AUTHOR NOTE: If you've noticed, I've had a couple references to different movies. Part of it is because I just can't help myself, and part of it is because Quantum Leap is known for its references to movies and TV shows. So, what I've decided to do is this. Anyone reading this screenplay should try to write down every reference you can see while reading. Once I'm done with the screenplay completely, you can send in your list of references, and the person who catches the most--based on my own list--will get... well, we'll come to that we when have to.
Italicized Underlines are used for emphasis.
QUESTIONS OR COMMENTS: You may reach the author by e-mail at: quantum_revival@hotmail.com
***
QUANTUM LEAP
THE MIRROR SHATTERED
SCREENPLAY: PART VI
***
MEGANA'S APARTMENT -- INT. -- DAY
The door to the apartment slides open, and Sam and Al enter. Al is wobbling as he attempts to walk in the 5-inch high platforms his host had been wearing at the time he Leaped in. He has an arm resting on Sam's shoulder, trying to keep his balance.
The two men walk through the foyer into the living area. It is an oval room, and in the center is a lounge-pit, which is approximately four-feet deep and has what is, essentially, a built-in sofa. The carpet in the room is a tightly-woven, dark blue Berber that covers the floor, all areas of the lounge-pit, and the walls.
AL
You'd think that people in the future
would be using more color in their grand scheme of things.
SAM
I guess no one hired the Project's
interior decorator.
AL
Of course not. How could they if I'm
here?
SAM
(laughing)
Kinda figured you were the one to
come up with that silly design for the control table and handlink.
AL
I have good taste, don'tcha think?
Sam simply shakes his head and helps Al to the lounge-pit. Al struggles down the steps and flops onto the circular sofa. He immediately works on unstrapping the platform boots. As he wiggles his feet out, he breathes a sigh of relief.
AL
Now I know how you felt all those
times.
SAM
So, I take it I won't be hearing any
more about those Leaps?
AL
Not from me.
SAM
Good. Now that we've established your
distaste for women's footwear, we need to figure out what to do next.
AL
The Bartender said you were here to
find information on the Evil Leapers?
SAM
Yeah, that's what I've been told.
AL
You mean, you haven't even known what
you're supposed to have been doing all this time?
SAM
No. It's not that. It's just--today
is the first time since I Leaped into Al's Place that I've seen that bartender.
AL
Seriously? He made it sound as though
he had been in contact with you.
Sam walks down the steps into the lounge-pit and plops onto the couch beside Al. He rubs at his neck.
SAM
He hasn't been in contact, but someone
else has.
AL
(raising an eyebrow)
Someone else?
SAM
Yeah. There's this woman named Stephanie
who sends me messages over the telecom, giving me information that can
be used to help someone before something bad happens.
AL
Kinda like what I would do as an Observer.
SAM
Exactly like that. It seems as though
this Stephanie person can somehow see the future, and gives me information
in order to change things for the better.
AL
So you've still been able to put right
what once... well, what will go wrong.
Sam nods and stands. He climbs out of the pit and goes into the small kitchenette at the left of the living area. He pulls out some glasses. He punches a button on the countertop. Part of the countertop slides to the side to reveal some sort of built in refrigeration system
SAM
Want something to drink?
AL
Ah... no, not right now.
SAM
(shrugging)
Okay.
Sam grabs a bottle of orange liquid from the refrigerator unit, pours it into one of the glasses and replaces the bottle back to its original position. He comes back into the living area and once again sits next to Al.
SAM (cont'd)
The way Stephanie works is rather
odd, though.
AL
How so?
SAM
Well, it's like each of my assignments,
I guess you could call them, are rewarded with some piece of information
that can lead me closer to finding out all I can about the Evil Leaper
Project.
AL
What does this Stephanie look like?
SAM
I don't know.
Al casts an "it figures" glance in Sam's direction.
AL
You mean you've been getting all this
information, and you've never even met the person?
SAM
Well, what was I going to do? Threaten
inaction until I could see her face? There would be a lot of people dead
right now if I had decided not to act upon the information given me.
Al sighs and grins.
AL
Sam Beckett. Always the Boy Scout.
SAM
Al, do you want to see the pieces
of info she's given me so far?
AL
Of course! The Bartender said that
once we were to find out all we could about the Evil Leapers, we could
Leap home.
SAM
He did?
AL
Yeah... So what are we waiting for?
Al stands up, and Sam follows suit. The two men climb out of the lounge-pit and Sam leads Al to a console on the right side of the room. It looks very much like the control table.
AL (cont'd)
Please do not tell me that Project
Quantum Leap's design was the basis for all interior decoration in the
future.
SAM
Actually, yeah, it is.
AL
(slaps forehead)
Sheesh. I'm having visions of Bill
and Ted running around in my mind.
SAM
Who are Bill and Ted?
AL
Don't ask.
Sam shrugs and punches in some buttons on the console. Data begins to roll across the monitor.
AL (cont'd)
Oh, my god. It's like a giant handlink.
SAM
(pointing at an area on the monitor)
These are bits of info I've been able
to piece together so far.
