uh-oh.

Sophie gives a lascivious smile and exits as the handlink beeps and whines for attention.  Al reads it.

OBSERVER
History's changing, Sam.  Not only
does Liz die but now so does
Angel.

On Sam's look of concern, we....

FADE OUT

END OF ACT TWO

ACT THREE

FADE IN

INT. WARDEN MEYERS' APARTMENT - NIGHT

It is a simple anteroom with enough comforts to reflect it's a home away from home.  A bed, a couch, a small bar warm the space.  Kamasutra erotic art, tastefully framed, spots the room.  Meyers, to say the least, is a hedonist.  Thames stands lasciviously studying one of the drawings, while Zoey plays in the Warden's seduction wardrobe.  She stops a beat, turning to the mirror as she slips into a velvet jacket.

MIRROR SHOT - ON WARDEN MEYERS

He traces his fingers down the jacket and opens the white shirt to reveal a firm brown pectoral with its almost black nipple.  A brief moment of pleasure and then his mood gets suddenly dark and somber.

ON ZOEY

Sh closes the shirt and drifts into an almost sadness.  She speaks soft and controlled.

ZOEY
All those years.  All the things
we went through.
(beat)
Betrayed.

Zoey crosses to the little bar and pours herself a drink.  Thames doesn't even look up.

THAMES
She's a coward.  You said
yourself, she never had the
instinct.

ZOEY
I taught her, Thames.  Every
nuance, every twist, every
wonderfully deceitful lie.
(beat)
And she was brilliant.

FEATURING ZOEY

There is a tear in here eye as she takes the last belt from the glass and pours herself another.

THAMES
Mistake I believe, was the
adjective I heard Lothos use.
(beat)
I remember once we were in a deep
input session and he said he
regretted ever sending her.

ZOEY
That was my fault.  I was the one
who insisted.

THAMES
It's unlike you to go against
Lothos.

There is a long ponderous moment of remembrance.

ZOEY
Let's just say, I owed her.

THAMES
She should have been terminated
years ago.

ZOEY
That pleasure is mine.

THAMES
Lothos giveth and Lothos taketh
away.

ZOEY
Not if I get my hands on her.

THAMES
We have all systems at full power.
It's only a matter of time.
(rethinking)
That is, unless she finds you
first.

Bad choice.  Furious, Zoey throws her glass, shattering it against the wall.  She is up in Thames' face.

ZOEY
You just make sure that doesn't
happen.

NEW ANGLE

Thames is so taken back by the speed of her move that he almost falls back through the couch.  Zoey turns, leaving him to struggle back to his balance, and walks back to the wardrobe.  She calmly tries on another jacket.

ZOEY
You know Thames, this is the
perfect place for revenge.

THAMES
Other than a Twelfth Century
torture chamber with an iron
maiden and a few racks; I guess
this runs a close second.
(beat)
But then, I wouldn't put it past
you to call Torture Chambers-R-Us
and ask for immediate
installation.

Zoey crosses to the window and looks out.  The occasional flare of light from the search beam illuminates her face in an eerie glow.

ZOEY
She's here, you know.
(hungry)
I can feel it.

THAMES
Lothos has run a thousand
scenarios and there's a eighty-
four-point-seven percent...

ZOEY
I don't want to hear about
scenarios.  I want her.

THAMES
Patience, patience.  Whatever
device she's using to cloak under
has got to wear down.
(beat)
Probably when she falls asleep.
At that point it's simply a matter
of pinpointing the subconscious
mind.

NEW ANGLE

Thames crosses next to her and whispers sensually into her ear.

THAMES
This is our destiny, Zoey.  You
were always the one who was
supposed to carry out his plan.

ZOEY
It's all a matter of timing, isn't
it?

THAMES
And time.

As they stare into each other's eyes, we....

CUT TO

INT. PRISON CORRIDOR - NIGHT - ON SAM AND VIVIAN - TRACKING

They move at breakneck speed down the corridors.  Vivian unlocks the doors as quickly as she can.  There is a furrowed concern on her face.

VIVIAN
If Sophie catches me doin' this
I'm dead meat.

VIVIAN
You've got to talk to her.  She's
in there trying to tear the walls
down.
(beat)
She was fine 'til they put her in
four point.

SAM
Four point?

VIVIAN
They chained her to the wall, Liz.

