Sliders_3x04_-_The_Guardian_(1996_08_09)

8/20/2019 Sliders_3x04_-_The_Guardian_(1996_08_09)

1/58

EXEC. PRODUCER: David Peckinpah PROD. #K1803EXEC. PRODUCER: Tracy Torme' Prod. Draft 8/09/96 (F.R.)EXEC. PRODUCER: Alan BarnetteCO-EXEC. PRODUCER: Tony BlakeCO-EXEC. PRODUCER: Paul JacksonPRODUCER: Mychelle Deschamps

PRODUCER: Richard ComptonCONS. PRODUCER: Josef Anderson

SLIDERS

"THE GUARDIAN"

Written by

Tracy Torme'

Directed by

Adam Nimoy

- NOTICE -THIS MATERIAL IS THE PROPERTY OF UNIVERSAL CITY STUDIOS, INC.AND IS INTENDED AND RESTRICTED SOLELY FOR STUDIO USE BY STUDIOPERSONNEL. DISTRIBUTION OR DISCLOSURE OF THE MATERIAL TOUNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING ORREPRODUCTION OF THIS MATERIAL IN ANY FORM IS ALSO PROHIBITED.


2/58

TEASER

"The Guardian"

OPEN ON

the rewed-up sounds of CELEBRATION. A cacophony of MUSIC,

LAUGHTER, and CLINKING GLASSES.

INT. LAST CHANCE BAR (REDRESS) - NIGHT - FADE IN ON1 1

a cork popping from a bottle of top notch champagne. This world's ELSTON DIGGS (goatee and all) is tending bar at arocking New Year's Eve party - it's just minutes now till midnight. He looks up to see a beaming WADE approach thebar.

WADEThree champagnes, please.

DIGGS(pouring)

Three? Tell me you're not driving.

WADEActually, we're flying. At noontomorrow.

DIGGSYeah? Where ya headed?

WADEAnother Earth.

Wade shoots the perplexed bartender a smile and a tip, then makes her way across the crowded room, balancing thedrinks. A banner on the wall reads: JIM HALL'S lOTH ANNUALNEW YEAR'S BASH! People are milling around before it inanticipation - on the big screen TV in the background, theball is minutes from dropping in the nation's culturalcapital... Milwaukee.

VOICE IN THE CROWDFive minutes, everyone! Five minutes!

Suddenly everybody around her starts kissing - Wade is

shocked when A HANDSOME YOUNG MAN boldly places a handaround her waist and plants a passionate kiss on her lips.

Wade comes up for air - before she can ask what gives, he'salready moved on, kissing someone else. Wade's eyes go wide as she spots another guy making a beeline for her.

#K1803 - "The Guardian" - Production Draft 8/9/96 1.

Prepared by Earth Prime


3/58

INT. PATIO ADJACENT TO LIVING ROOM - NIGHT - WADE2 2

escapes the pleasured chaos of the living room, glassesstill in hand, only to find QUINN and REMBRANDT locked injoyful kissing sessions with two pretty women.

Each reacts with a start when they open their eyes to see

Wade standing next to them, a look of ironic amusement onher face. Like guys who've been caught by their mom, theyeach disengage and try to project a sense of nonchalance.

QUINN(strained smile)

It's uh, apparently a custom ofthis world, to kiss before theclock strikes twelve. Weird, huh?

REMBRANDTYeah, like having New Year's Eve onthe last night in September. Whenin Rome, what can you do?

WADEYou expect me to believe they justcame up and started kissing you?Please.

Wade smiles a secret smile (knowing they have no idea sheherself was just kissed) and hands them each a glass ofchampagne. As they tilt the glasses to take a swig, theynotice they're 95% empty.

WADE(sheepish)

They must've spilled on my way backfrom the bar. Can't imagine howthat happened.

(looking around,frowning)

Anyone see The Professor?

QUINN(shaking head)

He promised to meet us here beforethe year turned.

REMBRANDT(checking watch)

That was two weeks ago... he's gota minute and a half to keep his word.

The Sliders look back toward the living room where thecrowd is reaching a fever pitch in anticipation of midnight.


(CONTINUED)



4/58

Wade downs the pittance of liquid still in her glass -then once again scans the surroundings with a touch ofanxiety...

WADEShould we be worried? He's always

riding us about being on time, andnow he's late --

ARTURO (O.S.)-- But I'm not late, Miss Welles.

The relieved Sliders turn to see ARTURO approaching.

ARTUROIn fact I'm a minute early.

Arturo is arm in arm with NATALIE HAMPTON, a stunning woman, attractive in a mature, intelligent way.

ARTUROMay I introduce Natalie Hampton...soon to be Mrs. Natalie Arturo.

(she greets thestunned Sliders)

We'll be getting married in thespring.

The Sliders are speechless, unsure of how to react, lookingfrom Arturo to Natalie as the crowd in the adjoining livingroom builds to a fever pitch. Finally, Rembrandt manages asmile as he addresses Natalie...

REMBRANDTWow... Congratulations. So you'llbe coming with us in the morning?

ARTURONo. She will be remaining on this world. And so will I.

(deep breath)I came here tonight... to say good-bye.

The crowd in the living room is CHANTING now... TEN, NINE,EIGHT...


CONTINUED2 2

(CONTINUED)



5/58

CROSSCUT THE SLIDERS

individually reacting to Arturo's stunning news - theirsomber, shocked expressions somehow enhanced by the excitedcrowd... THREE, TWO, ONE, HAPPY NEW YEAR...

SLOWLY FADE TO BLACK:

END OF TEASER


CONTINUED (2)2 2



6/58

ACT ONE

FADE IN ON:

INT. JIM HALL'S PATIO - NIGHT - WE REJOIN THE SLIDERS3 3

and Natalie in the same setting - the New Year is at hand,people continue to celebrate in the background, in starkcontrast to the mood of Arturo's Sliding companions.

ARTUROPlease... be happy for me. AndSlide tomorrow with no regrets.

(to Quinn)I'm indebted to you. Yourinvention allowed me to meet thelove of my life. The peace andtranquility that embraces me now would be a distant dream if notfor you.

They shake hands profoundly - two colleagues and friends whoknow they will never see each other again. In thebackground, the other party-goers begin to sing thetraditional New Year's Eve song of this world, the wistfulballad “I'll Be Seeing You.”

Arturo turns to Rembrandt...

ARTUROMy thoughts will often be of you,and the great times we've shared.Like the day I saved you from

those cannibals.REMBRANDT

You? Saved me? I’ve never seen a man run so fast in my life. You would've been Arturo soup if it wasn't for me.

ARTUROMaybe so, But all in all, we hada hell of a lot of fun, didn't we?

Rembrandt nods, a little choked up. They clasp hands warmly.

REMBRANDT(eyes down)

Man, I'm close to living up to mynickname.

Finally, Arturo turns to Wade. Although they've often beenat odds, in many ways this is the most painful


(CONTINUED)



7/58

good-bye. She suddenly embraces him, holding him tightly,closing her eyes...

WADE(tearful whisper)

I'm going to miss you more than

you'll ever know.

Arturo is secretly very moved; he struggles to mask it.Gently disengaging from Wade, he signals a passing serverand has champagne poured into everyone's glasses.

ARTUROA toast everyone, a toast.

(lifts his glass,looks at Natalie)

May you all find the happiness thatI've found.

(to Sliders)Good-bye... and good luck.

The others hesitate... then clink glasses with TheProfessor and his bride-to-be. In the background, thecrowd is coming to the end of their song...

SINGING CROWD1'11 find you in the morningsun... and when the night isnew... I'll be looking at the moon... but I'll be seeing you.

DISSOLVE TO:

INT. DOCTOR'S OFFICE - DAY - CLOSE ON A SIGNATURE4 4

in the making - the name being signed is Maximilian P.Arturo - the bill is for medical services rendered.

PULL BACK TO SEE ARTURO

place the pen down in the presence of Natalie Hampton.Natalie wears the white frock of a doctor - all the romancebetween the two has vanished, replaced by a mood formal andprofessional.

ARTURO

I'm grateful for your assistance.It was above and beyond the call.


CONTINUED3 3

(CONTINUED)



8/58

NATALIEI don't usually take on roles,Professor, but given thechallenges you face... I wanted tohelp in whatever way I could.

