sliders 2x08 - post traumatic slide syndrome (1996!02!15)

8/20/2019 Sliders 2x08 - Post Traumatic Slide Syndrome (1996!02!15)

1/73

EXEC

PRODUCER Jacob

Epstein

EXEC

PRODUCER Tracy

Torme

EXEC PRODUCER

Alan

Barnette

SUPv.

PRODUCER

Tony Blake

SUPV PRODUCER

Paul

Jackson

PRODUCER

Jon

Povi l l

PRODUCER Mychelle Deschamps

SLIDERS

PROD.. KOB12

Prod.

Draft

Pink Rev.

Blue Rev

2 2 96

(FR)

2 3 96

FR

~ 5 9 6

(FR)

\

IIPost-Traumati;c Slide Syndrome

Written

by

Nan Haqan


2/73

TE SER

FADE

IN:

1 INT.

DR. WHELAN S

OFFICE -

D Y

-

FRAMED

M DICAL

DEGREES

Noteworthy

credentials

detai l ing the.impressive career of

DR.

EDWARD WHELAN, M.D.,

PH.D.,

a

c l i n i c a l psychiatr i t

•••

. REMBRANDT

(o.S.)

I'm saying I 've· seen things you

wouldn't believe - -

REMBR NDT

l i e s

supine on a couch •••

REMBR NDT

•••

We

h i t t h i s

one

world,

for

example,

f u l l

of snakes and bats ,

where

t h i s crazy shaman was

a f t e r

Q-bal l ' s

b r ~ i n

DR. WHEL N

And when

he said he wanted t o take

IIQ-ball 's brain , how did t h a t Dake

you

feel?

ANGLE - DR.

EDWARD

WHELAN

He l i s t e n s

i n t e n t l y fingers steepled.

REMBR NDT

How did I

feel

•••

?

Guess

I was glad

wasn' t my

brain

they

were a f t e r .

How

w o u l d ~ u feel?

DR. WHELAN

My

feel ings

are not

a t

issue, Mr.

Brown.

We re h e t ~ ·

to · ta lk

about ·you.

(off

is notep ad) .

You s ~ y

you're,

quote, At the end of

your rope, unquote?

1

(X)

(X )

REMBR NDT

No kidding, doc •••

My

b o a t s

been

rocked one

too

many times.

(then)

I 'm

hoping

you can help me s o r t

throuqh t h i s

•••

CONTINUED)

(X )

(X)

(X )


3/73

K0812- PO$t-Traumatic

S l i d e

Syndrome -

2 / ~ 5 1 9 6 1 s t Blue

2.

1 CONTINUED:

DR.

WHELAN

(neu1;rally)

I

can

see

why.

The

s t r a i n

of

adjusting to

a l l

these different

planets.

REMBRANDT

Yeah .• •

(correcting)

But

i t s the same

:{)lanet

every

time.

J u s t

a

d i f f e r e n t d ~ m e n s i o n

DR. WHELAN

I see •••

ANGLE NOTEPAD

Whelan

w r i t e s :

Paranoiac , Delus ional ,

Schizo-affective

disorder.

He

underlines Schizo

twice.

R WHELAN

Why don ' t

you

s t a r t

a t

the

becrinning?

What

precipitated

t h i s

c r i s i s ?

Rembrandt SIGHS ••• and

remembers

•••

DISSOLVE TO:

1

(X)

2

EXT.

STREET -

DAY

-

REMBRANDT S FLASHBACK - Q ~ N N WADE 2

ARTURO

f a l l o u t

of the

void. '

REMBRANDT

f l i e s

out

onto

Arturo, knocking

him into a mud pUddle.

. ARTURO

That does

•

From now

on,

I i n s i s t

-you leap

through

the

vortex

before

me

REMBRANDT

And have

you f a l l and

crush me?

Forget

that .

QUINN

(helps Wade up)

You okay?

W E

I

think

so.

They appear to have.landed in a quiet n e i q h b o ~ h o o d

CONTJ;NUED)


4/73

•

#K0812- Post-Traumatic

Slide

Syndrome -

2/15/96'

1 s t

Blue 3.

2 CONTINUED:

RTURO

(re: the t imer)

At

l e a s t

t

looks

nice

and

peaceful

w e l l be

here

for two weeks, four

days, and chanqe.

QUINN .

(growing real izat ion)

wait a minute ••• Bernie

Massey's

red

F i a t the one with the dent

in

the

passenger door

(then)

And t h a t s Mrs_

Randall ' s house

REMBRANDT·

What are you saying?

Quinn

i s

too excited to answer.

As

he s t a r t s

towards

the

house on the corner across from them - -

3

EXT

CROSS

THE STREET

- Y - QUINN S

HOUSE

E ~ a c t l y

as

t should

be

•.

QUINN

approaches

the

by-now

f a m i l i ~ r fro nt q ate. The

others

follow

- -

ARTURO

Your

house,

yes?

(heavy J?8use

I needn' t r e m ~ n d everyone - -

we've

been

fooled

before.

W E

Why are you.

always so negative?

.

RTURO

I

r ~ i n d

you of

the

Judaic pr incip le

of Kineahora, Miss Welles. Expect the

worst and hope for the

best .

W E

Everything

looks

j u s t

the

way

we

l e f t

i t .

REMBRANDT

~ do you,think, Q-Ball?

, QUINN .

I think •••

we're about

t o find' out.

As the others look

on

anxiously,

Quinn f inds

the courage

to

. do the

acid

test,_

· He crosses to the

qate

•••

reaches

for

t slowly p u l l s

t

back: .

C O ~ I N U E D

2

3

(X)

X

X

X


5/73

o

#K081.2-upost-TraumatiC?

S l i d e Syndrome

tl

- 2/15/9 6 1 s t Blue

4.

3 CONTINUED

QUINN

Cross

your

f ingers

THE GATE

squeaks

loud

and clear .

WADE

squeaked

REMBRANDT

Thank

you, God

The S li d er s a re e x h i l a r a t e d a s

ANGLE - FRONT DOOR - MRS MALLORY

appears. She

a.lmost.

keels

over

a t

the s i g h t of Quinn ' '

t e a r s immediately

spring

from

her

eyes.

QUINN

(whisper)

Mom.

He

c r o s s e s t o

h e r

-

~

races

down the s teps •••

MRS. MALLORY

Quinn Oh my God

(embraces him)

Oh, my darl ing

They

hug

as

i f they

wil l

never

l e t

go

again,

and

the

other

S l i d e r s join them. I t s a moment

of

unbridled

ecstasy

REMBRANDT (V.O.) .

And

t h a t was

i t .

After eiqh1:een

.months

of wandering. . .

we

were

· f inal ly home .

Off t h e i r joy

3

y

(X )

,

FADE TO

BLACK:

END

OF TEASER

. ,


6/73

~

\

1

t

. .,

#KOB12-IIPost-Traumatic Sl ide

Syndrome

2/15/96 J.st Blue

s.

ACT ONE

F DE

IN:

4

INT.

QUINN'S

HOUSE

- KITCHEN - A BOTTLE

OF

CH MP GNE

as' Arturo uncorks i t .

REMBRANDT

All rig-ht

ARTURO

(to Mrs.

Mallory)

To you,

Madame.

As he pours

.• •

W E

i s

on the kitchen phone

W E

(into

phone

I know.

I sn t

i t ·

unbelievable?

(then)

- -

I 'm.gonna t e l l you

the

whole' story

when I get home •.

(then)

I know. I lOve you, too.

(then)

Give

me

back

to Mom

and Dad, o k ~ y

Under which

QUINN

(of

Arturo)

You

should

have seen

th i s guy, Mom

(o f Artu ro )

On one world,

he int roduced

a s t ra in

of

ant ih io t ics

• . He 'single-handedly

stopped

a plaque.

REMBRANDT

Don't

forget

t ha t world where he

brought

down an asteroid with

an

A-bomb.

MRS MALLORY

atom bomb?

RTURO

(modestly)

.

1,

ub, jerry-r igged the detonator.

The

fashionable

material

was already

.there.

CONTINUED

4


7/73

K0812- Post-Tra\:1:1llatic

Slide

s ~ n r o m l t

- 2/15/96

1st Blue SA

4 CONTINUED:

MRS M LLORY

{to

Arturo

Oh

my,

th t s

wonderful

Mrs Mallory

doesn t

know

what

to make

o f

th i s

CONTINUED

4


8/73

No,

my boy·.

yours.

#K0812-tlPost-Traumatic

Slide syndrome - 2/15/96 1st Blue 6.

4 CONTINUED: 2

ARTURO

(mock false modesty)

No big

deal .

J u s t

one

of

many

worlds

t h a t needed saving.

,

As

now,

~ d e s completed her

phone c a l l moves'

t o

them.

QUINN

How'd they take

i t ?

W E

Everybody was basically

in

a

s t a t e

of

shock.

then)

My s i s t e r j u s t screamed

I·Oh, my God ,

for ten minutes.

REM R NDT

How

'bout a toast?

QUINN

Go ahead,

Professor.

RTuRo

The honor

should

be

.QUINN

Seems t o

me

t h e r e s only one

thing

to

say - -

(then)

To

friendship.

Clink

IIHere,

here ,

etc.