NEW ANGLE

In the distance, we can hear Alia's screams and the pounding of flesh on metal walls reverberating down the corridors.  Women should from the rooms nearby.

WOMAN #1'S VOICE
Shut up.

WOMAN #2'S VOICE
Somebody shut her up!

WOMAN #3'S VOICE
Turn it off, will ya!

The chants and cries echo around them.  Their uncaring anger is infuriating, but it's Alia's screams that spurs Sam on faster.  They approach the last door that seals off solitary confinement.  A woman named MASTERSON sits, reading inside.  Sam hits the door and yells to Alia.  Masterson stands and saunters to the door frame and calmly leans against it.

SAM
Alia!
(to Masterson)
Open the door.

VIVIAN
Masterson, open the door.

MASTERSON
Can't do that.

SAM
Open the door, damnit!  Can't you
hear her.

MASTERSON
I hear her just fine.

VIVIAN
Open the door, Masterson.
(beat)
I'll take responsibility.

MASTERSON
Responsibility for what?  Getting
my ass fired?  Meyers finds out
I let you in there, he'll tear me
a new face.

Her screams and pounding get louder.  Sam grabs Masterson by the lapels and slams her into the glass wall.

SAM
Open the door!

NEW ANGLE

She is stunned for a beat, then pulls his hands off her lapel and reaches in to hit the electronic button that opens the outer door.  It clicks and clanks open.  The screams are intensified as they are released from the sealed room.  Masterson throws the keys to Vivian, who races with Sam to the door.

INT. ISOLATION CHAMBER - CONTINUOUS - ON SAM

He rips the door open and a hysterical Alia strains from her bondage.  Sam gets Masterson's keys and releases her.  She falls into his arms.  Sam holds her, stroking her and rocking her.  They slide to the floor.

SAM
It's all right.  It's all right.

She sobs uncontrollably in his arms.  Muffled into his chest, she begs as she holds on for dear life.

ALIA
Don't put me back.  Don't put me
back in there.  Please.  Please.

CAMERA does a long slow PULL BACK as Sam and Alia rock in silence.  The only sound is her soft cries.  Vivian leans back against the wall saddened because she knows she must put her back.

DISSOLVE TO

EXT. QUANTUM LEAP MOUNTAIN - ESTABLISHING - STOCK

Alive with light and energy.

INT. WAITING ROOM - FUTURE - ON AL, LIZ AND ANGEL

Angel sits curled under the observation table.  She is lost and vulnerable, unable to deal with the pressure of what's happening.  Liz squats next to her.  She watches her despondent friend.  Liz is an attractive woman.  he dark hair lies touseled around her face.  It cannot hide the huge scar that cuts into her forehead.  Al paces behind her.

OBSERVER
Liz, listen to me.  It doesn't do
anybody any good if you shut down.
(beat)
The truth is, the more information
you give me, the quicker you'll
be out of here.

LIZ
(coolly)
I still don't know where here is.
(rises)
And maybe, just maybe, being
'here' is a hell of a lot better
than where I was.

OBSERVER
I told you, you're in the waiting
room.

LIZ
The waiting room doesn't tell me
chip!  Especially when we just
left being locked up in some black
hole for...for...
(beat)
...I can't remember why I was
there.

OBSERVER
If you tell me what you do
remember, I can help you.

LIZ
(pointing to
Angel)
Tell me what's wrong with her.
(beat)
Why is she like that?

OBSERVER
It's a by-product of what brought
you here.  She'll be fine as soon
as she gets back to her won time
and so will you.
(beat)
Right now, I want you to tell me
what happened to Carol Benning.
I need you to remember.

LIZ
Carol Benning?  I can't even
remember my own last name.  How
do you expect me to remember who
killed Carol Benning!

She stops, stunned by what she has just said.  Al realizes as does Liz, taht there is a spark of some memory.  She's surprised and a little frightened.

OBSERVER
Keep going, Liz.  Take your time,
but keep gonig.  It'll all come
back.[/center]

EXT. PRISON - NIGHT - ESTABLISHING

Its deep silence is broken by the call of prison dogs barking in the distance.

INT. ISOLATION CHAMBER - NIGHT - LATER - ON SAM AND ALIA

They sit in the shadows much where we left them.  Alia looks exhausted as she rest on Sam's chest.  Her eyes stare off into space.  Sam gently strokes her hair.  Vivian sits against the open door, jam-hugging her knees and letting her thoughts drift.