Arturo puts on his overcoat, prepares to exit. He noticesthat Natalie is looking at him with sad eyes.

ARTUROPlease don't feel sorry for me,Doctor. I've seen more, done morein my life than any ten men Iknow.

EXT. STREET IN FRONT OF DOCTOR'S OFFICE - DAY5 5

TIGHT ON ARTURO

as he steps into the bright sunshine, putting on darkshades. Turning to walk up the block, he bumps right intoQuinn --

ARTURO(flustered)

What are you doing here? You hadno right to follow me!

QUINNI spoke to Doctor Hampton'sreceptionist - apparently NatalieHampton is already married,apparently you're her patient.

Arturo simmers, trying to cook up an explanation... butfinally sighs, a beaten man.

ARTUROAlright, I admit to the charade.I wanted you to leave this Earth without remorse. To remember me with a smile instead of a tear.

(deep breath)I have a terminal disease Quinn.The details are unimportant - what matters is, there is no cure.

Arturo starts to walk down the block - Quinn follows,reeling.

QUINNHow long?


CONTINUED4 4

(CONTINUED)



9/58

ARTUROA month. A year. Somewhere inbetween.

QUINNAre you... in pain?

ARTURORemarkably little. That willundoubtedly change when I near theend.

Quinn is thinking hard, still trying to fathom this.

QUINNWhat do you plan to do --

ARTURO-- With the time I have left?Travel... seek out adventure...live every remaining minute to thefullest.

QUINNThen you should be coming with us.We Slide in an hour.

(off Arturo's look)Where else could you find moreadventure than Sliding?

ARTUROI would like to continue... but Irefuse to be an object of pity in

the eyes of Miss Welles or MisterBrown.

QUINNThen let's not tell them.

(Arturo isskeptical)

If that's how you feel, we can keepit between us.

EXT. URBAN ALLEY - DAY - ON WADE AND REMBRANDT6 6

The Professor is looking away and they are eying him with

deep empathy. We hear QUINN'S WORDS from the previousscene...

QUINN (O.S.)We'll say you and Natalie brokeup. (MORE)


CONTINUED5 5

(CONTINUED)



10/58

QUINN (O.S.) (CONT'D)(O.S.)

You took it kinda hard and decidedto Slide after all. Simple asthat.

QUINN

aims the timer and forms the gate.

REMBRANDT

sidles up to Arturo on his way to the vortex.

REMBRANDT(male bonding)

Hang in there, big guy: I know what it's like - any time you needto talk you just shout.

He continues on and Slides.

WADE

also passes, but first she stops and looks at Arturo witheyes befitting the examination of a wounded puppy. Herheart is breaking for him and it is driving the Professorout of his skin. At last... she gently touches his face...then Slides.

ARTUROPity is pity, Mr. Mallory! No matter how misguided!

A PERTURBED ARTURO

leaps into the void.

QUINN

takes a deep breath and follows suit.

EXT. SLIDING TUNNEL - FLYING THROUGH THE VOID7 7

EXT. CITY STREET - DAY - THE SLIDERS8 8arrive to find the streets relatively quiet. They dustthemselves off, take a look around, and size up theirsurroundings - definitely San Francisco. Remmy (eyes stillon the city) queries Quinn...


CONTINUED6 6

(CONTINUED)



11/58

REMBRANDTDefinitely San Francisco... don'tyou think?

QUINNYeah... but something's

different... Can't put my finger onit.

They notice The Professor has wandered off... they move inthat direction, still looking around.

ON THE PROFESSOR

as the others sidle up. He is standing before a cardealership that does luxury rentals... and his eyes arelovingly glued to a black Bentley.

ARTUROBeautiful, isn't she? When I worea younger man's clothes I ownedone just like it. Those were someof the happiest days of my life.

REMBRANDTI know just how you feel. A man'scar is right up there with his woman and his vocation. MyCadillac --

(looks at Quinn)-- the one now stuck in an iceberg?

(back to Arturo)-- meant everything to me. Losingit was like losing my...

(looks down, thensees Wade, avoidssaying "dick")

-- arm.

ARTURO(puts an arm overRemmy's shoulder)

Well my friend, I still have somecash from the last world... and youonly live once.

CUT TO:

INT. BENTLEY - DAY - THE SLIDERS ARE RIDING IN STYLE9 9

a nostalgic Arturo driving, Remmy beside him, Quinn andWade in the back. CLASSICAL MUSIC is playing on the radio.


CONTINUED8 8

(CONTINUED)



12/58

QUINNI think I've nailed it.Everything on this Earth seems tobe ten to fifteen years old. Eventhe new things.

REMBRANDTAre you cracked, Q-ball - the newthings are old? What is this,hand me down world?

QUINNWhat I mean is... it all looks mid-eighties.

WADEAre you saying we've traveled backin time? I thought you didn'tbelieve in that sort of thing.

Quinn is stymied - his eyes wander out the window, lost inthought. Arturo brings the car to a stop at a red lightnear a small city cemetery called "Whispering Glades".

ARTUROI can assure you, the year is1996. It's on the rental form Ifilled out.

(to Quinn)Van Meer's Theorem: straightrelativistic time dilation.

QUINNRight! That could explain it.

REMBRANDTOh really? Doesn't do a thing for me.

ARTURO(to Wade and Remmy)

Herbert Van Meer, a Dutchastrophysicist, theorized about aparallel world which revolvedaround the sun at the same rate asours, but which spun more quicklyon its axis. Thus, over the

course of centuries, a subtle timelapse could occur. It may be1996, but from our perspectiveevents are occurring as they did adecade or two ago --


CONTINUED9 9

(CONTINUED)



13/58

QUINN(staring out window)

-- Pull over!

ARTURO

I beg your pardon?

QUINNStop the car and pull over!!

A befuddled Arturo does so, and Quinn is out the door beforethe car has come to a stop.

The others watch in silent puzzlement as Quinn slowly movestoward the entrance to the grounds of Whispering Glades,his eyes never wavering from the modest funeral servicetaking place just inside its gates.

A small, respectful group of people are gathered before atombstone. At the center of the ceremony are a black cladWIDOW, her back to us, wearing a veil, and her eleven-year-old SON who also has his back turned.

ON QUINN

watching from a respectful distance, his face an unreadable mask. If you look closely, you'll see his heart isthumping at twice its normal speed.

The other Sliders sense that something profound ishappening here. They approach Quinn from behind; hedoesn't even hear their soft footsteps.

WADEQuinn... what is it?

He doesn't answer, can't find any words.

REMBRANDTDo you know these people?

His answer is barely audible.

QUINNYes... I know them.

The veiled widow seems to momentarily sense his presence.She glances back over her shoulder, just for an instant...and sets eyes on him... before turning back to face thetombstone.


CONTINUED (2)9 9

(CONTINUED)



14/58

QUINN(half -whisper)

That woman is my mother.(Pause) )

And the boy... is me.

MOVE IN ON THE WIDOW

holding hands with the dark-haired little boy who glancesback over his shoulder as we...

FADE TO BLACK:

END OF ACT ONE


CONTINUED (3)9 9



15/58

ACT TWO

FADE IN ON:

EXT. OUTSKIRTS OF CEMETERY - DAY - THE SERVICE10 10

has ended and the procession is walking right past TheSliders. MRS. MALLORY once again glances at Quinn as sheleads a deeply mournful YOUNG QUINN down the path.

Once they've gone, Rembrandt sees that his friend Quinn isstanding perfectly still, barely breathing.

QUINNIt's exactly as I remember it.Everything... just as it happened.

(hangs his head)The day we buried my father.

Rembrandt really feels for his friend. He drapes an armover his shoulder as we...

SLOWLY DISSOLVE TO:

INT. DOMINION HOTEL - NIGHT - THE SLIDERS11 11

are spread out about the room - Quinn is standing, silentlystaring out the window, while Arturo is pouring himself adrink.

ARTUROI have something to share - I'd

decided to keep it to myself, butnow that we're partners in Slidingagain, I feel I owe you the truth.

Quinn glances over at the Professor, surprised - Arturotakes a swig and goes in a different direction...

ARTUROIn recent weeks I've done someintensive calculations based on ourjourneys and the writings ofRussian physicist VladimirSkrevadenska.

