"Quantum Leap", "Dr. Sam Beckett", "Admiral Al 'The Observer' Calavicci", "Tina", "Gooshie", "Ziggy", and other concept elements the property of Belisarius Productions and Universal Studies.

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Quantum Leap: "Rule of Thumb", Teaser & Act One
Quantum Leap: "Rule of Thumb", Act Two
Quantum Leap: "Rule of Thumb", Act Three
Quantum Leap: "Rule of Thumb", Act Four

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FADE IN

INT. OFFICE LAB - LATE AFTERNOON
KAZ and SAM work at their computers. The printer spits out pages and pages as they continue keyboarding. They're laughing.

				KAZ
		...so Skanke's strolling, naked as you please, 
		across Carnegie Mel's campus and---.

Kaz's attention rivets on the sight, through the partitions, of DEBORAH ALVAREZ (36, Hispanic, independent) walking briskly as she confidently shows the lab to IMPORTANT VISITOR(S).

				KAZ (continues)
		Look at that and look at us.

Sam looks around.
				SAM
		Alvarez?
			KAZ
		Who else?
			(beat)
		We had our own departments and now we're 
		"downsized", busted, doing technician work. Hell, 
		some tech's cursing us for taking his job.
				SAM
		It's just the luck of the draw. If you had her job, 
		you'd probably do what she's done.
				KAZ
		I got your "luck of the draw". She doesn't notice 
		or care about us. You're family and she doesn't...
		hasn't had to sell half her furniture to keep her 
		home. But, I know that doesn't get under your skin, 
		just a little.
				SAM
		We'll move.
				KAZ
		Your house is worthless!
			(exasperated)
		You never lis.... I just hope you never go the 
		public auction route, too.
Kaz's face is filled with indecipherable frustrations as he stares at Alvarez.
				KAZ (continues)
		Fantastic legs.
			(beat)
		Does your sister-in-law bring dinner to her 
		poorer relations, or what?

Sam reacts to this new relationship twist but the COMPUTER PRINTER GRINDS AND JAMS. They both scramble to fix it until Kaz, infuriated, throws up his hands and kicks the printer stand over.

INT. LUZ'S BEDROOM - AFTERSCHOOL, SAME DAY

Beside the GERBIL in his cage, LUZ writes "4 x 7 = 28" over and over. Hearing VOICES, she goes to and stares, mesmerized, out her open window. The OBSERVER, watching her, crosses to see what she sees below....

EXT. BECKSTON BACKYARD - SAME TIME

LADONNA works intently in her vegetable garden, ALVAREZ beside her. 
		ALVAREZ
		Don't say "nothing's changed" again or I'll 
		scream.
				LADONNA
		Money's tight. As soon as things get better for 
		Deuce---.
				ALVAREZ
		You can't wait that long, it's already been years. 
		Dona, last night, I had a feeling---.
				LADONNA
		I'm fine. Stop pickin' with me.
				ALVAREZ
		I'm not 'pick---. You're not you anymore.
LaDonna petulantly jabs at the soil.
				LADONNA
		Then, who am I?
Alvarez briskly wipes her eye.
				ALVAREZ
		The one who refused to see me for a whole 
		month.
				LADONNA
		You're STILL mad about that?
				ALVAREZ
		Yes
LaDonna refuses to make eye contact.
				LADONNA
		I don't have to go out all the time! I'm not like 
		you!
				ALVAREZ
		You could've let me in. Since then, the kids've 
		been...different.
			(looks her directly in the face)
		You camouflage it well, but there's still a tiny 
		scar on your face.
Teeth clenched, LaDonna turns her face from scrutiny.
				LADONNA
		Stop it! I told---.
				ALVAREZ
		What you wanted me to believe. But, I don't.
				LADONNA
		Let it go.
				ALVAREZ
		No.
			(beat)
		Perhaps, you should hit him back. Men 
		understand and respect that, like that piece of 
		guano at my last job.
				LADONNA
		I'm not you. I do things my way.
				ALVAREZ
		By being a punching bag? He'll kill or cripple 
		you and say he's sorry and cry big tears when 
		it's over.
				LADONNA
			(tired)
		Please.
				ALVAREZ
		Don't die bit by bit, especially, in front of the kids. 
		It's better to be from a broken home than live like 
		this.
				LADONNA
			(insulted)
		This is my home not yours. It's not your business.
				ALVAREZ
			(contained but near tears)
		Yes, it is. You and the kids are MY ONLY family. 
		When Keeler and I had our problems, you were 
		there; and stood by me through the surgery and 
		when he and...he and....

She can't finish.

INTERCUT

The OBSERVER looks at LUZ who lays her weary head down on the windowsill.

RESUME SCENE
				LADONNA
		We're havin' a few problems. That's all.
		ALVAREZ
			(flatly)
		I know, it's all an accident and won't happen 
		again.
				LADONNA
		You know, D.A., it's always a good rule of thumb 
		to mind your own business.
Alvarez raises her thumb for display.
				ALVAREZ
		"Rule of Thumb", from the not so old law that 
		said a man could beat his wife with a stick no 
		wider than his thumb. How kind.