ALIA
When they chained me down -- I
don't know what happened.
Suddenly I couldn't hold on.  I
couldn't remember anything good
in my life.  It was like I didn't
know my mother or father or where
my home was.

SAM
(softly)
You're Swiss-cheesed from the
...confinement.

She pulls away and looks at him.

ALIA
What?

SAM
It's like pieces of your memory
are missing.  Imagine a chunk of
Swiss cheese, sometimes it's big
things like your mother or your
father and other times it's little
simple things like....

ALIA
It's more Liz.  It's like I am
living someone else's life.
(beat)
I know that sounds crazy but every
memory I have...it's not my life.

SAM
I know.

Again she pulls away and looks at him.

ALIA
This is insane.

SAM
I can't explain this to you right
now but everything you're feeling
is true.
(beat)
I know it doesn't make any sense
but trust me, you have to stay
this way until I can figure how
to get you out of here.

Sam starts looking at her, realizing that maybe Angel has the memories he needs to Leap.

SAM
Angel?

ALIA
Angel.  It's like that's not even
my name.

SAM
(getting an
idea)
But it is.  You are Angel, and I
need you to remember everything
about Angel's life you can.  I
need you to remember the day Carol
Benning died, Angel.  She came to
you.  Remember?  She was hurt and
bleedning and she wanted your help.

Alia struggles to remember.  The expression on her face is one of confusion as she fights the conflict of unreality.

SAM
You've got to remember.

ALIA
She...was afraid.

SAM
Afraid of what?

ALIA
I...I...can't...

SAM
Try!

ALIA
(struggl ing)
Meyers was angry because she
was...she was...

MASTERSON'S VOICE
Get up!  I said get up!

WIDER ANGLE TO INCLUDE MASTERSON AND VIVIAN

From the expression on their faces all shit's broken loose.  Sam is up and pulling Alia to her feet.

VIVIAN
Meyers is on the rampage!
(beat)
You didn't tell me he was
expecting you.  You didn't tell
me you were going under.

ALIA
(knowing; to
Sam)
Meyers wanted to seduce you.

MASTERSON
Everyone knows what the hell
going under means.  Now get back
in that box.

Alia panics, backing up against the wall.

ALIA
No.

SAM
You can't put her back in there.

MASTERSON
You must be stupid and crazy!

SAM
You can't put her in there.  It'll
kill her.

MASTERSON
If she doesn't get in that box,
I'll kill her myself.

ALIA
No!

Alia starts to bolt and Sam grabs her.

VIVIAN
Wait!  Wait!  I'll take her to the
old transfer tunnels.

MASTERSON
They're condemned.  Besides,
Meyers will skin me alive.

NEW ANGLE - FEATURING VIVIAN AND ALIA

Vivian reaches out for Alia but she presses herself tighter against Sam.

VIVIAN
I don't know how long I can keep
you down there but at least it
ain't the box.

Alia looks to Sam

SAM
It's the only choice you've got.

VIVIAN
Whatever the hell you're gonna do
you better do it fast.

SAM
Go!  Go!

MASTERSON
I can't let you out of here!

Sam cold-cocks her, nodding to Alia and Vivian.  They exit.  Alia turns back and gives one last frightened look.  Sam goes into gear.  He drags Masterson into Alia's cell, takes the keys and locks the door.

Sam squats outside the door and waits.

INT. PRISON CORRIDOR - NIGHT - ON VIVIAN AND ALIA

They race down the partially lit halls until Vivian hears someone coming.  She slams Alia into a narrow passage way and presses in on top of her.  They don't breathe.  After a beat, Zoey and Sophie flash by.

CLOSE ON ALIA AND VIVIAN

There is a moment as the danger passes.  Vivian looks, and then beckons Alia to follow.

INT. CORRIDOR - NIGHT - OND ZOEY AND SOPHIE

Zoey's expression is vehement as they approach the last corridor before isolation.

SOPHIE
Masterson said Liz was down here.

ZOEY
Who moved her?

Zoey rounds the corner and stops.

ZOEY'S POV

Sam sits against the sealed door to the isolation room that held Alia.

INT. ISOLATION CHAMBER - HALLWAY - FEATURING SAM

Zoey glares at Sam and then moves in like a snake on her prey.  Her voice is calm and even.  After all, this was dessert.

ZOEY
You stood me up.

