Love Gods: Act Four

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 47.

ACT FOUR

FADE IN:

55 EXT. AUSTRALIAN CONSULATE - EARLY DAWN - A VAN 55

engine running as --

REMBRANDT, WADE AND ARTURO

hands shackled, are led out of the building.

REMBRANDT
(sotto)
Where are they taking us?

ARTURO
(sotto)
They said something about a
submarine --

ANGLE - BILLIE JEAN AND KARA

looking on --

WADE
Where are you taking us?

BILLIE JEAN
Look, you don't ask questions. Get
in the van. What do you expect --
we're just gonna let you out so you
can go screaming to the press?
(then)
Let our friends in Canberry figure
out what to do with you.

WADE
You're making an incredible
mistake.
(then)
I can get you Trevor Grant.

KARA
Get inside!

WADE
Listen to me -- What's going to
mean more to your handlers back in
Melbourne?
(then)
Bringing home a national treasure
or an American transvestite and an
overweight Englishman.

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 48.

55 CONTINUED: 55

REMBRANDT
(to himself)
Man -- that's cold.

KARA
(to Billie Jean)
It's a stall. It's desperation
talking.

BILLIE JEAN
Hold up. Let's hear what she's got
to say.

CUT TO:

56 INT. JANE'S BEDROOM - NIGHT - QUINN 56

at the window, lost in thought. The bedroom door opens and
Jane enters.

JANE
I checked the Dominion Hotel.
Nobody at the B.R.P. knows
anything.
(then)
I'm sorry.

Quinn takes this in --

JANE
You could stay here, you know.
(then)
We could get to Mexico.

QUINN
I don't think so.

A beat --

JANE
You're upset with me, aren't you?
(then)
Is what I'm asking for so
outrageous?

QUINN
If I say "no," it sounds like I'm
rejecting you. If I say "yes..."

He trails off.

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 49.

56 CONTINUED: 56

JANE
What would be so awful about
fathering my child?
(off Quinn)
Do you feel I'm pressuring you for
a greater committment?

QUINN
That's not it.
(then)
Even if it was something we both
wanted --
(then)
I don't want to have a kid I'll
never see.

JANE
(a beat; then)
Quinn. I'm not an approved
recipient --
(then)
I've come to terms with not having
another man in my life -- but to
face life without a child -- to
have no one to love, or to love
me...

He studies her a beat, then...

JANE
Fathers are in short supply these
days.
(and then)
What a child needs is love, Quinn.
A mother who loves him -- who'll
sacrifice anything.
(then)
When I saw you in my headlights, it
was if God had answered my
prayers.

Her words are powerful and as we hold on Quinn...

CUT TO:

57 INT. N.D. MOTEL - ROOM - NIGHT - WADE 57

pleads her case to a disconsolate David.

DAVID
Turn myself in? Are you crazy?

(CONTINUED)

#K0803 - "Love Gods"- 11/20/95 Prod. Draft 50.

57 CONTINUED: 57

WADE
David, I promise you -- This way,
we all get what we want.

DAVID
(disbelieveing)
How?

WADE
Okay... look... This is going to
require a leap of faith...

As she starts to explain --

DISSOLVE TO:

58 EXT. STREET CORNER - MORNING - WADE 58

anxiously waits on a corner. An unmarked sedan flashes its
lights and pulls to the curb. Wade opens the back door,
slides inside.

59 INT. UNMARKED SEDAN - DAY - SPECATELI'S 59

behind the wheel, Doctor Morris in the passenger seat.

DET. SPECATELI
You've got thirty seconds.

WADE
You want your breeders back?
(they do)
Then change your attitude.

A tense moment as they stare at each other, then...

DOCTOR MORRIS
Go ahead.

(CONTINUED)

#K0803 - "Love Gods"- 11/20/95 Prod. Draft 51.

59 CONTINUED: 59

WADE
The Austrailians are prepared to
broker a deal. Three of the
missing Patriots for Trevor Grant.
(then)
In addition to the release of Diana
Isley.

DOCTOR MORRIS
Out of the question.

WADE
What if I told you Trevor Grant was
about to go on the disabled list.

DET. SPECATELI
What are you talking about?

WADE
The security of the B.R.P.'s been
breached -- An Austrailian double
agent's on the list of approved
recipients, and she's qoing to
inject your superman with a mumps
virus.
(then)
He'll be sterile.