REM R NDT

To home

.. More.

clinking. Off their

revelry

- -

CUT

TO:

4

X


9/73

o

K0812-ItPost-Traumatic

Slide Syndrome

- 2/15/96

1s t Blue 7.

eX

5-

INT. QUINN S BASEMENT - LATER

ARTURO

~

o

~

.

; ~

~

-

s tands

by the' blackboard, stUdying

the

elaborate formula we

reca l l from the pi lot .

QUINN (O.S )

Professor?

Arturo

turns

as - -

WADE, REMBRANDT, QU INN

descend

the

steps. The mood

i ~

s t i l l

l ight

W E

What

are

you

doing

down

here?

-ARTURO

Thinking,

Miss

Welles.

REMBRANDT

(impressed)

So

th is

is where t

a l l

s tar ted huh?

The r ea l basement ••

(then)

I

a lways imagined

i t · was a lo t biqqer

(then)

You cal led

t the bat cave.

QUINN

More

l ike my

fortress

of soli tude

( to Arturo)

What a r ~ you

thinking,

Professor?

. ARTURO

We

are s i t t ing

on 95 of one of the

greates t

scientif ic discoveries

the

world has ever

known.

,then

Nevertheless,

we

a r ~ st lacking,

t h t

la s t

. 5 ; the abi l i ty

to

' ,harness'

th i s beast ,

and

make i t safe.

W E

What

are

you

saying?

ARTURO

I'm

suqqestinq

we

keep

our

experiences

a secret

for

now.

CONTINUED)


10/73

K0812-UPost-Traumatic S l i ~ e ~ y n d r C ? m e t t

2/J.5/96

s t Blue 7A .

5 CONTINUED:

REMBRANDT

s he

kidding?

then)

You

qot

any

i d e ~ h e

boost

a thing

l ike th i s

could

give

to the cryinq

Man s

c reer

.

ARTURO

This i s not the time

to be

thinkinq

about f ree pUblicity, Mr Brown

CPNTINUED

5


11/73

K0812-nPost-Traumatic Slide Syndrome

u

-

2/1.5/96

1 s t

.Blue S.

5 CONTINUED: 2

REMBRANDT

I t s

'always

time

to

think about

free

pUblicity

- - don ' t you know anything?

W DE

What are

supposed

to t e l l people?

Nobody's seen

me for eighteen

months

CUT TO :

6

EXT

QUINN S

HOUSE

THE SLIDERS

6

~ .

:7 «; .

~ a k i n q t h e i r good-byes.

A CAB

i s

waiting

QUINN

- -

We'll

just .swear

our f m ~ l i s

to

secrecy,

t h a t s a l l .

to

Wade)

W e l l

t e l l people we were backpackin9

through Europe.

REM R NDT

Look - - the Professor can say he was

on

sabbatical ,

and

you

two

got your

bases' covered , but who's qonna believe

I v e been

touring

in

obscurity

for

t h e l a s t year-and-a-half?

ARTURO

I doubt

you ': l,l have

much trouble

t h e r e .

. (d ry pau se ) .

Given

the

s t a t e .of his

career

the day

. we

f

i r s t

s l ~ d

R e m b r a n ~ t r e a c t s - - the t r u t h hurts .

. QUINN

J u s t s t i c k

to

our s t o r i e s and w e l l be

f ine.

(then)

As

lonq

as

the

people

close to

us. know

th e

t ru th an d

know

how importa'rit

i t

i s to k ~ p t h i s Whole

thing s e c r e t .

REMBRANDT

J u s t for a month or so, right?

CONTINUED)


12/73

·ec

\

,/

. .L

:

,

,

,

,

•• ·

< -

,

IKOB12- Post-Traumatic

S l i d e

Syndrome - 2 ~ 5 9 6 1 s t Biue

9.

(X )

6

CONTINUED:

RTUR

When the time

i s

r i q h t

w e l l

have the

b ig g e st p re ss

conference t h e

world 's

ever seen.

REMBRANDT

Now you're talkinq my language

He takes Quinn's hand, p u l l s

him into

a bear hug.

REMBRANDT

I 'm sure gonna

miss you,

man. All

you

guys.

Back

slaps, e t c . Then

ARTURO

to

Quinn)

Get

some

r e s t .

We'll s t a r t

work on

the equation f i r s t ' thing Monday

morning.

Arturo and Rembrandt enter the

cab.

WADE

i s

l a s t to say qood-bye.

W E

When· I think

o f

a l l the

thinqs

we've

d o n e .

••

Th e t h ings we've seen • • •

s

a l l because

of

you.

t h e n )

Thank you _

She

leans

forward,

gentl¥

k i s s e s . h i s l i p s . So

much

t o

say • • •

so

much left unsal.d.

Sh e

~ e t s i n th e cab. Quinn

watches

as t h e cab drives, away, f ~ e d

with mixed emotions.

MRS. MALLORY

moves

to him, puts an

arm

around

him

. MRS. MALLORY

I prayed everyday, Quinn.

(then)

I

never

9 a v ~

up hope

•

And

as

they turn

to

walk away •••

REMBRANDT

'V.

o. .

I quess

randomly

travel1ng

through

an

inter-dimensional vortex has

a

way of

making

you apprec ia te what' s

i m p o r t a ~ t ~ n l ~ f e •••

DISSOLVE TO:

, .

6


13/73

· KOB12-ttPost-Traumatic

Sl ide Syndrome

- 2/ l 5 /96

st

Blue 9A.·

7 EXT. COLLEGE MPUS - IVY-COVERED BUILDING, ETC.

As

CONTINUED

7


14/73

\

-

KOB12- post-Traumatic

S l i d e Syndrome - 2/15/96

1 s t

Blue 10.

7

CONTINUED

ARTURO

moves down

the

walkway

toward

the

Physics

Building.

REMBRANDT V

o.

For the Professor,

.was

gett ing

back

to academia

- -

Arturo takes a deep sat isfying breath. Home.

VONBAECK

(O.S.)

Professor Arturo?

He

turns to find an a t t r a c t i v e i f rest ra ined, young

woman,

LEILA VONBAECK A

teaching

assistan't in

the

Physics

e p a r t m e n t ~ Mid-20's.

ARTURO

Miss VonBaeck?

(off

her)

What a pleasure

i s

to see you

again.

VONBAECK

(surprise)

YOu too, · P r o f e s s o r ~

ARTURO

(off

her)

Are

you

a l l r i g h t

Miss

VonBaeck?

VONBAECK

I 'm-jus t

surprised

t o

see you here

t h a t s

a l l .

ARTURO

Yes, well, l i f e i s f u l l of surprises.

I 'm

b a c ~ a n d

eager to resume my course

,lc.ad·;

providi.nq. the

Dean

hasn I· t

already

replaced me.

VONBAECK

Why would he have done

that?

CONTINUED


15/73

()

KOB12-ItPost-Traumatic

Sl ide Syndrome - 2/15/96

1 s t

Blue

11.

(X )

(

.

7

CONTINUED:

2

ARTURO

Excel len t

•

(off VonBaecki she .

appears

a tad confused)

I

know

I v e been away a

long t ime.

Bear with

me

dear Miss

VonBaeck,

a l l

w i l l

be

revealed i n

due

course·.

(then)

Excuse me,

w i l ~ you.

Goes. VonBaeck looks a f t e r i ~ confused

:REMBRANDT

(V. 0 •

For me.,. t was q e t t i n q

_my c a r e e r

back

toqether

COT

TO:

,

8 OMITTED

9

INT.

RECORDING STUDIO - REMBRANDT S FLASHBACK - ARTIE

Rembrandt s

agent,

who we remember

from

the pilot ,

s u p e r v i s i n ~

some

r e j e c t

from Ed McMahon s

s t a r ~ e r h a t

th e

e l e t r ~ organ.

REMBRANDT

moves

in

. . •

REMBRANDT

Artie?

Artie

t u r n s ·

R E M ~ T (Cont d)

Don t

you

recoqnize

me?

I t . s .me

•••

Rembrandt.

ARTIE

I used to know a Rembrandt but he

died.

CONTINUED)

,

.

..


16/73

IK0812-upos t-Traumat ic

S l i d e

Syndrome - 2/1.5/96

1 s t

Blue 12.

X)

9

CONTINUED

REMBRANDT

mon

t

A r t i e - -

d o n t be l i k e

t h a t .

( then)

I know

you're

angry. I know I missed

some

dates ,

but I got

a

~

e x p l a ~ a t i o n f o r t h a t .

ARTIE

Oh yeah?

(then)

Like what?

REMBRANDT

I

was touring

Asia. .

ARTIE

What're we

ta lk inq here, Outer

Mongol ia? ot

o f good R clubs

t h e r e .

q r u f f l y )

.

Besides, i f you've

been

tourinq,·,

where's

my

ten

percent?

REMBRANDT

E i g h t percent .

ARTIE

(nearly

choking)

Keep

it down, w i l l

ya? Mf

o t h e r

c l i e n t s hear about t h a t m1ssinq two

percent , t h e y r e a l l gonna want it

Rembrandt s c a n s the room. Empty.

REMBRANDT

Who's

gonna ,hear?

ARTIE

You

never

know.

REMBRANDT

(hushed; impor,tant)

I 'm

gonna t e l l you a . s e c r e t , Artie

(then)

I 'm

s i t t i n g on

something.