SAM
Angel needed me.

ZOEY
Mother, murderer and
psychotherapist.  Is there
anything you don't do?

SAM
Some things.

NEW ANGLE - SFX

Zoey circles Sam.  She's just playing cat and mouse, and enjoying every minute of it.  Sam's stalling for time.

ZOEY
You really shouldn't have stood
me up, you know.
(beat)
I had all these fun things planned
for us.

SAM
Let Angel out.

ZOEY
Ah-ah-ah.  First business then
pleasure.  Okay.
(beat)
Who killed Carol?

The imaging chamber door opens at the exact same time the water door opens behind Zoey.  Al and Thames enter.

OBSERVER
We're running out of time.  Ziggy
projects their computer is about
to locate Alia.

SAM
What can I do?

THAMES
Lothis thinks he's picking up
transmissions from Alia.

ZOEY
Where?

THAMES
Right there!

ZOEY
(yelling to
Masterson)
Open the door.

FEATURING SAM

He steps in front of the door, blocking it.

THAMES
The last transmission was from in here.

ZOEY
Get out of my way.

NEW ANGLE - SFX

Furious, Zoey reaches for Sam and as she grabs him to pull him out of the way.  (I want to do a double morph here.  I want Sam and Zoey to ripple into Liz and Meyers and then back to Sam and Zoey.)  They react to the morph with shock and horror.

WIDER ANGLE ON AL AND THAMES

Al's jaw drops and Thames' eyes widen to the size of dinner plates.

WIDER ANGLE ON AL

Sam throws Zoey to the ground and blasts pasts Sophie, knocking the woman into the wall.

ZOEY
Stop him!

SOPHIE
Him!  What?

ZOEY
Stop him.  Get a lock on him and
find him.  Right now.

Thames is out with a pop.  Sophie hits the escape sirens and they scream to life.  Zoey is transfixed on the door.

ZOEY
Open it.
(beat)
Open the door!

Terrified, Sophie unlocks the heavy steel door and swings it open.

ON ZOEY

The shadows fall across her face as she steps into what she thinks is her final confrontation with Alia.  It only takes one nanosecond to see the body in the chamber is Masterson.  Her eyes flare.

TIGHT ON ZOEY

Her fists are clinched, and her face is twisted in total rage as she turns and we reveal Al watching and we....

ZOEY
No!

FADE OUT

END OF ACT THREE

ACT FOUR

FADE IN

EXT. PRISON COURTYARD - NIGHT - ON SAM

He ducks into the shadow of a grey building.  The floodlights are everywhere.  The sirens scream.  The yard itself is relatively small and extremely confined.  Al POPS in.

OBSERVER
Sam, the entrance to the old
transfer tunnels are about thirty
yards from here.

NEW ANGLE

Sam looks around.  As he moves we reveal Thames POP in just behind him.  Neither Sam nor Al can hear him but he can see and hear Sam.

SAM
Which way?

THAMES
Are we talking to someone?

OBSERVER
(pointing)
Tehre!  Two o'clock.

SAM
Where did that woman come from?

OBSERVER
That was Zoey, Sam.  Alia's
hologram.  Now she's a Leaper.
Ziggy says she's the other one he
was picking up.

THAMES
She stepped right out of your
worst nightmare.

OBSERVER
Get Alia and get her out of here!

SAM
Soon as you tell me how I'll do
it.

THAMES
Are we planning our escape,
Doctor?

OBSERVER
Ziggy says if you can get the
guard that's helping you.

SAM
Vivian?

THAMES
What about Vivian?

OBSERVER
....to help you, there's a
ninety-one-percent chance you'll
get over the wall.

SAM
Al, if Zoey's Leaping she's got
to have a hologram.

THAMES
Two points for the home team.

Sam and Al look around.

OBSERVER
Ziggy's working on that.

SAM
I swore I'd get Alia out of here,
Al.

THAMES
Alia?
(beat)
But I....

Thames hits the handlink and POPS out.

OBSERVER
Then move it.  You're running out
of time!  It's the fat building
with no windows.  Go!

Sam bolts, dodging the circles of light and makes his way across the courtyard.

CUT TO

INT. PRISON CORRIDOR - NIGHT - ON ZOEY

Her strides are long and purposeful as she walks directly to camera.  Thames POPS in just in front of her.

THAMES
Alia....

She keeps walking right past him.

ZOEY
She's gone.