She takes LaDonna's hand and compares it to her own.
				ALVAREZ (continues)
		A man's thumb is pretty wide, isn't it?

LaDonna abruptly pulls away, her chin raised proudly; however, her eyes suddenly widen at a view just past her sister's-in-law shoulder.
		LADONNA
		You better go.

Alvarez roots herself right where she stands. LaDonna suddenly reaches for her and clings to her tightly.
				LADONNA (continues)
		I'll see you later. Honest.

Alvarez reluctantly turns and is startled to see SAM directly behind her, his eyes hot with anger.
		SAM
		What're you doing here?
				ALVAREZ
		Leaving.
As she walks by, Sam roughly grabs her arm.
				SAM
		Next time, call first.

She pulls away.
				ALVAREZ
		Yes, Warden, sir.
She glances back at her sister and EXITS.
				SAM
		What'd you talk about?
		LADONNA
		Girl talk.
He scowls tightlipped.
				SAM
		Straight from work? She beat me to my own 
		house.

LaDonna walks away towards the house with her vegetables. He strides to catch up and pass her, and blocks her path. Once. Twice.
				LADONNA
		We didn't talk about anythin' important.

Again he blocks her path.
		LADONNA (continues)
		I know you think we're too close, but she's 
		just---.
				SAM
		What?
				LADONNA
		S-still grievin' over little Donna and Keeler. 
		That's all, really.
Holding her gardening whiteknuckled, LaDonna smiles coyly at her husband who's totally humourless right now.
				LADONNA (continues)
		Why don't we have dinner alone tonight? Luz 
		won't mind and Rink's goin' out.
				SAM
		Changing the subject?
				LADONNA
		No. No.
				SAM
		Yes, you are.
No answer. He snatches her vegetables, throwing them down.
				SAM (continues)
		That woman runs my life at work and then I 
		come home and she's running my house, too?! 
		I'm your husband, not her!
				LADONNA
		Yes, I know.
He steps menacingly close, towering over her.
				SAM
		Sometimes, I don't think you do.

LUZ, suddenly, appears at the back door, pauses, purposefully falling down. She cries as loud as she can, never taking her eyes off her father.

LaDonna backs away from Sam towards Luz, grabs her up, and runs into the house.
Sam slowly follows. He angrily strikes the house on his way in. At a distance, the OBSERVER stands watching, deep in thought. He ACTIVATES THE HANDLINK; THE IMAGING DOOR OPENS AND HE LEAVES.


INT. FRONT DOOR, BECKSTON HOUSE - EARLY EVENING

RINK stands at the door.
				RINK
		Mama, I'm goin'!
				LADONNA (O.S.)
		Wait!
			(beat)
		That's what your wearin'?
LADONNA ENTERS.
				RINK
		We're goin' to the movies not the Houston Grand.
She fusses with his clothes as he fidgets.

				LADONNA
			(teasing)
		You never know you....
			(she smiles seriously)
		Drive careful and give Alison a hug for me. 
		She's a good girl.

He raises his eyebrows to imply, "Can I go, now?" She peers into his young face.
				LADONNA (continues)
		Your father's brains and looks, God help her. 
		Go on.

He half turns, hesitates, returns to hug his mother. He EXITS.

INT. DINING ROOM - LATER, SAME EVENING

LADONNA hums as she fusses about the table as SAM ENTERS the dark, candlelit dinner space.
				SAM
		LaDon---!
			(sees her)
		Where's the notice for the house tax?
			(sees the table)
		Very nice.
			(sees something on the floor)
		What's this?

A NOW/ERA BUTTON. Sam smiles at this slice of sexual politics and power. 
				SAM (continues)
			(innocently interested)
		Where'd this come from?

LaDonna drops then refolds a napkin which fixes his attention on her, making her more agitated.
				LADONNA
		I was goin' through that old stuff you said I 
		should toss....

He turns the button compulsively over in his hands.
				SAM
		Your life with me's not that awful, is it?
				LADONNA
		Money's still short. Crime's all over. Everyone's 
		got so many frustrations. It's...it's no one's fault.
				SAM
		You can't even give me a direct answer.
			(beat)
		Some people, like Alvarez, are doing better 
		than others.
				LADONNA
		She's alone, now. We've the kids and the house. 
		We just need a little more money. It I get a job---?
				SAM
		I've got a job. I provide for this family.
				LADONNA
		But, a little extra---. Even two income families 
		are havin' trouble.
				SAM
		Read that at the checkout line?
			(beat)
		You love her a lot, don't you?
Rabbit-like, her eyes flit around the room unable to tell if his questions are benign or full of menace. She braves the truth.
				LADONNA
		Yes, I do.
				SAM
		Like a sister?
				LADONNA
		Yes.
				SAM
			(ambiguously)
		More than me?
Her eyes enlarge as again he stares at the NOW/ERA pin.
				LADONNA
		Deb's dear to me; but, you're my husband and 
		the father of my children.
He smiles slightly, noncommittally.
				SAM
		That's what I thought you'd say.
			(conversational, but taut)
		When are you going to stand up to me?
				LADONNA
		I...forgot the sauce.
She scoots for kitchen but he grabs her hand, making her gasp. Slowly, Sam turns it over, kissing her palm, he looks at her and smiles. He lets her go. Shaken, SHE EXITS.