And

when i t ·

goes

pUblic, it s

gonna

be th e b i9 ge st

thing

t.o

happen t o popular music

l

t h i s

century.

{then}

Hell , maybe s ince

the.

dawn of

t ime.

Artie

s tudies his

c l i e n t :

noy.

9

\

(' .

CONTINUED)

:-

.... :-

... ,-

1 1

•• • _

••

1 , , 1


17/73

...

. KOSl2-ttPost-Traumatic

~ i e

syndrome .- 2/1S/96 1 s t Blue 13.

9 CONTINUED 2

ARTIE

You

got

new

songs?

. ; REMBRANDT .

Sure , I 've

g o t

new songs.

-But

t h ~ s

n o t

t h e

h a l f .

o f..

i t . . ,

.

i t s

too momentous)

How's your pacemaker?

ARTIE

Ticking

away. Why

Rembrandt ' s about

t o

burst

- -

h e s

qot

t o

t e l l

someone

CUT TO:

10

INT.

QUINN'S

HOUSE - A

PHO N

r inqing.

QUINN

picks

up - -

QUINN

Hello?

CUT

TO:

11

INT.

WADE S APARTMENT - WADE

on

the phone

WADE

Quick ..

Turn

.on c.N N•

Under which

(CONTINUED)

\

10

11


18/73

K0812-ttpost-Traumatic Slide

Syndrome ·-

~ 5 9 6

J.st

Blue 13A

\

11

CONTINUED:

LARRY KING ON TV)

CO.

s }

which took the s ien t i f i community

y

storm

th is

morning

when

he

addressed

an impromptu press

conference

on the steps of California

University •••

CONTINUED

1


19/73

{ ~

y

#K0812-ltpost-Traumatic

S l i d e Syndrome'· -

2/15/96 1 s t Blue 14.

11 CONTINUED: 2

,

l

W E

( into phone)

Channel

Twenty-two

King

He's

on

Larry

INTERCUT TO:

12 INT. QUINN'S HOUSE - KITCHEN - QUINN

punches

in - -

QUINN

( into

phone)

Hold on.

'

And now he f inds - -

ANGLE

ON TV - LARRY KING

s h i r t s l e e v e s suspenders and a l l hunkered over his desk,

mid-interview.

And now we

reveal

his

quest - -

RTUR

dressed .impeccably, looking pDsitively·eleqant

ARTURO (ON TV)

(has the timer)

.

based on calculations

usinq

my

theory o f the Einstein-Rosen-Podalski

Bridge,

I

was

able

t o

journey

- -

I

referred

t o it

as Iis lid ing

- - t o

d i f f e r e n t Earths

in

p a r a l l e l

universes.

Quinn

can ' t believe his ears - -

a

1

:

13 · INT. WADE S APARTMENT

W E

I N T E R C U T ~ I T H

1

- ,

c a n t

bel ieve

what s h e s hearing

W E

BiJi

theory?

(then)

He's ~ a k i n q

c r e d i t .f or eve ry th ing you

did

As - -

I

ANGLE

TV

- LARRY

KING

hunkerinq down for some a in-depth scrutiny

(

CONTlNUBD)


20/73

K081.2-t 'post-Traumatic

Sl ide

syndrome

tJ

2/1.5./96 J.st

Blue

15.

eX

13 CONTINUED:

LARRY

RING

ON TV)

Helluva story.

then

Of

course you've

qot

to rea l ize

there

are already people

some pre t ty

high-caliber sc ient i s t s out there -

cal l ing you a crackpot. .

ARTURO ON

TV)

Skepticism i s to

be

expected

when

comes

to

an

achievement on t h i s

scale ,

Larry.

He extrac ts a small arrowhead

ARTURO ON TV)

This extraordinary arrowhead comes

from

a

world

where

Europeans

never

colonized

the

Americas.

I t

i s one of

several

i tems t ha t

are

currently

being examined and

carbon-dated.

They

wil l

conclusively

prove t ha t they were

in fac t

r ~ r i v from para l le l

Earths

with a history

en ti re ly d i ff e ren t

from

our own.

QUINN

He's blowin9 our ent i re cover.

W E

You've got

to ca l l

in ,

Quinn.

You

can' t

le t

him

ge t

away

with

th is

As

LARRY KING ON TV)

We'll be' taking your cal l s in

a

minute.: Our guest

i s Professor

Maximilian

Arturo, who

a

lot

'of

people today are

call ing

The Father

of In ter-d imensional Travel .

Click. Quinn, disgusted,

hi ts the

off

button,

and

we

UT

TO:

14 INT.

LAMPLIGHTER BAR - DAY -

QUINN,

REMBRANDT, WADE

QUINN

What am I supposed to do, ca l l

him

a

l ia r in front of the entire

world?

(CONTINUED)

13

14


21/73

••

14

K0812-UPost-Traumatic

S l i d e

syndrome - 2/15/96 1 s t Blue 16.

CONTINUED:

WADE

Why not? -You deserve the c r e d i t fo r

what

you

dld.

REMBRANDT

She's r i g h t , Q-bal l .

QUINN

I d o n t care about t c r e d i t .

I t s

the

way he

broke h i s

word.

REMBRANDT

I

d o n t aq ree w ith the

way he

d i d i t ,

but

ll t e l l

you one thinq - - s u ~ e

put the

j o l t back

in the crying Man's

career .

(then)

My agent ' s f ielding offers

from

three

major

recordinq

labels .

QUINN

e t t u Brute)

Your agen:t?

REMBRANDT

Hey

once a s e c r e t s out it s out.

( then

.

a

look)

I t s

not l i k e I 'm

the only one.

A beat . Quinn looks t o Wade.

W E

(sheepish)

Newsweek Magazine's

s o r t

of

s e r i a l i z i n g m¥ diary.

(off QU1nn

What was I supposed

t o

do?

t s

over

a million dol lars , .Quinn - -

. 1;hen):: .

I even

get

t o

retain

the

ancil lary

r i q h t s ..

Quinn c a n t

believe h i s ears .

REMBRANDT

Where

are you Q ~ n

man?

QUINN

I'm call inq the

Professor.

CONTINUED


22/73

K0812-upost-Tra.wuatic Slide Syndrome - 2/15/96 1 s t

Blue

17.

(X)

14 CONTINUED 2

He g e t s up, heads fo r the pay phone •••

CUT

TO

15

INT. LAMPLIGHTER - NEAR THE RESTROOMS

Framed

p h o t o ~ sports memorabilia,

e t c . ,

i ine the walls .

QUINN S

a t the pay

phone,

dial ing

QUINN

( into phone)

I t s

Quinn Mallory.

I need t a l k to

Professor.Arturo.

As he waits

ANGLE - WALL

Framed photos

and

posters of various San

Francisco

notables: Von Karayan

~ t

the

San

Francisco symphony,

Jim

Hendrix.at

the

Filmore

A SUPERBOWL POSTER

i f we

can

.get

permission)

featurinq a 49'ers helmet

joust ing with

the

Miami

Dolphins.

The

caption,

in Roman

numerals:

SUPERBOWL XXIII.

VONB ECK

(V .O. )

(over phone; f i l t e r e d )

.

I

- -

I 'm

sorry, Mr. Mallory,

Professor

Arturo i s not in

the

o f f i c e

- -

But Quinn doesn ' t

~ e a r t h i s .

As

dawns on him .--

QUINN

(dazed)

Thahks •••

UTTO:

16 INT. LAMPLIGHTER - W DE ND REMBRANDT

W DE

r r · ~ e go t o the press on

Quinn's

behalf , A r ~ u r o s

bound t o back

down.

REMBRANDT.

You'd

thin k th e P rofesso r'd have

t h o ~ g h t t h a t

through.

I

14

15

16


23/73

K0812- Post-Traumatic Slide syndrome

2/J.5/96 1 s t Blue J A

W E

We probably o u g h t a

gra tefu l he

mentioned the

r e s t

of us a t a l l

CONTINUED


24/73

KOB12- Post-Traumatic

Slide

Syndrome - 2/15/96'

st Blue 18.

X

16 CONTINUED: 2

QUINN (0.5.)

GUyS

QUINN

1

shaken

t

QUINN

We're not home.

REMBRANDT

What?

QUINN

Look a t the

poster,

Rembrandt.

Neither

Rembrandt

or

Wade

sees anything out 'of

the

ordinary.

WADE

A·Super

Bowl

poster.

So what?

QUINN

Niners

versus

the Dolphins.

then

Don't

you get i t?

On our

world, the

Hiners .played

the

e n a l ~

in

Super

Bowl 23. '

Rembrandt and Wade exchange

a look.

WADE

I

don ' t

rea l ly

follow

football .

Off

which

EN FLASHBACK

17 INT. DR

..

WHELAN'S OFFICE -

REMBRANDT

somewhat

~ ~ s e t

~ t the memory

-

REMBRANDT

W h a ~ were we supposed

to say?

(then)

Benqals,

Dolphins

i t was

ten

years

ago.

1

CONTINUED


25/73

K0812-upost-Traumatic

S l i d e syndrome - 2 ~ 5 9 6 1 s t Blue 1 9 .

17

CONTINUED

DR.