REMBRANDTOh yeah, there you go again -Hubert Van Decamp, VladSkrevadooski - don't smart guysever have simple names?


(CONTINUED)



16/58

ARTUROApparently not, Mister Brown.

(clears throat)As I was saying, I'm now convincedthat there are likely millionsof parallel Earths... and that the

odds of our returning to the one we started from are akin tofinding a needle in a haystack.

REMBRANDT(suddenly sober)

Wait a minute - you're saying we'renever gonna make it home? Q-ball?

QUINN(quietly)

I don't agree. The Professor'scalculations must be flawed.

WADE(to Arturo, ticked)

Flawed or not, what business doyou have telling us something likethat? I don't know much aboutyour endless "calculations" but Ido know that hope's the onething we can't afford to lose.

For an instant, it looks like Arturo is going to come rightback at her - a typical clash of philosophies between thesetwo - but the Professor's initial irritation quickly turnsto genuine affection.

ARTUROMy dear Miss Welles, your naiveteis so refreshing, no matter how misguided. Don't ever change.

Wade initially feels patronized... but something in theProfessor's eyes tells her he's sincere.

ARTUROI raised this thesis not todiscourage but to motivate. Our modus operandi must change from"don't get involved" to "let's

make a difference". Given mydoubts about an eventualhomecoming, I propose that being aforce for good is the moral andresponsible course.


CONTINUED11 11

(CONTINUED)



17/58

All the Sliders take a moment to consider this. MOVE IN ONQUINN who in particular is thinking about it.

CUT TO:

EXT. PLAYGROUND - DAY - ON YOUNG QUINN12 12

still looking gloomy - a sad, lone figure walking out ontothe playground during lunchtime recess. He glances aroundthe playground listlessly, squinting in the noon-day sun.

Suddenly he reacts as an object is hurled his way. Quinncatches the fast-moving basketball just before it clips himin the head.

BRADY (O.S.)Whoa, nice catch brain boy!

Derisive LAUGHTER rings out as Young Quinn is surrounded bya small pack of schoolyard bullies.

The leader is BRADY OAKS, tall, long blond hair, aggressivetaunting demeanor. His main henchman is REX CRANDELL, araw boned youth of limited intellect. Crandell and Oaksshare one main trait - a cruel streak that knows nobounds - and each youth is much bigger and broader thanYoung Quinn. Another boy and two girls make up the rest oftheir posse.

BRADYWanna shoot some hoop?

Quinn two-hand tosses the ball right back to Brady.

YOUNG QUINNNo thanks.

BRADYAw, come on Queer --

YOUNG QUINN-- Quinn. My name is Quinn.

BRADY(as if to a baby)

You look so sad and lonelyQueer... we thought you might need

some cheering up.

LAUGHTER from the others. Young Quinn tries to move away -Rex blocks his path.


CONTINUED (2)11 11

(CONTINUED)



18/58

REXHeard about your dad, Queer. Hekicked the bucket, huh.

YOUNG QUINNLeave my dad out of it!

REXHeard it was suicide. Heard heblew his brains out in yourbedroom!

LAUGHTER.

YOUNG QUINNThat's a lie! He was... he was hitby a car.

BRADYYeah, and I was driving!

More LAUGHTER. They've encircled him now.

BRADY(to others,grinning)

Daddy tried to run but he was ageek just like his son. Isplattered him good - crushed hishead like a melon!

This is cruelty as only kids can be cruel. The pack istaunting, laughing, enjoying Young Quinn's discomfort. He

wants to get away but there is no place to run.Brady pushes Young Quinn in the chest, forcing himbackward.

BRADYYou know where your Daddy is now,don't you?

(pushes him again)He's being eaten, Queer. He'sdinner for the worms!

HOWLING LAUGHTER. Quinn reaches a breaking point - heangrily tries to fight them but there are too many - they

shove him around like a pinball as he takes wildineffectual swings at his tormentors.


CONTINUED12 12

(CONTINUED)



19/58

REX(bitter, hateful)

You think you're so smartMallory - think you're better thanus, don't you!

(pushes Quinn)

Well I'm gonna put a dent inthat "special" brain of yours!

Rex cocks his arm, preparing to plaster young Quinn -- heis shocked when a larger hand catches his fist from behind,

stopping him cold. Rex turns to find our Quinn standingthere --

The intrusion of an adult brings the confrontation to atense, screeching halt.

QUINNThat's not very smart Rex, even

for you.

Rex struggles, Quinn holds tighter - the young bully isamazed that Quinn knows his name. Quinn pulls him out ofthe pack, speaks to him softly, nose to nose, a few feetfrom the others.

QUINNI understand you Rex. I know yoursecret. You're dyslexic... andyou lash out cause you can't read.

Rex breaks away, running off, terrified by Quinn's words

(which only the two of them could hear). Young Quinn islooking at our Quinn in wonder - the others are backingaway, spooked and unsettled by this bold stranger. Quinncalls out to their leader...

QUINNBrady Oaks... One day you'll be aBorn Again, and you'll regret allthe cruel things you've done.

(slight smile)Find God now son. Don't wait.

Brady is also scared and uncertain. The posse backs off -

the bell rings and they use that as a reason to flee,looking back over their shoulders at Quinn as they go.

CLOSE ON YOUNG QUINN

who is as dazed by events as the bullies, but a great deal


CONTINUED (2)12 12

(CONTINUED)



20/58

happier. He turns from watching their retreat in time tosee

OUR QUINN

leaping the fence and disappearing down the street.

INT. MALLORY HOUSE - NIGHT - MRS. MALLORY13 13

is washing dishes, but her mind is somewhere else.Bittersweet MUSIC is playing on the stereo in the nextroom, matching the sad, wistful look on her face.

THE DOORBELL RINGS. MRS. MALLORY frowns, dries her handsand goes to answer it.

INT. FRONT LANDING - NIGHT - MRS. MALLORY14 14

opens the door to find our Quinn standing there, tending toa beautiful black Lab named Bopper that can't seem to lickhim enough.

MRS. MALLORY ,My God, my God you found him!

(kneeling, greetingthe dog)

He's been missing since I got home- the gardener must've left thegate open. On top of everythingelse that's happened... this wasreally too much.

QUINN(happy)

Bopper was all mixed up - sixblocks away and moving in the wrong direction when I spottedhim.

MRS. MALLORY shoots Quinn a puzzled glance, taking a momentto study the face of the stranger at her door.,.

MRS. MALLORYHow did you know his name wasBopper?

QUINN(thinking quickly)

A neighbor saw me with the dog. A tall lady with red hair and thickglasses.


CONTINUED (3)12 12

(CONTINUED)



21/58

MRS. MALLORYMrs. Vanderbecken.

(smiling, relievedsomehow)

Please. Come inside.

INT. MALLORY FRONT LANDING - NIGHT - SHE AND QUINN15 15

walk in together.

MRS. MALLORYI've seen you before, haven't I.At Michael's funeral.

QUINNYes... I knew your husband. I uh, met him when he was in L.A., at aconvention last year.

MRS. MALLORYTwo years ago. He was in LosAngeles two years ago.

QUINNRight. Two years. He told me so much about his family, I feel asif I know you already.

She is studying his face again, trying to sort out herfeelings.

MRS. MALLORY

Returning our dog was so kind ofyou, Mister...

QUINNHall. Jim Hall.

MRS. MALLORYWe were going to offer a reward,Jim --

QUINN-- That's not necessary. I lost adog myself when I was about yourson's age. He ran away... and

never came back.(smiles)

So returning Bopper to thishouse... was my pleasure.

He takes a moment to listen to the music... loses himself init...


CONTINUED14 14

(CONTINUED)



22/58

a slow smile of remembrance spreading across his face.

QUINNMancini... the soundtrack from TwoFor The Road. He really lovedthat movie.

MRS. MALLORY is quietly amazed by this young man. As he moves to the stereo, looking at their record collection with nostalgic fondness, she studies his form, trying toidentify what she's feeling.

QUINN(softly, backturned)

You were the center of Michael'suniverse. I know he cared for you more than anything in this world.

Tears are welling up in her eyes.

MRS. MALLORY(choked half- whisper)

I still feel him you know... whenI play the music he loved... whenI whisper his name in this emptyhouse.