AL
(reading slowly)
To the south of the City of the Mile,
/
a mountain looms. /
Named after a tribe of people who
originally populated the Continent of the North, /
and once the location for a government-run
facility, /
this mountain contains the answers
you desire. /
Take heed, young pilgrim, for many
dangers lurk ahead.
(shaking his head)
Is this all?
SAM
I'm afraid so. I haven't figured it
out.
Al laughs, and Sam looks at him in questioning.
SAM (cont'd)
What?
AL
Haha... Saaa-aaam! It's so easy!
SAM
What you mean, it's so easy?
AL
She's talking about Cheyenne Mountain,
just south of Denver.
SAM
The City of the Mile... Of course!
But what is Cheyenne Mountain?
AL
Oh, that's right. I forgot about the
swiss-cheesing. See, Cheyenne Mountain is where the US houses its NORAD
facility.
SAM
Oh... so, I take it it's no longer
there?
AL
It's still there in our actual present.
Don't know about at this point in Time.
SAM
Do you think the NORAD facility was
used for the Evil Leaper Project?
AL
Could very well be. They'd be pretty
well hidden inside that mountain. It's huge. Almost big enough to house
Project Quantum Leap.
Sam acknowledges this information and walks over to a door near the front of the room. He slaps his hand on an identification pad and the door slides open.
SAM
Let's get you some more comfortable
clothing.
AL
Why?
SAM
Because we're going to Colorado.
CONTROL ROOM -- INT. -- NIGHT
Ruthie, Donna, Tina, Beth, and Johnny are huddled around the control table. They confer with each other, passing notes, pens, paper.
RUTHIE
I just don't know what I'm going to
say to him.
JOHNNY
It isn't like he's going to look different
to you.
RUTHIE
I know... but knowing he's occupying
someone else's aura. That makes me just the slightest bit wary.
JOHNNY
If you want, I can go with you. In
fact, I really should. I need to talk to Uncle Sam.
RUTHIE
Would you?
JOHNNY
Anything for you, honey.
DONNA
Okay, then, let's do it.
Johnny walks over to the ramp to the Leaping Plexus, Ruthie a few steps behind. Johnny pauses, turns around, and holds out his hand. Ruthie takes it. The two walk up the ramp, hand-in-hand. The door slides open, revealing a bright blue light. They look back for a moment then step into the room, the door sliding shut.
CHEYENNE MOUNTAIN -- EXT. -- DUSK
A hovercar zooms up to the base of the towering mount and halts at the chain-link fence surrounding the mountain. The sun is just beginning to set in the west, so the mountain looks like a black blob against the darkening sky.
The doors of the car open, and Sam jumps out of the passenger-side of the vehicle. He is dressed casually, his slacks a dark shade of brown and his button-down shirt a light cream. Al gets out of the car as well. He is dressed more comfortably in a pair of silver pants and a purple T-shirt.
AL
Here it is. Cheyenne Mountain.
SAM
Wow. It's beautiful.
AL
It is, isn't it?
SAM
So what do we do now?
AL
Well, I've only been here a couple
times. I never had much of a reason to come here except to meet with my
friend George a couple times.
SAM
How do we get in?
Al points to a large opening at the very base of the mountain that looks to have once been a way for large military vehicles to enter the facility.
AL
I guess through there.
Sam gives Al his "you think?" look.
SAM
Let's get going.
CHEYENNE MOUNTAIN -- INT. -- SAME
Facing outward, we see the opening to the mountain. Soft, golden light shines through. One silhouette, then another, pierces the light. The figures pause for a moment before walking into the cavern.
Sam and Al walk down the huge tunnel, unsure of where they are going. Each has a neon light in their hand.
SAM
(whispering, though still causing
an echo)
I don't see how we're going to find
answers in an empty mountain.
AL
(at a normal octave)
I don't know why you're whispering.
It's not like there's anyone else here.
We hear the loud echo of a trigger being cocked.
FEMALE VOICE
(off-screen; it is extremely low,
hard, and anger-filled)
Guess again.
Al freezes as we see the nuzzle of a blaster rest just under his left ear. A black leather-clad arm with a gloved hand grabs around Al's arms and chest, holding him firmly.
FEMALE VOICE (cont'd)
(off-screen)
Who are you? What are you doing here?
Sam, his hands raised high, turns around. It is dark, and he can only barely see the whites of Al's terrified eyes.
SAM
I'm... I'm Sam Beckett. This is my
friend, Al Calavicci.
AL
Saaa-aaam! Don't do that!
The arm releases Al, and the blaster slips into darkness. Sam and Al exchange curious glances. A few seconds later, light fills the tunnel. The two men shade their eyes, attempting to adjust to the sudden change.
We see light. It slowly dulls until we see a slight woman standing at the wall of the tunnel, her hand on a large switch. She is clad in a black leather bodysuit and a velvet maroon cape. Her blaster now rests harmlessly in her thigh holster. Her black hair, cut in a short pixie style, glistens with highlights of neon pink.
Both Sam and Al stare incredulously at this woman. Recognition fills their eyes. Though her hair is different, and she carries herself much more confidently than the last time they saw her, there is no denying who this is. It is Alia.
SAM & AL
(simultaneously)
Alia!