DET. SPECATELI
Even if that were true, we can stop
them.

WADE
How? The only sure way is to stop
all women from seeing him, and that
sort of defeats the purpose,
doesn't it.
(then)
Trevor Grant's worth twelve hundred
pregnancies, tops.
(then)
The escapees are worth at least
that much, plus which, you'll be
varying your gene pool.

As the implications sink in for Specateli and Morris...

CUT TO:

60 EXT. ALLEY - DAY - LATER 60

The same alley we landed in. There's an opening at either
end. At each end is an unmarked car. One Austrailian, one
American.

#K0803 - "Love Gods"- 11/20/95 Prod. Draft 52.

61 INT. AUSTRALIAN'S CAR - DAY - REMBRANDT 61

(now in men's clothes) and Arturo sit in the back seat.
Billie Jean and Kara are in the front.

KARA
Why are we doing this in an alley?

BILLIE JEAN
Welles said the Americans insisted
on it.

62 INT. AMERICAN'S CAR - DAY - SPECATELI 62

and Morris sit in the front. Trevor Grant and Diana are in
back.

DOCTOR MORRIS
Why is this exchange taking place
in an alley?

DET. SPECATELI
Welles said the Australians
insisted on it.

CUT TO:

63 EXT. ALLEY - DAY 63

From a roof-top angle (reminiscent of "Clear and Present
Danger"), we find an Australian contingent with ,several
GUARDS at one end and an American contingent with several
POLICE OFFICERS at the other as they get out of their cars.
An UNMARKED VAN backs into position. It is similar to the
one that transported the Sliders to the Breeding Center
earlier.

REMBRANDT AND ARTURO

walking ahead of Specateli, Morris, Diana and several police
officers. The worried men scan the alley as they talk sotto
voce.

REMBRANDT
Where' s Wade?

ARTURO
How should I know?
(checking his watch)
We've got six minutes to the Slide.

ANOTHER ANGLE

The two contingents meet at mid-alley.

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 49.

56 CONTINUED: 56

JANE
What would be so awful about
fathering my child?
(off Quinn)
Do you feel I'm pressuring you for
a greater commitment?

QUINN
That's not it.
(then)
Even if it was something we both
wanted --
(then)
I don't want to have a kid I'll
never see.

JANE
(a beat; then)
Quinn. I'm not an approved
recipient --
(then)
I've come to terms with not having
another man in my life --- but to
face life without a child -- to
have no one to love, or to love
me...

He studies her a beat, then...

Her words are powerful and as we hold on Quinn...

CUT TO:

57 INT. N.D. MOTEL - ROOM - NIGHT - WADE 57

pleads her case to a disconsolate David.

DAVID
Turn myself in? Are you crazy?

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 50.

57 CONTINUED: 57

WADE
David, I promise you -- This way,
we all get what we want.

DAVID
I want my wife and I want my
freedom. How're you gonna arrange
that?

Wade takes a beat. This is the tricky part.

WADE
What if I could?

DAVID
(disbelieving)
How?

WADE
Okay... look.. This is going to
require a leap of faith...

As she starts to explain --

DISSOLVE TO:

58 EXT. STREET CORNER - MORNING - WADE 58

anxiously waits on a corner. An unmarked sedan flashes its
lights and pulls to the curb. Wade opens the back door,
slides inside.

59 INT. UNMARKED SEDAN - DAY - SPECATELI'S 59

behind the wheel, Doctor Morris in the passenger seat.

DET. SPECATELI
You've got thirty seconds.

WADE
You want your breeders back?
(they do)
Then change your attitude.

A tense moment; as they stare at each other, then...

DOCTOR MORRIS
Go ahead.

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 51.

59 CONTINUED: 59

WADE
The Australians are prepared to
broker a deal. Three of the
missing Patriots for Trevor Grant.
(then)
In addition to the release of Diana
Isley.

DOCTOR MORRIS
Out of the question.

WADE
What if I told you Trevor Grant was
about to go on the disabled list.

DET. SPECATELI
What are you talking about?

WADE
The security of the B.R.P.'s been
breached -- An Australian double
agent's on the list of approved
recipients, and she's going to
inject your superman with a mumps
virus.
(then)
He'll be sterile.