WHEL N

Did

you voice your

suspicion?

REMBRANDT

. Damn

r i g h t

we

d i d .

then

spent

a half hour trying

t o t a l k

him

down.. .

.

(then)

He kept

'1oing

on and on,

l i l t s

not

our

world, not

our world, - - j u s t

. because o f t h a t

one littl

t h i n q .

CUT TO

18 EXT.

Q U I ~ N S

HOUSE - REMBRANDT S FL SHB CK - NiGHT - QUINN· 18

drives

up, e x its h is

car .

A D RK V N

parked

nearby. s t r a n q e - -

Reacts a t

t h e

s ight

o f

CUT

TO

19

INT.

QUINN S HOUSE - KITCHEN - QUINN

enters . The house

i s

dark.

QUINN

Mom

--1

No answer. A sound, someone knocking something over (0.5.)

• • I

20 INT. KITCHEN - QUINN

enters - -

. QUINN

Are you in the basement?

~ h e

door t o the.basement/s a j a r . Suddenly

A

M Y S T E ~ Y

FIGURE

rushes past

QUINN

Hey

Quinn takes

off

a f t e r h i ~ h e r

.

\

20


26/73

KOS12-IfPost-Traumatic

Slide Syndrome

2/15/96

s t Blue 20.

21 INT. QUINN S HOUSE

FOYER

THE

FRONT DOOR

i s

open.

2

22

EXT •

QUINN'S

HOUSE N IG HT QUINN

rushes

out in time

to see

the

L CK V N

speedinq

down the

s t ree t out of sight .

QUINN

stands there

out

of breath. Who the -hell was tha t?

FADE OUT.

END OF CT ONE

•

\

.

2


27/73

e (

K0812 UPost Traumat ic

S'lide s,yndrome

u

- 2/15/96 t

Blue

21.

ACT TW

FADE

IN:

23

INT.

RECORDING

STUDIO

-

REMBRANDT S

FLASHBACK

-

DAY

REMBRANDT

•• •

1 1 _ I I

in a

booth with

Artie, l i s ten inq · · to playback of

IIcry Like

a

Man.

ft Rembrandt l i k e s

wha1:-

he

hears - -

REMBRANDT

,Maybe

we can pop the lead t rack up -

I need

to hear th e v ib ra to in tha t '

section

where

I'm

trying to

hold back

my

t e a r s . .

A

p.a . - type kid enters, w i s p ~ s somethinq in A r t i e s ear.

ARTIE

Remmy, a woman s here

t o

see you.

Rembrandt ' s q o t

no time

fo r

d i s t r a c t i o n s .

REMBRANDT

No

groupies, Artie.

Time

to

concentrate.

But now

he sees

.

ANGLE

- THROUGH GLASS WINDOW -

WADE

REMBRANDT

Take f ive,

f e l l a s .

(to

p . a .

I t s okay.

Wade e n t e r s

WADE

I

hope

I m not

disturbinq

you.

REMBRANDT

Not a t a l l .

(then)

Actually,

t h i s room's

costing us a

grand-and-a-half an hour.

(then)

What's

up?

WADE

Have you

talked to Quinn?

REMBRANDT

Not

since

l a ~ t

n i q h ~ Something about

the t imer

b e ~ n

stolen •••

CONTINUED

,


28/73

~ < ~

_-

-

f

KOS12- Post-Traumatic

s l i d e

Syndrome - 2/15/96 1 s t

Blue

21.

ACT TWO

FADE IN :

23 INT.

REqORDING STUDIO

-

REMBRANDT S

FLASHBACK

-

DAY

REMBRANDT

• • 1

,.

•

in a booth w i t h Artie,- l i s ten ing .

·to

playback' of Cry Like a

Man.

Rembrandt l ikes what-

he

hears - -

REMBRANDT

Maybe we

can

pop

the

lead t rack

up

-

I need t o hear t h e

vibrato

in

t h a t

section where I 'm t r y i n g t o hold

back

my t e a r s .

. ,

A p.a . - type kid

enters ,

whispers something i n ~ i s ear.

ARTIE

Remmy,

a woman's here to see

you-.

Rembrandt 's g o t no time f o r d i s t r a c t i o n s .

REMBRANDT

No

groupi.es;

Artie.

Time t o

concentrate.

But now he sees

ANGLE - THROUGH GLASS WINDOW - WADE

REMBRANDT

Take

f i v e

f e l l a s .

to

p.

a .

I t s

okay.

Wade enters

WADE

~ h ~ p

~ m

not disturbing

you.

REMBRANDT

Not a t

a l l .

t (then)

Actually,

t h i s

room's costing us a

qrand-and-a-half

an hour.

then

What's

up?

WADE

Have you

talked

t o Quinn?

REMBRANDT

Not

since

l a ~ t n i h ~

s o m e t ~ i n g

about

the t imer b e ~ n g s t o l e n . . . -

(CONTINUED)

23


29/73

. 23

K 0 8 1 2 ~ l t P o s t - T r a u m a t i c S l i d e syndrome

lt

-

2/15/96

1 s t Blue 22.

CONTINUED:

WADE

I- m r e al l y s ta rt i n g t o

get worried-.

(then)

He

said

the

whole basement

was

ransacked.

REMBRANDT

You

, think Arturo had something

to do

with

this?

WADE

I v e

qot

to admit,

t crossed

my

mind.

(then)

You

know

what

Quinn thinks?

I t s the

F.B.I •

.

(-off

Rembrandt)

F.B.t . ,

foreign

qovernments·--

He

even said t might.

be

the ~ o m a q q s .

(off

R ~ m b r a n q t :

~ b s u r d ) . .

I think· h e s in denial , Rembrandt.

e ~ i n s i s t i n g

we re

not home.

REMBRANDT

Damn. This

is bad.

~ e n )

I lOve

the

guy,

Wade. You know t h a t .

Everything good · a l l

t h ~ s

success •••

I owe t o him. .

(then)

Where s

he

now?

W E

That s

j u s t i t .

He s qone

to

see

Arturo.

Off

Rembrandt

CUT

..

TO:

23

( t)

X

X)

X

eX)

{X }

24 EXT. UNIVERSITY GROUNDS - NIGHT ARTURO 24

stands a t a podium

with

a dozen microphones from

a variety

. . of g19ba1

netw


30/73

KOB12-upost-Traumatic

S l i d e

Syndrome -

2 / 1 5 / 9 6

1 s t Blue 23.

CONTINUED:

RTURO

, off the 3-D display)

•••

When

looked

a t

from

our

normal

p e r s ~ e c t i v e

the

universe appears

t o

be s n q u l a ~ But

looked

a t from the

perspective

of

the

Einstein-Podalski-Rosen bridge•••

Miss VonBaeck

turns the display

so t h a t

the audience i s

looking through the

vortex, and we now see the hologram

edgewise

- -

revealing

t h a t

i s not

a

s i n g l e

hologram,

but

a

whole

s t a c k o f

them.

RTURO

continuing)

••• then

i s suddenly

possible t o

see

t h a t

universes

can be layered,

one

on

top

o f

another . . . .

Under

which

QUINN

has entered

the

quad.

RTURO

I

My

invention

enables

t r a v e l e r s t o

pass

through the layers

which

are , i n

r e a l i t y the

boundaries

separating

one

s e t of

dimensions

from another. The

t r ~ c k y p a r t

i s

t o c o n t r o l w ~ e r e you

·s11de

and

when

you

return

•••

His voice

t r a i l s

off·. He sees Quinn moving inexorably

down

the a i s l e toward

p

the

podium - - and

quickly

becomes

uncomfortable.

RTURO

On t h a t note, l e t s take a

b r i e f

intermission.

Arturo steps

away from

the podium,

takes Quinn by

the

arm

and leads

him

away

~ n d o f f

t o the side

QUINN

We need t o

ta lk.

ARTURO

. ~ a r s h w h i ~ p e r > .

How

d1d you get

1D w1thout

press

credentials?

CONTINUED)


31/73

K0812-upost-Traumatic

Slide Syndrome - 2/ 15/ 96

1 s t Blue 24.

X

24 CONTINUED:

2

QUINN

You're not t h a t important yet ,

Professor.

r

t o l d

them

I was

on

the

schoo l paper .

ARTURO

What are

your intentions,. boy?

... To

d i s c r e d i t me and s t e a l the s p o t l i g h t

for

yourself?

QUINN

Take

a l l

the

c r e d i t

you want. I t

doesn ' t

chanqe t h e f a c t t h at

we're

not

.home.

ARTURO

What?

QUINN

You

heard

me.

I t ~ s close

a l m o s ~

a

carbon

.copy.

B u t · i t s not our

Earth.

o f f Arturo

Look.

4

(then)

I

dug out my old baseball card

col lect ion. There 's no asterisk by

Roqer Maris' home run

record.

ARTURO

So?

QUINN

The Hiners

beat

the

Dolphins in Super

Bowl

23.

ARTURO

Mr.

Mallory, I am,no part icular adept

of A m e r i ~ a n football , . but

one

thing I

am sure· of·;

-the :Hiners

defeated the

team

ro

Miami

in

a rout.

-

(then)

Everyone remembers ·that.

Quinn

r e a c t s t h i s

i s

so

obviously a

l i e

,

QUINN

How can

you

l i e

l i k e that?