THAMES
What the hell do you mean, gone?

ZOEY
Gone!
(beat)
Where's Sam Beckett.

THAMES
I just left him hiding in the
courtyard.

Thames starts to access location on the handlink.  He POPS out and back in ahead of Zoey.

THAMES
There's a ninety-five-percent
chance he's going over the wall.

ZOEY
Perfect.  Now I have an excuse to
shoot both of them.

Thames reads soemthing on the handlink.  His reaction stops Zoey.

THAMES
Damn!

Zoey catches it and turns.

ZOEY
Now what?

THAMES
This is impossible.
(beat)
They've done something to jam
Lothos' S and L.

ZOEY
You just had him.

THAMES
They're jamming our externals.
We can't do a search and lock!

ZOEY
Override!
(yells to
anybody)
Somebody turn off those sirens.

EXT. OLD TRANSFER TUNNELS - NIGHT - ON SAM

He pulls on the door.  It's locked.  The wail of the sirens seems to scream louder as he pounds on the door trying to blend into the darkness and dodge the lights.  Finally it opens.  Sam darts inside.

INT. TRANSFER TUNNELS - ENTRANCE - ON SAM AND VIVIAN

Vivian pulls him behind the door.  The only light is the occasional flare of the search beams as the illuminate past the barred slats of the door.

VIVIAN
What the hell am I going to do?

SAM
Where's Alia?

VIVIAN
What?

SAM
Angel.  Where's Angel.

Alia appears from the shadows.

ALIA'S VOICE
What's happening?

ANGLE - OLD TRANSFER TUNNELS - NIGHT - INCLUDING ALIA

She hides in the shadows of a long narrow tunnel that falls to black behind her.

VIVIAN
They know you're gone and I'm
gonna get shot righ along with
you.
(desperate)
Maybe if I take yiou back and tell
them....

SAM
Vivian, listen to me.
(beat)
This isn't going to make any sense
and I can understand if you don't
believe me but I've got no choice
other than to tell you the truth.

Vivian grabs Sam and heads for the exit.  He holds fast.

VIVIAN
I've got to turn you over.

SAM
Listen to me, I'm not Liz and this
isn't Angel.  We're time travelers
from the future and so is Warden
Meyers.

FEATURING VIVIAN

She freezes for a bit and almost does a double-take in disbelief.

VIVIAN
This is no time to be funny, Liz.

SAM
(emphatic)
I'm not Liz.  I'm a man named Sam.
And Meyers is a woman named Zoey.

VIVIAN
Meyers is a woman.

ALIA
(memory)
Zoey.

ON SAM AND ALIA

Suddenly the sirens stop.  Sam panics, knowing that he might trigger Alia's memory.  He grabs Vivian's arms as she tries to grasp what he's saying.

SAM
(to Vivian)
These are horrible people.
They've traveled across time to
kill Alia...Angel, and you're our
only hope.

Sam's face pleads for her help.  Alia stands there, a lost soul.  Vivian doesn't know what to think.

VIVIAN
This is unreal!

SAM
Forget reality, Vivian!  This has
nothing to do with anything you
know.  If you don't help us right
now, there'll be no stopping them!
You have to help us!

VIVIAN
Wait a minute!
(crazed)
If I'm stepping into the Twilight
Zone I just need a damn minute!
(beat)
All right.  All right.  I know how
I can get you out.
(beat)
This better be a flashback from
some drug I did in the Sixties.

Sam and Alia exchange a look as we....

EXT. COURTYARD - ON ZOEY, SOPHIE AND THAMES

The courtyard is abuzz of activity.  Guards run in every direction.  Two sets of German shepherds search the area.

THAMES
Lothos has lost them.  We've got
nothing!

SOPHIE
Look, we know they can't get out
of the complex.

ZOEY
Do we really?

SOPHIE
(pointing)
The only way out of here is that
gate or that one, and neither of
them opens without keys.
(beat)
Anything else getting out of here
is moving on four legs.

INT. TRANSFER TUNNELS - SAM, ALIA AND VIVIAN

It's dark and drippy.  They are wet and filthy as they move through the slime.  Vivian stops and hands him a good-sized pair of wire cutters.

VIVIAN
There's an electric gate at the
end of it.  Give me five minutes.
I'm gonna blow the power.  When
I do you got fifteen seconds to
cut the lock and get out before
the backup generator kick in.
(beat)
I'll be right behind you.