Quinn turns, sees the tears on his mother's face... Hedesperately wants to hug her, to tell her everything willbe alright... but he can't. He's a stranger here.

QUINN(lowering his eyes)I... was hoping to say hello toyour son.

MRS. MALLORY wipes her eyes and manages a semi-cheerfulsmile.

MRS. MALLORYHe left a note. He's at thelibrary, the place he alwaysgoes... to escape from the world.

ON QUINN thinking, remembering.

EXT. WHISPERING GLADES CEMETERY - NIGHT - ON YOUNG QUINN16 16

standing before his father's headstone, thinking dark,private thoughts.


CONTINUED15 15

(CONTINUED)



23/58

There is a full moon tonight - a shadow falls over thelittle boy - he turns to find our Quinn respectfullystanding behind him.

YOUNG QUINNYou? How... how did you know I

was here?

QUINNI thought about where I would'vegone had my father just died. I'dcome here. Alone. With no one watching me, like they did at thefuneral. No one waiting for me tocry.

YOUNG QUINN(thinking, somber)

I didn't cry at the funeral.

QUINNI know you didn't.

(then)But you cried tonight. I can seethe tracks of your tears.

(off young Quinn'slook)

There's nothing wrong with it,Quinn. Everyone cries.

Big Quinn's words reach his younger self in a way no oneelse could. The boy is close to letting go, close toletting his tears fly. He looks up at the night sky with atrace of bitterness.

YOUNG QUINNMy Dad used to take me stargazing.He bought me a telescope on myeighth birthday, and...

YOUNG QUINN(tears welling)

... we used to go to a mountaintopand he taught me where to findOrion's Belt... Altair... and UrsaMajor.

Quinn nods... remembering.

YOUNG QUINNBut we only went twice. He... henever had enough time. (MORE)


CONTINUED16 16

(CONTINUED)



24/58

YOUNG QUINN (CONT'D)(looks at ground)

Now I hate the stars. They remind me of him...

(voice trails off)... and the things we never got to

do.

Quinn ponders silently, thinking of a way to reach hisyounger self - a way to break him out of his melancholystate.

QUINNDid you know we're all made ofstardust? You, me, your father,everyone.

(off young Quinn'scurious look)

Our atoms were formed in the stars- not the ones you see now - the

older ones, the ones that wentnova and turned to dust. Thinkabout it Quinn - our bodies are made from the remnants of ancientsuns!

YOUNG QUINN(looking up)

Wow... for real?

QUINNFor real. Of course you can'tactually look up into the heavensand see your dad... but one day,his physical essence will be blowninto space... yours and minetoo... and together, we'll formnew stars.

Young Quinn slowly lifts his head, looking Quinn up anddown, thinking about the stranger's words with a sense of wonder.

YOUNG QUINNYou saved me today. I'd neverseen you before the funeral butyou stepped in and saved me.

(beat)I don't understand. Who are you?

QUINNA friend.

(pause)Your friend.


CONTINUED (2)16 16

(CONTINUED)



25/58

Quinn crouches down, speaks to him earnestly, eye to eye...

QUINNListen to me. What happened toyour Dad is a tragedy, but it was an accident. If you allow

it, a bitterness will creep intoyour life that will set you backfor years. You'll blame fate andthe world in general - you'llblame your Dad for the things hedidn't do, and that'll be the mostpainful hurt of all. You have tofight those dark feelings Quinn!Don't let them take you over --

YOUNG QUINN(resentful)

--What do you know about it?! Youdon't know me, you don't know a

thing!

QUINN(empathetic)

I know a lot. I know that you'veskipped two grades... that you'resmaller and younger than all yourpeers. That you have no friends,no one to talk to or rely on...and that there's a group of kidsdetermined to make your life aliving Hell.

Young Quinn is mesmerized... even spooked a bit by thethings "Jim Hall" has just said. Quinn finishes thethought with quiet determination, looking straight into theeyes of his younger self.

QUINNMaybe together... we can start tochange things.

INT. SLIDERS HOTEL ROOM - NIGHT - QUINN17 17

has rejoined Wade and Rembrandt (who are each gettingdressed up) while the Professor can be heard SINGING

operatic riffs from the bathroom, Quinn is getting somethings together...

WADEYou're moving in with your family?You sure that's such a good idea?


CONTINUED (3)16 16

(CONTINUED)



26/58

QUINNI'm a temporary boarder, I'll bestaying in the guest bedroom forthe week we're here.

(pause, smiles)My mom instinctively feels

comfortable having me around...even though she thinks I'm JimHall.

REMBRANDTYou took the name of our friendfrom the last world - prettycrafty Q-ball.

QUINNThe timing is so fortuitousRembrandt, like there's a reason we landed here. Something's aboutto happen on the playground, an

incident the day we Slide...something awful.(steely)

But it won't happen here. Not thesame way, I won't allow it.

Wade and Rembrandt exchange uncomfortable glances.

WADEQuinn... maybe you should take astep back... think this over --

QUINN-- Don't try to talk me out of itWade! I know what I'm doing.

Wade is taken aback by his sharp, defensive response.Rembrandt strategically changes the subject...

REMBRANDTWell... maybe it's lucky for youyou're moving out for awhile. TheProfessor is driving us nuts -he's acting weird with a capitalW.

WADE

Yeah, he keeps pausing to smellflowers, or to pick out a bird andgive us ten scientific reasons whyit's such a wonderful creature.Weird.


CONTINUED17 17

(CONTINUED)



27/58

REMBRANDTHe even stopped me from squashinga spider - launched into a speechabout the rights of all creaturesto lead full and productive lives!

(deep sigh)

Man I tell you love is sick!

QUINNHang in there with him guys. He'sgoing through more than you canimagine.

WADEWe've got no choice - you'regone so we're his long lost pals.He's decided to impart culture onus, to "show us how rich life canbe".

(looks at

Rembrandt)Tonight he's taking us to theopera.

Rembrandt shudders, a chill running down his spine as Arturohits a high note in the shower.

INT. OPERA HOUSE - NIGHT - STOCK OF A HIGHBROW CROWD18 18

watching a performance of La Traviata as it nears itsfinale.

DISSOLVE TO:

INT. PRIVATE BALCONY BOOTH - NIGHT - PAN THE SLIDERS19 19

STARTING WITH WADE

who is absently concentrating on her program, turning itinto paper mache (she's obviously been at it for a longtime).

NEXT IS REMBRANDT

who is sound asleep, his body slumped down into an

uncomfortable position that is sure to leave him with astiff neck.


CONTINUED (2)17 17

(CONTINUED)



28/58

AND FINALLY THE PROFESSOR

who is enraptured by this performance as never before.Uncontrollable tears are streaming down his face as thetenor reaches his final crescendo.

Arturo can't take it anymore. Overcome with emotion, heleaps to his feet, the first to shout:

ARTURO(applauding, weeping)

Bravo! Bravisslmo!

His enthusiastic response is so loud and powerful it wakesRembrandt with a start!

REMBRANDT(to Wade)

Is it over? Please tell me it'sover.

A blissful, emotional, still applauding Arturo looks backover his shoulder at his companions - Wade and Rembrandteach flash frozen smiles.

ARTUROEncore! Encore!

REMBRANDT(alarmed, tuggingon Arturo)

No!! Professor sit down - that's

enough culture for one night!

EXT. STREET BORDERING SCHOOLYARD - DAY - ON QUINN20 20

milling around just outside the grounds, biding his time,reacting to the sound of THE SCHOOL BELL signaling lunchtime recess.

Quinn has his eyes on a particular part of the playgroundthat is starting to fill up with kids.

He turns, surprised to see Arturo pull up behind him in hisrented Bentley. The Professor exits and heads toward

Quinn...

QUINNHow was the opera?


CONTINUED19 19

(CONTINUED)



29/58

ARTUROFantastic. Wade and Rembrandt hadthe time of their lives.

QUINN(glancing back at

playground)Glad to hear it - now why are youhere?

ARTUROTo talk some sense into you.

Quinn doesn't like where this is going. He turns and walksto the fence that encircles the playground - his double isnow out on the yard, alone again, like yesterday.

Arturo goes after Quinn...

ARTUROMiss Welles is worried about you -she filled me in on what you'redoing, and it must stop. It muststop now.