ARTURO

'Phis- -is home, Mr. Mallory.. I f

you're

having t rouble

accepting tha t ,

I

suggest

you seek professional

counseling_

(then)

E x c ~ s e ~ e w o n ~ t you?

As

he qoes. Off Quinn, thunderstruck

CUT TO:


32/73

K0812-Upos.t-Traumatic

Slide

·Syndrome - 2/15/96

1 s t Blue

25.

e ·

25

INT. WADE S

APARTMENT - LIVING

ROOM

- A .YOUNG

WOMAN

-

TANlKA

there ,

looks up

from

busywork as

QUINN

enters . He s

got

a

book under h is arm.

TANIKA

(of

packages)

.

These

have

t o be

on a

plane by

t h r e e

or

w e l l miss the weekend

read.

(off

Quinn s .look)

Aren t you the m ~ s n q r

QUINN

Sorry.

TAN IKA

No.

I m sorry.

I j u s t

assumed

QUINN

I s Wade around?

TANIKA

Miss

Welles

i s on

a

conference

c a l l .

QUINN

Tel l

her Quinn

Mallory s here. I t s

important.

Tanika nods, though the

name

means nothing t o

her,

as

now

WADE

·enters from the direct ion of the kitchen.

CONTINUED)

.25

X)

X

X

X)

X


33/73

)

K 0 8 ~ 2 - n - p o s t - T r a u : m a t i c S l i d e Syndrome -

2/15/96 1 s t Blue 26.

X)

25· CONTINUED:

W E

(into c e l l phone)

I

don t

care

what

Winona s

people

want,

they re .not the

ones

dtivinq

t h i s deal David, and t h a t s something

t h a t should be

made

clear to

everybody. We could

c lo se w itb

Sandra Bullock i n a

whipsti tch.

( to Quinn)

Be with you in a

minute,

Quinn.

l i ~ t e n s )

David make t h e c a l l .

(he s about to

p r e s s

the

point some more)

J u s t

do i t .

then

And don t forqet ,

we

·have the .

conference

c a l l

with

Random House

a t

three.

Hangs

up

W E

(a t Ld

sheepish)

A ll these

negotiations

and

everythinq

t s a madhouse.

Any

luck?

QUINN

The ~ o l i e came over

t h i s

morninq,

d u s t ~ n g for f i ~ g e r p r i n t s

(then)

.

I

got

a

thousand

reporters

camped

out

in

front

of

the house.

W E

I know.

I s n t

t h i s incredible?

25

{

/

\

~ · · :

QUrNN

I want ~ o u

,to see

somethinq.

He opens the. book. I t s h is high

school yearbook

of a ninth

grade

class

QUINN

My ninth grade

homeroom.

a

photo

CONTmtJED

1


34/73

KOS12-f lPost-Traumatic

Slide

Syndrome - 2/1.5/96 1s t :Bl·ue 2·6A.

25 ONTINUED

2

.ANGLE - THE YEARBOOK

dorkey -l ookinq h igh schoo l

kids

Quinn s

in

th e

back

row

CONTINUED)

25


35/73

#KOB12- Post-Traumatic Slide

syndrome

-

2/15/96

1st Blue

27.

o

:8

:.::

25 CONTINUED: 3

WADE

Really?

.

Which one's you?

QUINN

indicates)

Forqet t h a t . .

This'

kid'.

••

Chipper .

Fisher•

;

(off her)

He

wore braces

on our world,

Wade.

(then) .

We used to .

c a l l

him Railroad Tracks.

(off Wade)

Don't you -see? Th e

N i ~ e r s

and

Dolphins,

a ~ i s record, and

n o ~

t h i s ?

WADE

Maybe

you're

j u s t

remembering

t

wrong.

o f f

Quinn'·s

. exasperation)

I t doesn ' t make

s e n s e ~

Quinn.

My

family, my friends - - eve ry th ing's i n

p la ce h era . This-can ' t

be

anywhere

e ls e

but·our

Earth.

QUINN

I t can

be i f

our

doubles

s l i d

from

here.

WADE

Okay.

So

wait

- -

(then)

I t s

a

vir tual

double

of our world .

Our doubles s l i d - - and now,We ve

s l i d

and everything'.s

the

same, except for

a

kid

you

think

you

remember wearing

braces? Do you

hear yourself?

. ('off' Quinn)

What's

with

'you?' Why c a n t

you just

a c c ~ p t

t h a t

.we're

home?

QUINN

Because

we're

not.

.

(then)

We ve

got

thirty-six hours,

Wade.

I f

I

c a n t

convince you and

find

the

t imer

f

we're qonna spend the r e s t of

our

ll.ves

here.

CONTINUED)

--


36/73

, , l

K 0 8 1 2 - p o s t - T r a u m a t i ~ S l i d e Syndrome -

2/15/96

1 s t

Blue 28

25 CONTINUED: 4

WADE

Maybe t h a t wouldn t be so bad.

A look

between them

W E

I m

sorry. I know you re

having

a

hard time with a l l t h i s

(changing

the

sUbject)

Are you 9 0 i n ~ t o t h e openinq

of

t h e

S l i d e r s e x h ~ b i t ?

.

(off

Quinn)

You ve got t o go, Quinn.

I f y o u

don t ,

the

Professor s

qonna

hog a l ~

t h e c r e d i t

QUINN

You d o n . t

hear

a word

.I m

say.inq ,

WADE

fa l i t t l e

d e f e n s i v e

I

hear

every

word;

I

d o n t th ink you

hear

me.

(pointed)

I m

home, Quinn•

I m

not going

anywhere

COT TO:

25

26 INT.

DR. W HELAN S

OFFICE

REMBRANDT

continues

REMBRANDT

So.our

best

fr iend

was

going,9ver

·the

edge

while the

r e s t

of

th e

world

was

opening up

t o

us, qivinq up a l l

her

~ i e a s u r e s · O

DR . WHELAN

I t made you feel

quil ty?

REMBRANDT

Damn

r ight ,

man. Why

couldn t

he have

j u s t l e t us enjoy our success?

CUT TO:

. 26

27

EXT. MUSEUM COURTYARD REMBRANDT S FLASHBACK AFTERNOON

27

- A

CROWDED BLACK TIE AFFAIR

Lots

of

media.

C?N I INUED)

\


37/73

KOS12-tlPost-Traumatic

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27 CONTINUED:

W DE ND REMBR NDT

dressed

t the

nines,

pose r

photoqraphers, maybe

even

sign

a

few

autographs

CONTINUED

~

7;

{


38/73

~

Kosi2-rtPost-Tra.umatic S l i d e Syndrome' 2/15/96

~ s t

Blue 2 9 .

27 CONTINUED: 2

REMBRANDT

( through grinning t e e t h )

Can you

b e l i e v e

this?· · ·

.WADE

All

t hese fl ashbulbs' :are giving me a

he d he a

( then)

That 's enough,

f e l l a s .

'Okay?

REMBRANDT

That 's okay.

You want some

shots

of

me

- -

The

paparazzi keep f lashing

ARTURO

moves

through

the

crowd.

,

ARTURO

Ah Splendid.

There

you

are .

( then)

No more photoqraphs,

qentlemen,

please.

security

has

stepped

i n

t o back the shutterbugs

away -

ARTURO

Some

9a1a,

eh?

(off

Wade.

and Rembrandt)

Anyone

heard from Mr. Mallory?

REMBRANDT

I

don't· think

h e s

gonna

ma ke ~ ~

Professor.

ARTURO

P ~ t y

( then )

Life

offers

so

few occasions l i k e

t h i s

Plenty of

glory

t o go around.

WADE

. t i c k e d )

What

did you.

expect

him do,

Professor?

.

( then)

You appropriated his

e n t i r .

l i f e s

work.

(CONTINUED

.27


39/73

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K0812-UPost-Traumatic

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29A.

27 CONTINUED: 3

RTUR

Is

tha t what he to ld you?

(off them)

Miss

Welles

understand.

I

la id

th e

essent ia l qroundwork

of

sl iding Mr.

Mallory was· my

research

ass is tan t No

more, no

l ess

CONTINUED

r


40/73

~

)

.

- . . .

K0812-IIPost-Traumatic Slide Syndrome

u

-

2/15/96

1 s t Blue

30.

27

CONTINUED

4

Wade and

Rembrandt

c a n ~ t believe the i r ears . As now

- -

VONBAE CK

VONBAECK

Maximilian?

They're

about to s t a r t

the unveiling-

RTURO

very

good.

(to

Wade

a n ~

Rembrandt)

To

be continued

And he s gone, headed through

the.door

into

28 INT.

MUSEUM

- EXHIBIT ROOM - A CROWD

around an

enormous

diorama ( i f

we

can afford i t ) , the

size

and scale

of the Elephant Exhibit a t

the Museum

of

Natural

History. Flashbulbs pop,

camera/auto-rewinds

whirr.

W DE AND REMBRANDT

enter

th e e xh ib it

ha l l , astonished

to

see -

THE S ~ I R S

DIORAMA

I t features

a

bronze statue of Arturo',

finCler

pointing

towards the

horizon.

He i s m ~ s s i v e

i D p o s ~ n g

- - l ike

a

sta tue

of Lenin before Communism

collapsed.