ALIA
Why are you doing this?

SAM
Does it matter?

ALIA
Yes.
(beat)
I want to know why some people
help other people.

VIVIAN
'Cause my whole life I never did
anything really special and if a
tenth of what you told me is true,
this is really special.
(beat)
Just once I want to be the good
guy.

Sam gives her a hug and pulls Alia into the darkened tunnel.  We hold on Vivian a beat and they are gone.  As she turns we....

CUT TO

INT. COURTYARD - NIGHT - ZOEY AND THAMES

They stand in the middle of chaos.  Thames plays witht he handlink.  Zoey's eyes trace every inch of the courtyard.

THAMES
Lothos has a theory.

ZOEY
I'm waiting.

THAMES
He thinks that the power emitted
from the electric fences may have
been converted and is being used
as a cloaking device.  He says
that if you shut down power we can
get a lock and....

At that very second the entire area goes black.  Zoey smiles.

ZOEY
Find them.

NEW ANGLE

Thames is all over the handlink:  In the dim light the faint glow of the little computer lights only his face with an eerie orange glow.

THAMES
Come on.  Come on.

Chaos builds around them.  Zoey is motionless.  Her eyes are locked on Thames.

THAMES
Got them!
(beat)
They're outside the perimeter.
Just beyond the fence, northwest
side.

ZOEY
(yelling)
Get me a vehicle and a gun!

The back-up lights flare up an eerie green as we....

EXT. WOODS - NIGHT - SAM AND ALIA

On foot, running, exhausted.  Alia stumbles and they drop to the ground.  Al POPS in.

OBSERVER
Sam!  They've got a lock on you.

SAM
Tell Ziggy to override!

OBSERVER
The electric fences were your
force field.  When you blew the
power and left the perimeter....

He turns to Alia.

SAM
Rumpelstiltskin!

Alia blinks and rushes as if she was doused by a bucket of cold water.

ALIA
Sam!  Where....

NEW ANGLE

Just then Thames futzes in and them locks.

THAMES
Gotcha!

Alia turns as does Sam and Al.

THAMES
(singsongy)
Hologram.  At you service.

ALIA
Thames!

THAMES
Hello, sweet cakes.  Ready to die?

ALIA
Where's Zoey?

THAMES
Timing, it's all timing, my dear.

SAM
(to Alia)
Alia, Zoey leaped.  She's here.

NEW ANGLE

In the distance the sound of dogs close in.  Beyond them, lights from Zoey's Jeep approach, followed by two or three other vehicles.

THAMES
I'll be right back.

With a punch of the handlink he POPS out.  Sam grabs Alia and pulls her.  She stops, giving up.

SAM
We've got to keep going.

ALIA
It's over.

SAM
No!  It's only over if you let it
be over.

ALIA
It's over, Sam.  Let me go.  Save
yourself.

Sam grabs her and drags her into the woods.  Al is with them.

NEW ANGLE ON SAM, ALIA AND AL

They track into the woods.  Thames POPS back in.  They all stop.  The sounds of the dogs close in.

OBSERVER
...now the whole party's here.

SAM
They're here?

THAMES
(to Sam)
Not yet!
(yelling to
Zoey)
Zoey!  Over here!

Sam pulls Alia in a different direction.

THAMES
You're wasting your time.
(beat)
You're dead.

Thames POPS out and so does Al.

NEW ANGLE

Sam and Alia make their way up a small embankment.  They are breathless and exhausted.

ALIA
I can't run away from myself.

SAM
We have to turn ourselves into
someone else, we might....

Just as they crest the hill, they are blinded by a wash of white light.

NEW ANGLE FEATURING ZOEY

She steps into the Jeep's headlights and stands motionless, backlit by the blinding illumination.  A shotgun sits poised in her hands.

ON ALL

Sam and Alia freeze in the flush of light like a deer caught before the kill.  Al and Thames are there.

ALIA
Run Sam.  Save yourself.  She's
after me!

SAM
No.

With that Alia backs away from Sam, holding her arms out and trying to draw fire from Sam.

ALIA
Here Zoey!  You and me!

OBSERVER
She's going to shoot!

CLOSE ON ZOEY

Her eyes are filled with hatred as she raises the gun.  She is locked onto Alia.  There are no more words.

SAM'S VOICE
Alia!