Quinn isn't responding - he's scoping his younger self withfixed concentration. Arturo surprises him by forcefullytaking him by the arm and spinning him till they're eye toeye...

ARTUROBy using knowledge of your past toalter events in your double's

life, you may well be changing hisfuture --

QUINN-- That's the idea! To change hisimmediate future, to spare him thepain and suffering I went throughfor two terrible years.

Quinn moves away again. Arturo follows, sensing that Quinnis tightly wound and emotionally blinded.

QUINN(re: playground)

Do you see that pack of rats moving toward me? There werethree beatings - one yesterday, Istopped it - one today, I willstop it - and one in four days... (MORE)


CONTINUED20 20

(CONTINUED)



30/58

QUINN (CONT'D)... the bad one... the one that...that scarred me.

ARTURO(forcefully)

Quinn, I realize how tough this isfor you but you mustn't interfere.Suppose your double was meant toexperience the same pain you did!

QUINNI gotta go, they're about to--

ARTURO(holding him)

-- In order to become the Quinnhe's meant to be - the Quinn youare - he has to experience thesame trauma, the same turmoil! We

know this world is following anidentical path to ours - butyou're changing that, you'rebecoming an instrument of futurechaos.

Quinn hesitates, troubled, thinking.

ARTUROStop. Think it through, at leastfor today. You owe that to theyoung Quinn of this world.

As much as he hates it, Quinn finds himself forced toconsider Arturo's words... The Professor is physicallyrestraining him; Quinn could break away - he looks towardthe playground, now unsure of what to do.

QUINN'S POV:

The same pack, led by Brady Oaks and Rex Crandell, is onceagain taunting and shoving young Quinn.

This time there is no knight in shining armor to save him.Young Quinn is forced to take a beating at the hands of thebullies.


CONTINUED (2)20 20

(CONTINUED)



31/58

MOVE IN OUR QUINN

silently suffering as he decides not to resist theProfessor... and not to intervene.

SLOWLY FADE TO BLACK:

END OF ACT TWO


CONTINUED (3)20 20



32/58

ACT THREE

FADE IN ON:

EXT. STREET BORDERING SCHOOLYARD - DAY - SAME SITUATION21 21

Quinn watching in agony, Arturo watching Quinn, asympathetic hand on the young man's shoulder. The soundsof the one-sided fight are ringing out from theplayground...

QUINN(emotional, biting)

Is that enough, Professor? Can Istop it now?

ARTURO(gently)

You tell me... how did it end whenyou were a boy?

The question catches Quinn off guard. His superiorphotographic memory reels back in time...


It... it was stopped by MissHanley. My homeroom teacher.

Out on the playground, HEATHER HANLEY, a lovely 24-year-oldteacher, is indeed in the process of breaking up the fight.

QUINN

(softly, dazed)I remember being embarrassed, Ihad the biggest crush in the worldon her... and I didn't want her tosee me like this. Beaten.Ashamed.

Quinn looks to where Heather is leading little Quinn off theplayground.

QUINNIt's so bizarre... it's likelooking back in time.

Quinn starts to move away - still annoyed with Arturo, hedoesn't pause to say good-bye.

ARTUROIt's okay to look, MisterMallory... look but don't touch.




33/58

EXT. SCHOOL PARKING LOT - DAY - HEATHER HANLEY22 22

is heading for her car...

QUINN (O.S.)Miss Hanley?

She turns to find Quinn catching up with her.

QUINNI want to thank you for helpingQuinn. I'm a close friend of hisfamily - Jim Hall.

HEATHER(shaking hands)

I feel so sorry for Quinn. Someof the kids seem to resent himbecause he's so bright. It breaks my heart to see the way he'streated.

Quinn is mesmerized by his long ago crush, he tries his bestto mask it.

HEATHERHe's gonna be okay, you know, justa few scrapes and bruises. And atleast we got some of those bulliesoff the playground. Brady Oaksand Rex Crandell were suspendedfor --

QUINN

-- For three days, I know. Butthey'll be back in school Friday,and something terrible is going tohappen.

HEATHER(studying Quinn'sface)

Friday? How do you know what willhappen Friday?

QUINNThat's a little hard to explain...

(builds up his

courage)Miss Hanley, I'm only in town fora short time - I leave earlyFriday afternoon. I need to talkto you about Quinn.


(CONTINUED)



34/58

QUINN(exhales)

Would you... could you have dinner with me tonight?

MOVE IN ON PRETTY HEATHER HANLEY

looking into Quinn's eyes... and considering the offer.

INT. RESTAURANT (LAST CHANCE REDRESS) - NIGHT23 23

Quinn and Heather are having an intimate dinner.

QUINN... Quinn sees his genius as acurse, something that separateshim from his peers. At this agehe's frustrated - he'd rather beknown as an athlete than a brain -but skipping two grades has madehim smaller and slower than hisclassmates.

HEATHERBut he's so gifted - it's ablessing, not a curse.

QUINNOne day he'll realize that, buteven then he'll do all his sciencein his basement - a place where he works alone, his fortress of

solitude.HEATHER

You keep saying what he's going todo. How can you possibly know?

QUINNEducated guesses.

(looks down atfood)

That's all.

INT. BENTLEY - NIGHT - ARTURO IS DRIVING24 24

Wade and Rembrandt are in the back seat.

ARTUROI wash my hands of Mr. Mallory'ssituation. I have given him mycounsel, the rest is up to him.


CONTINUED22 22

(CONTINUED)



35/58

REMBRANDTI don't get it - you were the one who lectured us to getinvolved - seems to me that'sjust what he's doing.

ARTURO(irritated)Well this world is the exception tothe rule!

(relaxes, lightscigar)

Let's talk about the adventurebefore us this evening. I sayit's an anything goes night!Whenever the spirit moves us, weact - beginning now.

Arturo suddenly jerks the wheel to the right, careening thecar into a Seven Eleven parking lot.

ARTUROApparently this establishment isoffering a "Frozen Squishee" foronly 99 cents.

(parking)I've never had one. I think it'sabout time.

And just like that he's out the door with a smile, headinginto the store and leaving Wade and Rembrandt to ponder...

WADEThe Professor wants a Squishee? AmI dreaming?

REMBRANDT(sighing)

Oh well, Quinn said to hang inthere with him.

WADEEasy for Quinn to say, he's nothere. But at least tonight shouldbe more fun than opera night --

REMBRANDT

-- That's not saying much --

WADE(eyes lighting up)

-- Oh God look, he's raiding thecandy counter!


CONTINUED24 24



36/58

EXT. STREET NEAR LAST CHANCE - NIGHT - QUINN AND HEATHER25 25

are walking slowly, side by side.

QUINNWhen I was Quinn's age I had anintense crush on my teacher. She

was... well she was about yourage.(they smile)

I loved her from the first momentI laid eyes on her. I mean Ireally loved her. I knew it wasimpossible of course, but Icouldn't help myself, and it wasyears before I got over it.Pretty silly huh?

HEATHER(soft, shy)

Maybe. But not to you, not at the

time. Love is funny that way...sometimes it has no boundaries.

They walk in silence for a while, considering the moment asthey reach her car. Quinn takes her hands in his... looksinto her eyes.

QUINNI want to ask you a special favor.When I'm gone, could you keep aneye on Quinn, kinda look out forhim a little? There's anespecially rough time ahead,starting in three days --

HEATHER-- There you go again. I've never met anyone who speaks about thefuture with such certainty.

QUINNI know what I know. I can'texplain how, but I do, pleasebelieve me.

She is looking at him now, trying to figure out what it isthat's so appealing about this strange young man... and why

he scares her a little.HEATHER

Jim... I like Quinn. And I cansee how much you care about him. (MORE)


(CONTINUED)



37/58

HEATHER (CONT'D)(smiles)

You act as if he were your ownchild - you spoke of him ten times more than you did about yourself.

Quinn nods, a bit self-conscious...

HEATHERBetween the bullies and the lossof his father, I can't imagine what he must be going through.

(takes Quinn'shands)

Of course I'll help, Jim. In any way I can.


Thank you, Miss Hanley.

He opens her door for her. She surprises the hell out ofhim by putting an arm around his neck, drawing him near,and planting a soft kiss on his lips.