Trail ing him,

l ike

pack-bearers

on

Safar i

(reduced

in scale

to

make

them

even more

insignif icant) ,

the

three other Sliders.

WADE

I don't b elie ve th i s

REMBRANDT

.Who-does·that

egomaniac

think· he s

fooling?

(panicked)

We've gotta

stop

th i s . I qot people

from

Bollin g s to ne here

for

God's

sake.

W E

Rembrandt Look

Rembrandt turns , sees what she

sees

A LUCITE MUSEUM

DISPLAY

CASE

such as you'd

find

h o u ~ i n q

the

H o p ~ Diamond.

Inside i t

-

CONTINUED)

/


41/73

~

.. .

-

..

...

....

K 0812-IIPost-Traumatic S l i d e Syndrome.

1I

- 2/15/96. Blue

28 CONTINUED:

THE

TIMER

L.E.D.

display

t icking down

from

eleven

hours

and

change

-

REMBRANDT

Arturo must

have

stolen

it

• .

W E

I m gonna c a l l

Quinn

And she

goes

- -

CUT TO:

29 EXT. MUSEUM

- DAY -

PUBLIC

PHONEBOOTH -

WADE

her

back

to

us

as

she

speaks

t o Quinn

- -

WADE

- -

I wanted

t o k i l l him. It s

inconceivable

he d

do t h a t .

(then)

Quinn

- - I j s t e n t o me You

c a n t

j u s t

break in and s t e a l a museum exhibi t .

Thera s security. a l l over

the

place.

then

Don t you have a lawyer?

then

No time?

(then)

Quinn

- -

I

don t

want

to

go

through.

t h i s aqain.

We re home

then

.I m j u s t

t e l l i n g

you where th e timer

i s okay? Do

what

you want.

H ~ n g s

up.

The guy s impossible.-

S h ~

s t ~ r t s

t o

move

o f f

towards a t a x i

stand.

.stops. Can t be11eve

her eyes.

WADE

Oh, m y God

ANGLE THE GOLDEN ~ T BRIDGE

only

on

t h i s

world

W E

I t s blue.

Off Wade

- -

Quinn s been

r i g h t

a l l

alonq.

FADE OU T •

END

OF ACT TWO

29 eX

X

(.

--

eX


42/73

u

K0812- Post-Traumatic

S l i d e Syndrome 2/15/96

1 s t Blue 32.

ACT THREE

30 EXT.

GOLDEN

GATE PARK TWILIGHT

BRIDGE

g l i t t e r i n g

WADE AND QUINN

S h e s d ev as ta te d.

POV

THE

AZURE GATE

30

....

V

: , -: .

,

; ~ . ~ : ~

~ - - -

.

WADE

I must've hea rd them say Azure

Gate

Bridge on

the

radio

a dozen t i m e ~ .

t never

r e g i s t e r e d

•.

QUINN

Sometimes you d o n t

see

what 's

r igh t in

front

of. you .

Wade's eyes

g l i s t e n

with

t e a r s .

I t s a b i t t e r

disappointment

QUINN

I t s

qonna be okay •

WADE

How?

QUINN

We' l l q e t

th e t imer

b a c k ~

We' l l

s l i d e out of here

and get home I

promise.

WADE

My mother on t h i s world my

family

. • •

(.then)

I t s

so. hard, Quinn. They think

t h e i r . · . d ~ u g h t e r ~ · home: safe.

.

QUINN

As

hard as t i s

j u s t remember

real

families are s t i l l

out there

•

'(then)

We've

qot

to

stronq, Wade. For

their

sake

as well as

our

own.,

A beat . Wade wipes a f inal

t e a r .

She f e e l s stronger now ,-- .

WADE

I'm sorry I n ~ t believe you,

Quinn.

CONTINUED

.

I

,

1


43/73

o

#K081.2-JlPost-Traumatic Slide Syndrome - 2/J.5/96

30 CONTINUED:

W E

(cont 'd)

1 s t Blue

33.

X

then

We

thought

you were cominq

unglued

QUINN

Don' t worry about i t .

then

C mon we've

got

work t o

do.

As they go

31 INT.

ARTURO'S

CLASSROOM - NEW DAY - VONBAECK

moves

to

impede

QUINN

AND WADE

from entering

.

WADE

We're here t o see ~ Professor

Quinn pushes p a s t . Wade follows -

VONBAECK

You c a n t go in

there

.

QUINN

Professor

RTUR

CUT TO:

turns h e s

been contemplating

an

equation on

the

bJ.,ackboard

CONTINUED


44/73

KOB12- post-Traumatic

S l i d e Syndrome - 2/15/96 1 s t Blue 3 4 .

..

31 CONTINUED

VONBAECK

I 'm sorry, Professor. I t r i e d

t o

stop them.

ARTURO

Quite a l l r i g h t .

t o h e r )

Why

don ' t

you

attend

t o

the

matter

. we spoke about

e a r l i e r ?

VonBaeck

gets t h i s

obscure message, r e t r e a t s

QUINN

( to

Wade)

Show him.

Wade hands

him

a

picture

postcard -

INSERT -

POSTCARD

The

Azure Gate.

ARTURO

(so?)

A ~ o s t c a r d

o f the Azure Gate

r ~ d g e

(then)

Available a t any Seven Eleven in

the

c i t y . . . .

He hands

back

the postcard. Quinn

gets

i t -

QUINN

He's known a l l

along_

WADE

What?

QUINN

(to

Arturo)

.

You have, haven ' t

you?

ARTURO

Almost from the moment of.our

return.

W E

I d o n t believe you.

t h e n )

How

could

you put us throuqh a l l

that?

QUINN

Because

he was qonna

be famous,

t h a t ~ s why

CONTINUED)

.3


45/73

K0812- Post-Traumatic S l i d e

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2 / 1 5 / 9 6 1 s t Blue 35.

31 CONTINUED 2

Wade

reacts

sense.

RTUR

On

the

contrary. Fame

was simply

a

by-product

•.

(to Wade)

Be

honest

- - were

you 'not o v e r ~ o y e d

to· be

reunited ' witlf 'your faJllil1.es?

.. -(then)

.

I s n t

t h a t what we a l l

said we

wanted? .

(then)

You

wrote as

much in

your diary

Miss Welles. Are

you

real ly so

eager

to leave

behind

for

God

knows what?

what h e s

sayinq

~ k e s a c e r t a i n i f

cynical)

ARTURO

And you, Mr.

Ma.llory,

are you

prepared

to

break

your

mother'S

heart again?

; . ~ : ; : :

/

,-:,, , ,

.QUINN

We've been through

a l o t , ,

Professor, and we've

always stuck

together.

( then)

You

took

my

t i m ~ r

I want

back.

ARTURO

I

c a n t do t h a t .

(then)

I t s

on

loan

t o the Museum of

Science and.

Industry.

W DE

On

loan because

you

s t o l e

i t .

Arturo say s no thinq

~ - makes no attempt to

defend h i ~ s e l f

or change ~ i s

posi t ion.

. QUINN .

Look

- - Whether

U

s l i d e

with

us

or not,

I'm q ~ t t nq·t:he timer and

we're

gett ing

out

of

here

tomorrow.

ARTURO

You will do

what you

must.

(then)

But so

must

I .

(CONTINUED)

\


46/73

K0812-t tPost-Traumatic S l i d e

syndrome

l l

- 2 / 1 5 / 9 6

1 s t

Blue 36.

X)

31 CONTINUED: 3 3

Off which impasse

CUT

TO :

OMIT (32)

..

• :

33 EXT. ARTURO S HOUSE - QUINN AND

WADE

move

t o Q u i n n s

car

W E

I t s l i k e I don · even know him

anymore.

Were we crazy, Quinn?

How could

we

spend

so

much

t ime

with

somebody and not

r e l i ~ e

what

a

creep he

i s . :

QUINN

He's

scared,

Wade.

(then)

He's accepted t h a t w e l l

never qet

home, so why not s e t t l e for an .

approximation

of his

~ l

r e l i t y ~

W E

What i f

h e s riqht?

f

then

) .

What we never

do

get home?

QUINN

We

can, ' t

think l i k e t h at .

. (then)

Your parents ,

your

f r iends on t h i s

wor - - t s a l l

a

m i ~ q e Our

~ e l f m i l i ~ s

~ r e

s t i l l ·out there ,

Wade we c a n t give

up hope

•

(Wade's

s i l e n t ;

h e s

. r i g h t

Come on We .re

qonna

have

our

hands

f u l l with Rembrandt,

' too.

As

they

3

END

FLASHBACK

34 INT.

DR. WHELAN S

OFFICE

t e l l i n g h i s

story

REM R NDT

I • I

\

CONTINUED)


47/73

K0812- Post-Traumatic S l i d e syndrome

2/15/96

1 s t Blue 36.

eX

31

CONTINUED:

3

O f f which impasse -- '

CUT

TO :

OMIT (32)

33

EXT.

ARTURO 5 HOUSE QU rN-N AND WADE

move t o u i n n ~ s c a r - -

W E

I t s

l i k e I

d o n t

even

know

him

anymore. Were'we crazy, Quinn?

How could we spend so much

t ime

with

somebody

and

not

r e a l i z e

what

a creep he i s .