INTERCUT

In the KITCHEN, tensed from head to toe, LADONNA PACES furiously.

RESUME SCENE, DIFFERENT ANGLE

The OBSERVER signals to SAM.
				OBSERVER
		Sam.
Sam follows him away from the table.

				SAM
		Were you waiting for Luz to go to college? 
		Where've you been?

The Observer's hesitancy is nothing compared to Sam's impatient squirming.
		OBSERVER
			(eyeing Sam closely)
		You gotta be careful, here. This guy, Henry S. 
		Beckston II---.
				SAM
		Deuce.
				OBSERVER
		'Deuce' is a regular nozzle.
				SAM
		To you, everyone's a nozzle.
				OBSERVER
		Yeah, so tell Gooshie. Beckston clocked the little 
		guy. His jaw's as big as a melon.
				SAM
		He's in a strange environment.
				OBSERVER
		Who? Oh, Deuce.
			(observing)
		No question of concern, Sam?
Sam, lost in thought, refocuses on his best friend.
				SAM
		How is he?
				OBSERVER
			(watchful)
		Which one?
				SAM
		Both.
				OBSERVER
		Sedation seemed the best bet. For Beckston. 
		Gooshie's fine, but, you can't understand a thing 
		he says now.
				SAM
		Sedation?
				OBSERVER
			(a little annoyed)
		Let's just say, he's calmed down, a lot. He's even 
		been suggesting new parameters for updating 
		the accelerator generator to Ziggy.
				SAM
		Quantum physics isn't his field.
				OBSERVER
		It is now. Sort of like viciousness is now yours.
				SAM
		Excuse me?! What is it?! You keep staring at me!
				OBSERVER
		You've been a little more...irritable than usual, 
		and....
				SAM
		What?!
				OBSERVER
		You're not your normal poster boy Scouts of 
		America self.
				SAM
		So?
The Observer watches him even closer.
				OBSERVER
		Sam, the synaptic ball game your two brains 
		are playing is affecting Ziggy. Just getting me 
		here, with you, has becom---.

Sam doesn't like the close inspection he's getting from the Admiral.
				SAM
		I'm fine.
				OBSERVER
		No. You're not.
				SAM
		How would you know?
				OBSERVER
		Who knows you better?
				SAM
		Me.
				OBSERVER
		Well, you've been channeling your "evil twin", 
		making you a little too busy intimidating LaDonna 
		and scaring Luz to be objective about yourself.

Sam snaps.
				SAM
		This is my project! YOU DON'T WATCH ME!

Silence. LADONNA ENTERS with the SAUCE CONTAINER. She looks around suspiciously.

				LADONNA
		Who...?

Seeing Sam stalk back to the table, she doesn't ask anything further. She keeps her eyes on him while the OBSERVER EXITS. Sam gently takes her hand. They both smile; hers twitching just a bit.
EXT. BECKSTON CAR - NIGHT 
A redheaded girl, ALISON (16), tears stream down her cheeks while clutches the door as if for dear life. The driver's door is open. RINK FLOPS behind the wheel, SLAMMING THE DOOR. The whole CAR ROCKS. She sniffles. He stares straight ahead, starting the car.
 
INT. LUZ'S BEDROOM - LATER, SAME NIGHT
LUZ pets her GERBIL who sits in her lap. 

				SAM (O.S.) 
		LaDonna! 
  
At the sound of her father's voice, she loses control off the animal. It runs out and she frantically pursues.  
  
				LUZ 
		Come back! Daddy'll get madder. 
  
INT. BECKSTON HOUSE - SAME TIME

SAM searches feverishly though papers.  
  
				SAM
		LaDonna! 

She pops her head around the corner. 

				LADONNA
 
  		Yes? 
				SAM 
		I'm not going to ask you again. Where's
		the tax notice?
		LADONNA
		I've taken care of it already.

				SAM
		How? With what?

An exterior DOOR CLOSES.

				LADONNA
		We sold the old stereo, remember? And---.

Chaos suddenly reigns as LUZ RACES IN and around the room after her animal, while LaDonna tries to catch them both.

				SAM
		STOP THAT!

RINK ENTERS just in time to see Sam grab and strike LaDonna. In the HUGE SILENCE, Sam freezes, his hand already drawn back to hit again.

				LUZ
		Aaaiii!

LaDonna's eyes meet Sam's, she snatches herself free, running from the room. Luz runs after her, the child's SHRIEKS receding as the distance swallows them both.

Rink stands stark still, except his heaving chest and his fists as they clutch and unclutch.

				RINK
		How many more "accidents"? Why do you 
		do it? Why?!

Rink barrels past Sam.

				OBSERVER (O.S.)
		Good questions.

Sam turns from the OBSERVER'S probing stare, only to recoil from HIS LOOK-ALIKE'S MIRRORED REFLECTION.

FADE OUT

END OF ACT TWO
Quantum Leap: "Rule of Thumb", Act Three

  
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