HEATHERThank you, Mister Hall.

He watches her get in and drive away, his heart pumping, animpossible childhood dream fulfilled.

INT. THE BENTLEY - NIGHT - ARTURO IS CRUISING26 26

through a funky part of town.

WAGNER is playing on the radio - loud, aggressive music tofit the mood. Junk food is spread out in front and back -the Professor is polishing off a second round of Squishees,his straw making A GURGLING NOISE as he sucks up the lastdrops.

ARTUROWhere to now?

WADE(giddy, having fun)

We've already gone bowling and go-karting - maybe you should call ita night.


CONTINUED25 25

(CONTINUED)



38/58

ARTUROAre you mad, woman? It's just theshank of the evening and I'm stillthirsty! There, that looks like anice place for a nightcap.

Much to Wade and Rembrandt's surprise, he has selected aplace called "The Bloody Mustache", a rough and tumblebikers' bar.

INT. YOUNG QUINN'S BEDROOM - NIGHT - MRS. MALLORY27 27

is putting young Quinn to bed and rechecking the band-aidon his cheek. Our Quinn stands quietly in the background,leaning against the open door frame.

YOUNG QUINN(head down,despondent)

They surrounded me. If Jim hadbeen there, he could've stoppedit... but on my own, I'm helpless.

MRS. MALLORY and Quinn exchange glances; the boy seems soashamed. MRS. MALLORY gently touches his face once more,then exits the room, hurting for her son.

YOUNG QUINNI'm a wimp... a loser. I don'tknow the first thing aboutfighting.

YOUNG QUINNYou know what? When I was a kid,I was picked on too.

YOUNG QUINNReally? You?

QUINNI was afraid to close my eyes atnight... 'cause in the nextinstant I might wake up and it would be time to go to school...time to face the monsters again.All day long my stomach was doing

flip flops.

YOUNG QUINNRight! That's how it is for metoo. But you must've killed thoseguys - no one would mess with you!


CONTINUED26 26

(CONTINUED)



39/58

QUINNI was a punching bag... I took ittime and again and it just got worse and worse.

Young Quinn is amazed to hear it.

QUINNQuinn... my time here is limited.Soon I'll be leaving --

YOUNG QUINN-- No! You can't go --

QUINN-- I have to, I have no choice.What's more important is that Rexand Brady will be back onFriday... and you have to beprepared.

YOUNG QUINNBut what can I do? Without you, what can I do?

QUINNYou can learn to fight.

INT. THE BLOODY MUSTACHE - NIGHT - THE SLIDERS28 28

have entered this funky hole in the wall, populated by mean- looking bikers and their grungy chicks. Wade and

Rembrandt are wary but Arturo is free and easy, he hasnothing to lose.

China Grove by The Doobie Brothers is blaring from giant wall speakers. The Professor, a profound rock hater,astonishes his friends by swaying to the beat as he headsfor the bar.

ARTUROVery catchy. Who is this, TheGrateful Dead?

WADEWhy is it whenever you hear rock

music you think it's The GratefulDead?

REMBRANDTIt's The Doobie Brothers,Professor.


CONTINUED27 27

(CONTINUED)



40/58

ARTURODoobie Brothers? Charming name.What does it mean?

WADEYou don't want to know.

(looking around)This place isn't exactly yourstyle, Professor - whaddya say wefind a drink somewhere else?

ARTUROMiss Welles, you amaze me. You'rethe last soul I'd expect to judgea book by its cover. To me thepatrons seem a happy lot - a biton the mangy side but happynonetheless.

Arturo is the first to reach the bar; he good-naturedly

slams his hand on the counter to attract the attention ofTHE BARTENDER, a rail-thin biker with long-stringy hair andseveral missing teeth.

ARTUROBarkeep! What kind of ale haveyou got?

BARTENDERWell, that depends on what ailsya!

For some reason, Arturo thinks that's the funniest thinghe's ever heard. He and the weird bartender laugh it uptogether, instantly bonding in the weirdest of ways. Wadeand Rembrandt are all too aware that the boisterousLAUGHTER is attracting the attention of several Hell'sAngels types all around the bar.

By the time Arturo stops laughing, a waifish 19-year-oldnamed AMBROSIA has sidled up to him.

AMBROSIA You're cooool.

ARTUROYes, I suppose I am.

AMBROSIA What's your name cool daddy?

ARTUROMaximillian. Or Max if you like.


CONTINUED28 28

(CONTINUED)



41/58

AMBROSIA I like. I'm Ambrosia.

ARTUROYou certainly are. May I buy youa drink?

AMBROSIA If you only buy me a drink I'llbe disappointed.

ARTUROWell let's start with one, shall we?

AMBROSIA Zima.

ARTUROI beg your pardon?

AMBROSIA I want a Zima.

Arturo looks to Rembrandt and Wade, completely at a loss.Rembrandt cringes and says to Wade...

REMBRANDTThis is gonna be a long night.

INT. MALLORY HOUSE/BASEMENT - NIGHT - QUINN29 29

has turned the mostly empty basement into a makeshift workout gym, complete with a hanging punching bag. Young

Quinn is wearing sweats and firing punches and kicks at thebag, which is being held by our Quinn.

QUINNMake your punches count Quinn.Don't just throw wildly - aim,concentrate on what you're doing.

MOVE IN ON YOUNG QUINN

picking up the pace, ferociously channeling his energy intopunishing the punching bag.

MRS. MALLORY (O.S.)Jim. I need to talk to you.

Quinn looks over to see MRS. MALLORY standing at thedoorway, taking in the workout with a look of deep dismay.


CONTINUED (2)28 28

(CONTINUED)



42/58

QUINN(to young Quinn)

Keep working the bag.

INT. STAIRCASE OUTSIDE BASEMENT - NIGHT - ON QUINN30 30

walking out to meet an agitated MRS. MALLORY.

MRS. MALLORYWhat do you think you're doing,Jim? Quinn's father was a man ofpeace! He'd be horrified if heknew --

QUINN-- He'd be glad to know Quinn'slearning to defend himself.

MRS. MALLORY is uncertain, affected by Quinn's earnestnessbut confused and disturbed by his methods.

QUINNMrs. Mallory... Amanda... you'veallowed me into your home...you've trusted me. You know inyour heart that I care aboutQuinn, that I'd never do anythingto hurt him. You do know that,don't you?

MRS. MALLORYI feel that way about you.., yes,

I can't explain it but... there'sa connection between you and what's left of this family. Myinstincts tell me it's a goodthing --

QUINN(fervent)

-- Then let me use my time here tohelp him. So that he won't haveto come home with his face messedup again.

He gives her a gentle kiss on the forehead for

reassurance... then heads back into the basement to resumehis training, so obsessed with his task he doesn't wait fora verbal answer.

MOVE IN ON A STRESSFUL MRS. MALLORY AND CUT TO:


CONTINUED29 29



43/58

INT. THE BLOODY MUSTACHE - NIGHT - ARTURO31 31

has had a few. He is now standing on a chair, facing awayfrom the bar. As two angst-ridden Sliders and astarry-eyed, worshipful waif look on, Arturo loudly recitesShakespeare to an unreceptive crowd of bikers.

ARTUROOnce more unto the breech, dearfriends! Let us summon up ourEnglish dead! In peace there'snothing so becomes a man as modeststillness and humility: but whenthe blast of war blows in ourears, then imitate the action ofthe tiger --

BULL (O.S.)-- Oh God, will you shut thehell up!!!

BULL, a murderous-looking Hell's Angels guy, long cave-manhair and a full unruly beard, approaches Arturo with firein his eyes, holding his ears as if in pain.

BULLThose words, man - all thosesyllables - it's like... likebein' back in school!

ARTUROAh , so that means you actuallyattended school. How surprising.

BULLAre you hanging with this loser,Ambrosia? !

ARTURODo you know this blistering idiot,Ambrosia?

BULLHey, I'm talking to her!!

ARTUROThen why are you looking at me?You seem very confused.

Wade and Rembrandt have been cringing, knowing this guy isabout to explode. Rembrandt gingerly approaches thesimmering biker...


(CONTINUED)



44/58

REMBRANDTHey man, our friend's goingthrough a rough time, he doesn't mean any --

BULL

(shoving Remmy)-- Get out of my way!!