31

33

tl d

As they go -- .

QUINN

He's s ca red ,

Wade.

then)

He's accepted t h a t w e l l never g e t

home,

so why not . s e t t l e for an

.

approximation 'of

h i s

old

r ~ l i ~ y ~

WADE

What i f

h e s

r i q h t ? ,

{then)

.

What 1£ we

never do qet

home?

QUINN

We

c a n t think

l i k e

t h a t .

then)

_

your parents,

your

fr iends on t h i s

world

- - i t s

a l l a mirage.

Our

r e a l f ~ m l l i e s ~ r e s t i l l out. t h e r e

W_de .

we · c a n : ~ give··

up

hope.

(Wade's

s i l e n t ; he 's

I r iqht)

Come

on.

We're

gonna

have our

hands

f u l l with Rembrandt,

·too.

END FLASHBACK:

34

INT.

DR. WHELAN S

OFFICE

- REMBRANDT

t e l l i n g

his story

---

34 .

CONTINUED


48/73

KOB12-rrPost-Traumatic S l i d e Syndrome -

2/15/96 1 s t Blue

37,.

REMBR NDT

Meanwhile,

with a l l

t ~

going on,

I had a t i g e r by the

t a i l - -

then)

The reissue of

Cry

Like A Man was

the f as te st s el li ng single i n

history, man.

(then)

Yo u

t r y to keep perspective on a

th ing l i k e t h a t •••

(off Whelanls

silence)

My agent booked me on MTV

Unplugged.

34

DR.

WH L N

(impressed)

MTV Unplugged.

Quite an

honor.

REMBRANDT

You'd think

so ,

Tight?

(then)

onl¥

some schedulinq

genius had the

not1on

of

reun it inq 'me with my

old

back-\.lp singers.

CUT TO:

35 INT. DRESSING ROOM - REMBRANDT S FLASHBACK -

REMBRANDT

i s having make-up applied

by

a make-up a r t i s t .

The

p . a .

from r e h e a r s a l i s there - -

REMBRANDT

(to make-up q i r l

Make sure t h a t s a waterproof

base

As

now

- -

ARTIE FELD

s t i c k s

his

nose

in the

door

ARTIE

Remmy, The Topps wanna have a word

with

you.

X)

X)

35

REMBRANDT

pu t o f f )

What,

a l l

two

of

em?

I

I

\

-_

(CONTINUED)


49/73

He

i s

looking

a t

35

K O B 1 2 - n p o s t - T r a u m a t i ~ S l i d e Syndrome

-

2/15/ 96 1 s t

Blue

38.

CONTINUED:

ARTIE

(entering)

.

We ve

been

through

.al l ·

t h i s .

Maurice Fish

says he

won t appear

on

stage.with you unt i l

you

apologl.ze.

REMB·RANDT

t o make-up l a d y ;

biting)

. I d

call him ill

has·-been,·

but h e s

more l ike

a.never

was.

ARTIE .

Forget

Maurice. Two Topps

are

.

b e t t e r

than no Topps· .a t all

REMBRANDT

··And

.

no . Topps

are

bett er than

two

Topps.

.

.

(res igned)

~ o w d

I · let·you talk· me irito t h i s ?

·Art.ie·

knows

t h l s could qe t ugly ~ -

SEBASTIAN SMITH

. .

·a small Topp.with a

huqe

stQmach

and

deep voice,

and

LEE ROY

H O ~ K I N S

a

tall skinny Topp with·

a

high voice, enter

REMBRANDT

Fetlas

SEBASTIAN

Rembrandt, we ve

];)een

thinkinq - -

REMBRANDT

- - That .s

·,y.our

f i r s t mistake •

. .

What s

t h e r e t o

t ink·

about? J u s t

.. . stay

· ~ t ·

. ~ h e :

~ a c k 9 r o u n d

.and .

. e v e r y ~ i n 9 · . : 1 1 b

fine • . '

.

The Topps

exchange

looks;

.here

we

again,_

SEBASTIAN

I f we re

qonna

kick

o f f t h i s

wIth

I ~ c r y

Like

A

Man· , some

changes

g otta tak e

p ~ a c e

•

. '.LEE ROY

Yeah.

.

Changes.

Rembrandt. has

s t ~ p p e d the

make-up lady.

them

t i 9 h t - l i p ~ e d ,

tension r i s i n g

•••

CONTINUED

35


50/73

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Sl ide

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35

CONTINUE O:

SE STI N

You plan

on

cryinq, l ike

always?

C O N T I N U E ~

35


51/73

·35

K08J.2-UPost-Traumatic

Slide

syndrome

- 2/15/96 l .s t Blue 3 9 .

J

35

CONTINUED:

REMBRANDT

Of

course

The fans.would r i o t

i f

I

skimped

on

the

t e a r s .

SEBASTIAN

Well, i f you're qonna cry, we're

gonna cry, too.

LEE

ROY

That 's r ight

(then)

Why

should you

be

the only

guy

weeping? We'qet j u s t as

sad

as'

you

Under

which,

the . p . a . s

moved

t o Artie,

whispering something

in h i s

ear

ARTIE

Ub,

Rembrandt?

Somebody named

. Quinn Mallory's on the phone.

(then)

.

He

says

t s

important.

REMBRANDT

Take

a message.

.

(then)

Listen

to me:

the

crying

Man.

You're·the Second Bananas.

That 's the natural 'order of

things.

I f you

a l l

s t a r t crying, t ll

.

confuse

t h e

audience

X),

_

.

SEBASTIAN

.

We cry

~ we

walk.

(then)

Simple as t h a t .

.Off which

i ~ p s s e X)

CUT TO

6

INT Q:tJINN S BASEMENT - QUINN

t e a r s

through

the

contents .8

steamer trunk

W E

36

looks

on as

~

..........

WADE

I

don t

understand.

Why

wouldn't h ~

take

your

cal l?

.

CONTINUED)

\1 j


52/73

K0812·- post-Traumatic S l i d e

Syndrome - .2/15/96 1 s t Blue 4 0 .

36 CONTINUED

.

QUINN

We'l l worry 'about Rembrandt once we

g e t

th e

t imer - -

r e a c t s )

There t

i s .

He

p u l l s

o u t a smal l f i s h i n q rod, ' th e che es eb all

kind

.they

adver t ise

on

late. n-ight T.V.

WADE

What's t h a t

,thinq?

6

QUINN

· . I t s called

a pocket fisherman.

. t h ~ n

M¥ Dad. gave i t · t o me when I was

k1.d

•

(then)

My dpuble 's

Dad,. in t h i s

case.

WADE

What q o o d s t

qonna

do?

QUINN

· I t

s gonna t us home.

a

I I •

37 EXT. MUSEUM - NIGHT - ESTABLISHING

i l l u m i n a t e d

by l i g h t s .

The

l i q t i t s

bl ink

o f f :

.The

buildinq

i s closing

f o ~

t ~ e niqht.

38 INT. MUSEUM - A GUARD

~ m ~ ~ e s · ~ ~ o n 9 · t h e

e ~ p t y

~ ~ r r i d o ~ ·

.

GUARD

F i r s t f loor

c l e a r . Alarms · set .

ANGLE -

THE

TIMER

DISPLAY

CASE

Laser beams

emanate

from the · c e ~ l i n 9 a l i q h t

sensor

alarm

s·ystem

~ L

-

MUSEUM ALCOVE

-

Q U I N N ~ A N D W E

-

.

hunkered

down. Qu inn s

qat

the .fishing rod a t t h e ready.

QUINN

I t

needs .more weight.

\

3

38


53/73

38

#K0812-tlpost-Traumatic Slide

Syndrome - 2/1.5/96

1.st Blue 41.

CONTINUED:

38

Wade

searches ,

not much. o w ~ v e r

she s

qot a necklace on.

I t ~ s a

film

c a m e ~ a

pendant. Quinn seizes on i t .

QUINN

Y ~ u r ·necklace. Let me have it

W E

Penriy Marshall gave

me

that when we

closed her, direpting 'deal .

Sbe

takes it

o f f sad

to see i t q

Quinn weiqhts the l i n e

and then s teps out -into the open - -

. .

39

INT.

MUSEUM - EXHIBIT

ROOM

- QUINN .

'c asts th e

l i n e

t o ~ a r d t h e

d is pl ay c as e.

THE FISHING LINE

' ribbons through the a i r . As it

reaches

i t s

fur thes t

-

,

p o i n t - -

T ~

ALARMS ARE SET ·OFF. RING. RING. RING.

Quinn r e e l s the l i n e baek ., in., ,ducks for

cover

as -

ALARMS BLARE from the

outs ide

QUINN

Three

more f a l s e

alarms, t h e y l l be

ripping

the ~ y s t e m out

of

the

walls • • .

'VOICES. Then

the

alarm tur'ns o f f

.DISSOLVE

39

.

4:0

I N T ~

,MUSEUM

CORRIDOR

-. GUARD,

GUARD

(into,

his radio)

I don ' t know

what

the

problem

i s

Ted. It s thre'e times

now.

ut

the ,damn thinq down 'and

c a l l

the

alarm

company. -

-

,

,: :

,

. .