DET. SPECATELI
Even if that were true, we can stop
them.

As the implications sink in for Specateli and Morris...

CUT TO:

60 EXT. ALLEY - DAY - LATER 60

The same alley we landed in. There's an opening at either
end. At each end is an unmarked car. One Australian, one
American.

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 53.

63 CONTINUED: 63

DET. SPECATELI
(to Kara)
The deal was three breeders for
Mr. Grant.

BILLIE JEAN
Miss Welles is supposed to be
responsible for the third.

A tense moment, then David steps out of a doorway in the
alley.

DAVID
I'm here.

DIANA
David!

Arturo and Rembrandt react as David moves to Diana and
embraces her. Specateli releases a somber Trevor to Billie
Jean as the Australians release Arturo and Rembrandt, back
into the arms of the B.R.P.

REMBRANDT
(freaking; to Arturo)
We need to do something, man.

ARTURO
What would you suggest?

As now --

THE UNMARKED VAN

as the officers open the rear doors and help the men inside.

DAVID
(in Diana's ear)
On the count of three --

VOICE ON 2-WAY
(crackles)
Unit Five, we've got a situation on
the van --

DET. SPECATELI
(to officer, re: 2-way)
What?

DAVID
NOW!

Diana jumps, David pulls her inside and the vain ROARS OFF.

(CONTINUED)

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 54.

63 CONTINUED: 2 63

DET. SPECATELI
(into 2-way)
Who's driving that van...?

VOICE ON 2-WAY
We're sorry, detective, it doesn't
want to start. We'll be there as
soon as we can!

Off Specateli --

CUT TO:

64 INT. VAN - MOVING - DAY 64

It careen's down the street. A beat, then the POLICE OFFICER
behind the wheel turns around. It's Wade!

ARTURO
How on earth --?

Wade waves a piece of wire.

REMBRANDT
You took their distributor wire?

WADE
This baby's a rental. Hope they
don't slam my credit when it
doesn't come back.

DIANA
Where are we going?

DAVID
A whole new world.

REMBRANDT
What about Quinn?

WADE
Keep your fingers crossed.

As Arturo, Rembrandt register the potential consequences --

ARTURO
He's got the timer, for God's sake!

WADE
You believe in miracles, Professor?
(then)
Start praying!

CUT TO:

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 55.

65 EXT. PARK - DAY - LATER 65

Against the backdrop of pursuing cop cars, the unmarked van
ROARS into the park, goes up on the grass --

66 INT. VAN - POV THROUGH WINDSHIELD - THE STATUE OF LINCOLN 66

and now --

QUINN

emerging from behind it.

67 INT. VAN - WADE, REMBRANDT 67

react.

REMBRANDT
All right!

WADE
Hang on, guys!

As --

68 EXT. STATUE OF LINCOLN - QUINN'S POV - THE VAN 68

cop cars in pursuit. The timer's ticking and -- ZAP!

THE VORTEX

roars to life --

QUINN'S POV - THE VAN

the cop cars --- it's going to be tight. He turns, sees --

JANE

standing on a nearby promontory, looking on. Her hair is
windblown. She looks sad and very beautiful.

69 INT. VAN - POV THROUGH WINDSHIELD - THE WORMHOLE 69

ahead --

QUINN

signaling them to slow down as --

#K0803 - "Love Gods" - 11/20/95 Prod. Draft 56.

70 INT. VAN - WADE 70

checks her rear view. The cop cars are gaining --

WADE
Here we go!

THEIR POV - THROUGH WINDSHIELD - THE WORMHOLE MOUTH

They're gonna drive right through --

71 EXT. STATUE - QUINN 71

nothing to do but Slide now -- and hope the van doesn't
crush him on the way to the next earth. Almost
instantaneously --

WHOOSH! - THE VAN

disappears into the spinning vortex and is gone.

THE COP CARS

skid to a stop. Specateli exits, awestruck.

JANE

looks on as the vortex sputters and is gone. She can't hold
back a smile.

72 INT. JANE'S PENTHOUSE - DAY 72

On the mantle over the fireplace, Jane, a wistful look on
her face, sets a small framed photo of Quinn. Did he grant
her wish? We are left to draw our own conclusions as we
linger on Jane's Mona Lisa expression and...

FADE OUT.

THE END