Rembrandt crashes back into Wade. Meanwhile the Professorhas stepped down from his perch and is eying Bull withanticipatory glee as a curious crowd draws closer in acircle...

BULL(nose to nose withArturo)

Not only are you killing my ears,but you're moving in on my wench!So I'm gonna have to mess you up

good, old dude.

ARTUROIf it's fisticuffs you desire,you've come to the right place.

WADEProfessor, no!

ARTUROIt would be my pleasure to stepoutside and teach you a lesson.

(to Ambrosia)I was quite a pugilist in my day - would've made the Olympic team ifnot for an unfortunate groininjury.

BULLWhy step outside?

That said, he launches a sucker punch at the Professor.Arturo displays amazing reflexes, moving his head, dodgingthe punch, and shocking Bull by expertly launching a quickrabbit punch directly into the big man's solar plexus.

Bull GASPS, doubling over - Arturo casually launches a

straight left, right combination sending the biker reeling.

Ambrosia is ecstatic - Wade and Rembrandt incredulous.Cool as James Bond at his finest moment, Arturo shoots themthe confident ghost of a smile before addressing Bull, whois down on his knees.


CONTINUED31 31

(CONTINUED)



45/58

ARTUROWhy step outside? Because that's what gentlemen do when a disputeneeds to be settled.

The Professor turns to take off his coat and loosen his

vest.

ARTURONow if you'd care to join me --

The Professor turns again and the answer comes in the formof a brutal straight right from the now upright Bull, thatcatches Arturo right between the eyes with the sound of anexploding melon.

The Professor staggers straight backwards, collapsingagainst the bar in an unconscious heap.

FADE TO BLACK:

END OF ACT THREE


CONTINUED (2)31 31



46/58

ACT FOUR

FADE IN ON:

EXT. OUTSIDE THE BLOODY MUSTACHE - NIGHT - ON ARTURO32 32

as he comes around. Ambrosia is cradling his head,stroking his hair - Wade and Rembrandt help him to sit up.

ARTUROWhat happened?

AMBROSIA You were wonderful. First you whipped him fair and square, thenyou took his best shot.

ARTUROI did?

REMBRANDTYou sure did. Took it right inthe face.

WADEYeah, you hit him in the fist withyour nose.

ARTURO(rising, dizzy)

I don't remember much... I didn'thurt him, did I?

WADEI think he'll live.

Wade and Rembrandt move to support Arturo, helping the wobbly Professor back to the Bentley. Ambrosia followsclose behind, having found a new hero.

WADETime to go home Professor. You'vehad quite a night.

ARTURONot tired. Want to go... bungeejumping.

But his legs go out at this moment - Wade and Rembrandtcatch him before he hits the ground, and off their painedreactions, we DISSOLVE TO:




47/58

INT. MALLORY BASEMENT - DAY - QUINN33 33

is working young Quinn hard. The boy has taken to histraining, lashing out with rights and lefts, even anoccasional spinning kick. Wade and Rembrandt are watchingfrom a corner of the room - as young Quinn continues the workout, Quinn moves to them.

WADEThis is what you're teachinghim, "Jim"? This is what you'respending your time doing - showinga little kid how to bash someone'shead in?

Quinn is not pleased. He speaks in a hushed, irritatedtone.

QUINNDon't question me about this Wade,especially in front of Quinn.

Don't undermine my efforts.

WADEQuinn, what's happened to you? Whycan't you see that what you'redoing is wrong?

QUINNWe leave tomorrow. Right afterthe incident. I'm gonna give thatboy everything I've got till then,and you're not gonna stop, me!

REMBRANDT(calmer, reasoned)

No one's trying to stop youQuinn - we just want you to slowdown and think about what's bestfor little Quinn --

QUINN-- That's all I do think about!Every waking moment.

(turns away,looking out window)

I can't turn a lamb into a lion

overnight... but I'm teaching himthe philosophy of aggressive self-defense, combined with some TaeKwon-Do I used to dabble in.

Quinn -turns back to his friends, sees how uncomfortablethey are with what he's doing.


(CONTINUED)



48/58

QUINNI don't care if you don't like my methods. You weren't there twelveyears ago - you didn't see what'sgoing to happen... tomorrow.

WADESo a dozen years back you got beatup by some bullies, and now you want use that poor little boy toreverse the fortunes, to getrevenge for what happened toyou!

(frustrated pause)It's wrong, Quinn, it's sick andit's wrong.

QUINNIt's not your call. It doesn't matter what you think - I know

what I'm doing.

WADE(fed up, exiting)

Come on Rembrandt - we've gottafind a bungee chord for that otherlunatic we Slide with.

QUINNBungee chord?

REMBRANDT(following her out)

The Professor wants to bungeejump.

QUINNWhat?

REMBRANDTIt hasn't been invented here - he wants to be the first.

(pauses at door, toQuinn)

Man, I don't know which one of youis crazier.

(sighs, looks up)

Must be something in the air.He shakes his head and exits as we...

CUT TO:


CONTINUED33 33



49/58

EXT. EDGE OF BRIDGE - DAY - ON REMBRANDT34 34

carefully tieing an elastic chord around someone's ankles.

REMBRANDTYou sure you wanna do this? I mean... really sure?

ANGLE UP to see that the ankles belong to Arturo, who issporting a black eye, loyal Ambrosia by his side.

ARTURO(for Ambrosia)

Of course I'm sure. I want to freefall, to soar like a bird on the wing.

AMBROSIA Oh Max, you're so intellectual.The way you put things makes me weak in the knees.

Wade overhears, can't help but laugh. Behind her, a smallcrowd of the curious is gathering.

WADEYeah, pretty intellectual Max.Jumping off a bridge with a ropearound your feet.

ARTUROI am not limited to intellectualpursuits, Miss Welles.

ARTURO(smiling at Ambrosia)I find physical realms quiteenticing.

WADE(to Ambrosia, walking past)

I'd be careful if I were you. He'son the rebound.

Wade approaches Rembrandt, who is finishing tieing one endof the long chord to the steel support girders of thebridge.

WADEShould we be trying to stop this?


(CONTINUED)



50/58

REMBRANDTThat's all we've been doing -trying to reason with two stubborn mules. I'm here to help TheProfessor get over his brokenheart - if it means leaping off a

bridge, so be it.

Rembrandt moves to Arturo.

REMBRANDTAlright Professor... The chord isfifty feet long, the water isseventy feet away.

ARTUROMr. Brown, do you realize I'msetting precedent here? Bringinga new fad to this world - a modestbut charming example of getting

involved and making a difference!

REMBRANDT(flat)

Uh-huh. Get up on the bridge.

Arturo gets a good luck kiss from Ambrosia, then climbs uponto the edge of the bridge. We can hear MURMURS from theonlookers - cries of "look, he's gonna jump" - as TheProfessor steps to the edge of the ledge,

ARTURO'S POV:

Looking down, the icy Pacific looks a lot more than seventyfeet away.

ON ARTURO

It's clear he's rethinking the situation. He takes a deepbreath... looks left... looks right...

ARTUROUh, there are children in thecrowd... I uh, don't wish to set abad example. Perhaps we shouldcome back another time.

REMBRANDTI don't see any children, do youWade?

WADELooks like all adults in the peanutgallery.


CONTINUED34 34

(CONTINUED)



51/58

ARTURO(flustered)

What about that big kid over there- the one with the Hawaiian shirt.

REMBRANDT

That guy's gotta be fifty!

ARTUROAlright, alright! Let's get on with it.

Rembrandt backs off. Alone on the bridge... Arturo looksdown, the blood rushing to his head.

AMBROSIA (stepping up,cheerful)

Come on Max, this looks like fun.Here, I'll go with ya.

ARTUROWait a minute! No! Watch out!!

She jumps toward him, locking him in an affectionatebearhug. As he catches her, the horrified Professor isknocked off balance. As the crowd SHRIEKS withanticipation, Arturo pinwheels his arms, but it is too late.

Her momentum carries them off the ledge. Arturo lets out alegendary HOWL as they plummet toward the sea, clutchingeach other for dear life.

Arturo's plaintive SCREAMS carry all the way down...down... down. Wade and Rembrandt can barely look asArturo and Ambrosia drop like a sack of bricks.