41 INT. EXHIBIT

HALL -

Q U I N ~

AND

WADE

.

as the Guard's

crackling

radio

moves

out of earshot

Q qINN

Come

on, - -

(CONTINUED)

41


54/73

K0812-upost-Trawnatic

Slide

S.yndrome

u

-

2/1.5/96

1 s t Blue 42.

41 CONTINUED:

They move

t o

THE PLEXIGLASS DISPLAY CASE -

THE

TIMER

waiting

t o be

snatched.

QUINN

I t s

a t

t h i r t y seconds

(then)

I must've timed

the

countdown

wrong.

WADE

What?

Quinn's wrestl ing o f f the plexiqlass cover. SUddenly

AN ALARM

BLASTS

--

-WADE

We· tr ipped another

alarm

Quinn

grabs the t imer and they run.

CUT

TO:

42

I N T .

MUSEUM STAIRWAY Q t 1 I ~ AND WADE

Guards

close behind.

·QUINN

We c a n t

s l i d e without

th e o th ers

:

41

42

Guards

t icked

W DE

What

a r ~

we qonna do? ·

then .

.

guitm,.

: ~ e . r : e _ gonna· he: ~ t ~ . ~ e r e .

b a r r e l

d o ~ ,·them.

W.ad_ grabs' th e t imer,

which

has

down t.o zeJ;o.

eX

X)

eX

WADE .AND QUINN

They h e s i t ~ t e Uncer ta in.

And

then

2 4 : : •.

the

t imer r e s e t s t o

I t

reset??

W DE

How can that happen?

, . QUINN

~ t s a facsimile.

CONTINUED)

X)


55/73

KOB12- rpost-Traumatie: Sl-ide syndrome - 2/15/96 st

Blue

A

42 CONTINUED

nd now the u r d ~ are on them:

Off

Quinn and Wade

FADE OUT.

END OF ACT THREE

1


56/73

K 0 8 ~ 2 - P o s t - T r a u m a t i c Sl ide Syndrome - 2/15/96

1st

Blue 43.

ACT FOUR

43 INT. DR. WHELAN S OFFICE : EVENING - REMBRANDT

c o n t i n u i n g ~

Outside the

window,

night

i s fa l l ing .

He s

been in

here

a l l day.

43

REM R NDT

They were

wi11inq.

to

miss

the

s l ide

for

·me and the Professor.

o f ioyalty: •

REMBRANDT

I t

made.me

·take

s tock

of th ings ,

tha t ·

1

s

for

sure.

( then)

.TheY/·re

my

r e a l fr iends

( then)

Not l ike certa in Topps

I

could.name

DR. WH L N

How

did

tha t make you feel?

(then)

.

That expression

s

now

- tp,e intercom buzzes

MISS JENNINGS (0 .5 .)

Sorry

to

interrupt your session,

~ o c t o ~

I m wondering if ·you need

a n y t h ~ n q

before

I

go.

REMBRANDT

(off

his

watch)

Look

a t

the t i m ~ .

(then)

I m

s u ~ p o s e d

to.

meet

my

fr iends

a t

six-thl..rty in the

lobby

so

we can

s:lid e Ol l . t

:of.· here •..

X)

(X )

DR.

WH L N

But we re

not

f in ished.

(then)

I

would nate

to

stop

our work

mid-narrative,

j u s t

when we re

makinq so much progress .

True.

REM R NDT

I do fee1 a

l i t t l e

be t te r .

. ,

: /

. (CONTINUED)

, ,

.

\


57/73

K08J.2-ftPost-Traumatic S l i d e

Syndrome

- 2/15/9fJ

1 s t

·Blue

44. '

43 CONTI,WED.:

DR.

WHELAN

Of course, you do.

{then)

Excuse me

a

minute.

Whelan e x i t s .

.43

44

I N T ~ DR. WHELAN S

OUT ER OFFICE

-

MISS JENNINGS · 4 4

, ~

~ ~

\

looks up

from

her

formica desk . Dr. Whelan

pul ls

t h e door

shut so

t h a t

Rembrandt's out of e a r s h o t ·

DR.' WHELAN

Call Gatehaven Hospitai . Have them

send a

team.

JOff her)-

.

This ~ s · t h e most

extraordinary

case

of

f lorid,

off- the-wall

dementia

I v e

e v ~ r experienced •

.

t ~ e n )

The

d e t a i l s

of h i s fantasy

l i f e

make Freud's

Wolfman

look l i k e a

h i h ~ f u n c t i o n i n neurotic

•

. ( then)

Hurry I

don'

t know how long I .can

hold

him

She

s t a r t s

t o

c a l l .

45

INT.

DR. WHELAN S OFFICE

-

DR.

WHELAN

enters

DR. WH L N

Sorry

Minor housekeeping_

(then)

Where were we?

Off

Rembrandt

- ~

45

DJSSOLVE TO

46

I N ~

.

JAIL

CELL

QUINN - ) tEMBRANDT S FLASHBACK

slumped on a cot; head

in

.hands.

A JAILER

moves down the corr idor ,

stops.

Quinn

~ o O k s u p ~

CUT

TO:

46


58/73

#KOS .12- post-Traumatic S l i d e

Syndrome -

2/15/96 1s t Blue 45

47 INT.

POLICE

PRECINCT

-

QUINN

Quinn a t the Dooking desk,

being processed .

Wade

emerges

now

from lock-up.

W E

Quinn

QUINN

Are you okay?

W E

guess

so.

then)

Who

bailed

us out?

Quinn turns, Wade sees what he sees.

REMBRANDT

standing

there behind plexiglass .

CUT TO:

47

48

EXT. POLICE PRECINCT

\

:

exiting'

QUINN, WADE REMBRANDT

REMBRANDT

So af t e r the TOPPS. ~ u l l e

out

and

h i t

me with the inJunct ion,

I

qot

hold of some of the

sheet

music.

(then)

On

th is world,

those

leeches

. actually s h ~ r e credi t on some,of

my songs.

WADE

On

th is world?

REM R NDT

Damn·Skippy. That 's when I

realized

Q-Ball was r ight the

whole

t ime. Those

losers

c ou ld n't w r it e

for

a r ~ e y

QUINN

'Taxi

48

\.

j

WADE·

Where are we headed?·

A t ax i pUlls to a stop

~

QUINN

We're get t inq the

timer,back.

1./

CONTINUED


59/73

.......

t _ .

I; •

---;.7 :

-

I


60/73

KOS'12-UPost-Traumatic Slide Syndrome - 2/15/96

1 s t

Blue 47 .

50 CONTINUED:

W E

Sounds l i k e

i t s

coming from the

basement.

ANGLE - A HEATING

GRATE

The

tapping seems

to

be

coming from n s ~ ·

W E

Mice?

QUINN

Pretty big mice.

Suddenly

Mr.

Mallory?

'Professor?

A RTU RO S V OICE

(O.S.)

I s

t h a t

you?

QUINN

. Off

which

A RT UR O S V OIC E (O.S.)

Thank God. in

heaven

•

CUT TO:

_

.

51 INT. ·AATURO S BASEMENT - THE SLIDERS

climb down

th e steps t o

find

-

ARTURO

chained t o

a water pipe. He's

disheveled. He's

been

pounding

on leg

shackles

with a

rock,

hence

the

sound

REMBRANDT

Professor?

What

are you doing

down

here?

ARTURO

Having a

tea

party.

(then)

What

does. look l i k e

I 'm

doing?

My insane

double

and

his

devious

a s s i s t a n t

have had

me chained

down

here s ince Monday

week

QUINN

I knew i t .

51


61/73

0

50

K0812- Post-Traumatic Sl ide Syndrome

l t

2/15/96 1 s t Blue 47.

CONTINUED:

W E

Sounds

l ike

t s

coming

from the

basement.

ANGLE - A HEATING GRATE

The tapping seems to be coming from i n s i d ~

W E

Mice?

QUINN

.

Pretty big

mice.

SUddenly

ARTURO'S VOICE (O.S.)

Mr.

Mallory?

Is

t ha t

you?

50

r

;---

Professor?

. QUINN

- ,

ARTURO S

VOICE (o.S.)

Thank God. in heaven •

Off

which

CUT TO:

51

INT. ARTURO'S

~ S E M E N T

- THE SLIDERS

climb

down

the

s teps to

find

ARTURO

.

chained

to

a

water

pIpe. He's disheveled.

He's been

pounding on leg

shackles

with

a rock,

hence

the

s ~ u n d

~ E M R N D T

Professor? What

are you doing

down

here?

ARTURO

Havinq·a tea party •.

theri

What

does

look

l ike

I'm

doing?,

My

insane

double

and his

devious

assis tant

have

had me chained down

here since Monday week

QUINN

I knew i t

,

S l .

. X

( X)


62/73

K 0 8 1 2 - t p o s t - T r a u 1 U a t i ~ lide syndrome - 2/15/96 1st Blue 47A.

ARTURO

There's a hammer on

the

workbench.

Hurry

Quinn gets the

hammer,

sets

in

to work, under

CONTINUED

1I

eX

(X)

X)


63/73

K0812-t tPost-Traumatic

Sl ide Syndrome

-

2/15/96

1st

Blue

48.

()

51 CONTINUED: 2

REMBRANDT

His double?

I

thought the doubles

were

sliders 2x08 - post traumatic slide syndrome (1996!02!15)

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