CLOSE ON ALIA

She stares back, calm, cool, resigned to her fate.

CLOSE ON SAM

He yells up to the heavens.

SAM
No!  In God's name, don't let this
happen!

WIDER - SFX

Sam lunges for Alia to drag her out of the way but it's as if she steps directly into the line of fire.  The crack of three shots break the night.  At the same time a FLASH of Quantum blues rushes over her.  The bullets slam into the blast of white light, dissolving into a void.

WIDER ON ALL

The Quantum light subsides and instead of Alia, the real Angel fills the frame as if someone has dumped a bucket of ice water on her.  She looks to Sam and then to Zoey.

There is a moment of silence.  Each of them has an expression of shock.  Thames punches into his handlink as it screams and whines at him.

THAMES
Lothos lost her!

OBSERVER
Yes!

ZOEY
That's impossible.  She Leaped!

THAMES
She didn't Leap back!
(beat)
We lost her!

Zoey's cold eyes turn on Sam.

ZOEY
(to Sam)
But we have you.

As she raises the gun, Vivian steps into frame inches from Sam, holding a rifle.

FEATURING SAM AND ZOEY

In a blur he grabs the gun and pumps off a shot.  Zoey fires, but Sam pushes himself and Vivian out of the way.

FEATURING ZOEY

Hit.  She drops her gun and stands staring in disbelief.  Thames flickers in and out behind her.  He yells to Lothos.

THAMES
She's dying!  Leap her out!  Leap
her out!

WIDER ON ALL - FEATURING SAM AND ZOEY - SFX

Her hateful glare dissolves into a flood of light.  The evil red fingers engulf Zoey.  As she dissolves, so does Thames.  Suddenly, the real MEYERS stands where Zoey once was.  There is a bullet hole in his suit.  Vivian stands in shock knowing that Meyers was shot but is obviously untouched.  Vivian looks on in amazement at Sam.

VIVIAN
Far out.

At that moment two other vehicles pull up.  One, a State Trooper car and the other, Sophie and other Mallard guards jump out.  Just then Al's handlink goes nuts.

OBSERVER
Sam, you've got to talk to the
troopers.

Sophie crosses next to Meyers as the State Troopers gather up the real Angel.

SOPHIE
(re Sam)
Get cuffs on her and put her in
my car.
(Vivian)
And you're under arrest for
helping these prisoners escape.

NEA ANGLE FEATURING SAM

He holds his hands up to be cuffed.  One of the troopers crosses to Sam.

OBSERVER
Liz says Meyers is the one
responsible for Carol's death.

Sam yells loud enough for every one to hear.

SAM
Meyers killed Carol Benning.

MEYERS
(Swiss cheesed)
What the...

OBSERVER
Carol and Meyers had been having
an affair, she got pregnant....

SAM
Meyers got Carol pregnant.

MEYERS
That's a lie!

OBSERVER
...he forced her to have an
abortion.  When she started to
hemorrhage he let her bleed to
death.

SAM
Meyers forced her to abort and
when it failed he let her bleed
to death.

SOPHIE
She's nuts!

OBSERVER
(beat)
Ziggy says a Doctor Garcy.  Paula
Garcy knows everything.

SAM
(to State
Trooper)
Doctor Paula Garcy knows
everything.

Sam is up in the Trooper's face as he puts the cuffs on him.  One of the other guards grabs Vivian.

NEW ANGLE FEATURING MEYERS

Meyers is in total confusion.  He scrambles for control.

MEYERS
Arrest these prisoners.

VIVIAN
What do I do?

SAM
Get Garcy's records to the
authorities.

NEW ANGLE

Again the handlink whines and beeps.

SAM
What happens?

OBSERVER
Bingo!  Meyers and Sophie take the
fall and Angel and Liz get
paroled.
(beat)
Vivian ends up running Mallard!

SAM
(to Vivian)
Trust me, everything's going to
be all right.

Two guards take Sam.  Vivian calls after them.  She nods to Angel.

VIVIAN
What about your friend?

OBSERVER
We don't know where she went but
we know she didn't go back to
them.
(beat)
Wherever she is, she's free.

SAM
(to Vivian)
She's gone Vivian.  We did it.
(beat)
We've got to be the good guys.

There is an unspoken knowledge between Vivian and Sam.  They exchange a smile as a blast of blue light engulfs him and he....

QUANTUM LEAPS

FADE OUT

THE END