Scant feet before they hit the water, the cord goes tautand Arturo and Ambrosia come to a mind-numbing,gut-wrenching stop.

The Professor and his waif are hanging upside down just afoot or two above the waves. Arturo is trying to get hisbreath back - Ambrosia is giggling, having the time of herlife...

ARTURO

(screaming, angry)Mr. Brown, Miss Welles, cut medown and get me the hell out ofhere!!!

CUT TO:


CONTINUED (2)34 34



52/58

INT. MALLORY HOUSE/GUEST BEDROOM - DAY - ON QUINN35 35

waking up in bed to find Wade standing nearby. She'sbrought toast and orange juice.

WADEYou shoulda' seen the Professor.

He did it, he really did it. Kingof the daredevils, that's him.(puts down tray)

Since this is our last morning onthis world, I brought youbreakfast in bed.

Quinn rises to a sitting position, groaning, emotionallyexhausted.

WADEI guess it's my way of saying I'msorry. I know you're stressedout, I shouldn't have come down on

you so hard.(small smile)

Even though we both know I'mright.

He manages a weary smile, she places the tray before him.

QUINNThanks, but I'm not hungry.

He glances at the clock.

QUINN

Oh no, I overslept. Gotta walkQuinn to school.

WADEHe's long gone. Your Mom said heleft extra early this morning.

Quinn tenses, frowns, thinking private thoughts.

WADEToday's the big day, huh? Highnoon - "the incident".

QUINN

(rising)Give it a rest, Wade. I'mtired --


(CONTINUED)



53/58

WADEOf course you're tired. I heardyou were up working your littleself until three in the morning.Imagine how he feels.

QUINN(sharp)He feels better, believe it or not.

(putting on ashirt)

I can only hope he's betterprepared for today than I was.

INT. MALLORY KITCHEN - DAY - AS WADE LOOKS ON36 36

from a respectful distance, "Jim Hall" says good-bye to his mother.

QUINNI just wanted to thank you again.

This is a painful departure for him, but he can't afford togive in to his emotions.

MRS. MALLORYWill you be coming back this wayone day?

QUINN(softly)

I don't think so.

She is studying his face again, looking deep into his eyes.She finds herself fighting back the same emotions he is.

MRS. MALLORYYou know... I never asked who youare. I mean... who you reallyare.

Quinn is choked up, doesn't know what to say, wonders ifshe means what he thinks she means - but how could she?

MRS. MALLORYI figured that if you wanted to

tell me, you would.

Quinn is unsure.

QUINNI don't know what to say.


CONTINUED35 35

(CONTINUED)



54/58

MRS. MALLORY can't take her eyes off his face. She movesto him, giving him a big hug and a gentle kiss on theforehead, then WHISPERS in his ear as tears form in hereyes.

MRS. MALLORY

Wherever you go from here... I hopeyou find peace.

She pulls back, his face in her hands, and takes one longlast look.

EXT. STREET BORDERING SCHOOLYARD - DAY - QUINN37 37

is pacing, his eyes riveted on the spot where the schoolbuilding ends and the playground begins. Wade standsnearby, Arturo and Rembrandt are in the background, leaningagainst the Bentley, listening to the car radio.

The Professor is wearing his dark glasses and gingerly moving his head, the result of a sore, sore neck.

Rembrandt has been turning the dial - now he excitedly TURNSUP THE VOLUME --

REMBRANDTHey listen up everybody - they'retalking about the Professor!

Wade responds, hurrying to the others. Quinn acts as if hehasn't heard - he maintains his vigil.

WADEWhat's going on?

REMBRANDTSomeone recognized the Professoryesterday - it's started a newcraze - they're calling it ArturoJumping!

Wade shoots a glance at Arturo - he is rubbing his neck,looking chagrined.

RADIO ANNOUNCERReached at his home in the

Berkeley Hills, the physicsProfessor issued this passionatedenial.


CONTINUED36 36

(CONTINUED)



55/58

ARTURO 2 (O.S.)It is an insult to my olleagues, my family and most importantly myself, to even imagine that I would do such a thing! Hangingupside down from a rope with a

pre- pubescent female drapedaround my waist? I can assureyou, whoever that lunatic was,he wasn't me.

A disgusted Arturo flicks off the radio.

ARTURO(under his breath)

Pompous fool.

Rembrandt and Wade can't believe their ears - they areabout to bust up when Arturo interrupts.

ARTUROLook at Quinn. Something'shappening.

Quinn has pressed himself up against the fence - it isclear that something has grabbed his rapt attention. TheSliders hurry to join him.

QUINNIt's started.

SLIDERS' POV:

Young Quinn is standing at the entrance to the asphaltschoolyard. His back is against the wall - a baseball batis firmly in hand. Brady, Rex, and their crew are walkingtoward the playground, unaware that young Quinn is about toblindside them as they round the corner.

BACK ON THE SLIDERS

ARTURO(dry, harsh)

Are you satisfied Mr. Mallory?Your double's about to launch apreemptive strike. You've taughthim the art of war... and changed

him forever.

Quinn doesn't respond, not the slightest change inexpression - just keeps his eyes glued on his double.


CONTINUED37 37

(CONTINUED)



56/58

BACK TO THE SCHOOLYARD

Brady Oaks is the first to round the corner. Young Quinnstarts to swing - he's about to smash Brady's knee cap...but he stops himself... and lowers the bat.

BACK TO THE SLIDERS

Quinn greatly surprises everyone by looking greatlyrelieved. He exhales, even manages a slight smile...

QUINN(whispering)

He didn't do it... Thank God... hedidn't do it.

SLIDERS POV:

Quinn looks like a man who's just had the weight of the world lifted off his shoulders. He seems like the Quinn we've known as he explains to his companions.

QUINNOn our world, I did hit Brady withthe bat. I've always regrettedit. Always. Busted his knee,shattered the bone in four places.He walked with a limp for the restof his life.

(lowers his head)It was horrible - the sound of theimpact, the crack of bat againstbone - I still can't get it out of

my head.WADE

(thinking it over)So... you were training yourdouble in the hopes he wouldn'tstrike out like you did?

QUINNBy teaching him how to fight I washoping he wouldn't feel the needto act out of desperation. Thathe'd trust his hands instead of a weapon.

(nods to Wade)That he would never do what I did.


CONTINUED (2)37 37



57/58

EXT. CORNER OF EMPTY PLAYGROUND - DAY - QUINN38 38

is walking with Heather Hanley - the playground is desertedsave for The Sliders.

QUINNI think Quinn's gonna be okay now.

He's earned the respect of hispeers by standing up to the worstterror on the playground.

HEATHERI think you're right - the kidsare all talking about what he did.He's a hero now to a lot of them.

Quinn takes that in, satisfied to hear it.

WADE(in background, with timer)

Forty seconds.

HEATHERBut I'll look after him just incase. Until you come back.

QUINNI won't be back Heather. I'm notfrom this Earth... and I have totry and make it back home.

HEATHER(he must be joking)

Not... from this Earth?He takes her hands in his.

QUINNI'm from a parallel universe. I'mQuinn Mallory.

She almost stops breathing.

QUINNThat's how I knew about you, aboutQuinn, about what was going tohappen. You see, I've lived this

before... and the teacher I fellin love with on my world... wasyou.

Of course this can't be true... but looking at him now,somehow she knows it is.


(CONTINUED)



58/58

Wade aims the timer and pushes the button - now Heather hasvisual proof, as the vortex forms above the hopscotch lineson the playground.

Heather gasps, takes a step back; she is spellbound, butshe is not afraid.

Rembrandt looks over at Quinn, then leaps into the void.Arturo does the same. Wade hesitates, looking at Quinn andHeather, then she too takes the leap into the swirling blue mass.

QUINN(tenderly)

My double is a lot like me, so Iknow he must feel the same way Ifelt. Give it ten years and maybeyou guys can connect.

(passionate kissgood-bye)

After all, I've always liked older women.

Quinn lingers as long as he can, holding her angelic facebetween his hands.

Then he Slides.

STAY ON HEATHER

staring into the heart of the void, at the spot where hejust disappeared, soft blue light dancing on her face.

FADE TO BLACK:THE END


CONTINUED38 38

Sliders_3x04_-_The_Guardian_(1996_08_09)

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