These are scenes from the January 8, 1996 production draft of the script for the episode Gillian of the Spirits written by Tony Blake & Paul Jackson. These scenes did not make it into the final episode due to time and story considerations.
The beginning originally featured a larger look at flood world...
TEASER
FADE IN:
EXT. SAN FRANCISCO - ESTABLISHING - MASS FLOODING (STOCK)
Reminiscent of the deluge that swamped the Midwest a few years ago. Houses float by. Men and women travel down Main Street in skiffs. It's been pouring here for days.
EXT. FIELD - DAY - SLIDERS
soaked to the skin from a driving thunderstorm, slog through knee-deep, *rising mud*. Jagged bolts of lightning rip across the sky. The Sliders yell to be heard above the din of relentless CLAPS OF THUNDER.
WADE
How long to the slide?!
ARTURO
(checking the timer)
Under a minute!
REMBRANDT
I thought the only place it ever
rained like this was in the Bible!
ARTURO
I'm spent. I can't go another
foot.
Exhausted, he rests against a tree. All around them other inhabitants of htis world struggle past, many leading farm animals on ropes as they make their way to higher ground. Suddenly a bolt of lightning *flashes*, followed by a LOUD CRACK.
REMBRANDT
Worst thing we can do is stand
under a tree.
He's right. The Sliders trudge into the field, shielding their faces from the sheets of rain.
And then we come to when the lightning bolt hits the vortex...
THE VORTEX
swirls to life. Rembrandt and Wade jump first, then Arturo. But just as he disappears inside, a *bolt of lightning* hits a tree barely five feet away. The wormhole spasms, almost shutting entirely.
QUINN
reacts astonished --
QUINN
No --!
A spasm. Another CLAP OF THUNDER. A renewed surge of energy --
THE VORTEX
reappears, back to its original size.
QUINN
no time to lose, he jumps headlong into the tunnel just as CRACK!, a *bolt of lightning* strikes the wormhole -- exploding in a mass of flame and hissing sparks.
CUT TO:
EXT. PARK - DAY - REMBRANDT, ARTURO, WADE
No rain or thunder. As Rembrandt rises to his feet, scopes out the surroundings --
REMBRANDT
Well, it ain't Tahiti, but it sure
beats forty days and forty nights
of God's vengeance on the wicked.
ARTURO
Did anyone feel that considerable
jolt in the tunnel?
REMBRANDT
Yeah. It felt like something
kicked me in the butt.
ARTURO
The thought has often crossed my
mind, Mr. Brown.
WADE
(looking around)
Guys... Where's Quinn?
And the outcome of this scene should be hauntingly familiar to you...
Also, Gomez Calhoun was originally supposed to be the one to tell them to go to the priest...
REMBRANDT
What's so funny?
ARTURO
Life, Mr. Brown. Life!
(then)
Here we are in a world frozen in
the technological dark ages -- and
we have a broken timer from the
space age.
This seems to pique Gomez Calhoun's interest --
REMBRANDT
What're we gonna do, man?
(then)
It's not a damn joke.
ARTURO
(sarc)
We'll simply have to look for a
computer parts supply house in the
yellow pages.
(then; to Calhoun)
Excuse me. My good man -- do you
have any idea where I might go
about purchasing a micro-chip?
He means it as a goof --
GOMEZ
Huh?
ARTURO
It's a computer part.
GOMEZ
Keep your voices down.
(then)
The Bureau of Anti-Technology'd
take my innkeepers license away.
(writes an address)
Talk to Father Jerry.
REMBRANDT
(of the address)
Catholic Church?
GOMEZ
Tell him Gomez Calhoun sent you.
And when they go to the church, the original script had an observation by Rembrandt that shows another small bit of alternate history...
INT. CHURCH - DAY - A SERVICE
is in progress, attended by a few dozen people.
REMBRANDT
Another thing you don't see on our
world.
(then)
Church attendance like this on a
Wednesday.
WADE
I'm gonna say a prayer for Quinn.
Also, Gillian originally had a greater reason for being afraid of using her "gift"...
ACT TWO
FADE IN:
EXT. CHURCH PARKING LOT - DAY - GILLIAN
heads for a parked car --
QUINN
after her, desperate.
QUINN
Please. Come back.
GILLIAN
Leave me alone!
QUINN
Wait! Just explain it -- how you
can see me and nobody else can?
Something in his tone, this appeal. She stops.
GILLIAN
I can't talk to you, okay? My
mother put me in a psycho ward last
time I had a vision.
QUINN
I'm not a vision. I'm flesh and
blood. I've fallen into some kind
of astral plane.
(beat)
You're the only one who can help
me.
And just as we saw, Gillian caves in to deliver the note...
And after Gillian recants the basement affair from "Last Days," Arturo had a different response...
NICOLE
approaches now, looking at the Sliders with suspicion as she impatiently addresses her daughter...
NICOLE
Gillian? If we're going to drop
you at the bookstore, we have to
leave *now*.
GILLIAN
I was just coming, Mom.
WADE
You can't. Please.
GILLIAN
No! I have to go.
She's gone --
QUINN's POV - NICOLE
carries a canvas book bag with the name, "Chatterton's Bookstore". Gillian shoots Quinn a last quick look over her shoulder, then is gone.
ARTURO
The others are quietly stunned. Once she's gone --
ARTURO
Well, I suppose the proof she
offers is hard to refute. I don't
see any way she could have known
about... "the basement".
WADE
(softly)
Quinn? Are you here?
It's the small things you should wonder about. You probably thought the person the Preacher was talking to when Remmy walked up was just someone making small talk...per the original script, that was not the case.
ANGLE - FATHER JERRY
and the last of the parishioners.
REMBRANDT
Let me see what I can find out --
He moves off --
EXT. CHURCH STEPS - FATHER JERRY
addresses a well-dressed businessman, ROBERT MAJOR, florid-faced, mid-40's. He reminds us of Jack Welch --
FATHER JERRY
Mr. Major. How nice to see you, as
always.
MAJOR
(hands him a check)
For the building fund, Father.
FATHER JERRY
God bless you.
MAJOR
He always does.
Major moves on.
REMBRANDT
approaches Father Jerry.
REMBRANDT
Excuse me, Father, but could we
talk... in private?
And in the conversation between Remmy and the Father? Yet another missing alternate history reference...
REMBRANDT
Why is this world so terrified of
technology?
FATHER JERRY
Have you ever heard of Hiroshima?
(Rembrandt nods)
After its horrors were carefully
studied, people concluded that
technology would only hasten the
Apocalypse. The Luddite Party
seized control of Congress -- they
passed the Seventeenth Amendment --
The Prohibitions.
(then)
Technology is the consummate evil,
so it was banned.
Also, there was missing dialogue with the double of Quinn's father...a closer look at the Quinn double...
The space is much like Quinn's basement on our world, except that there's no scientific equipment.
Just hammers and chisels -- a tool bench. The Sliders have furnished their explanations --
MIKE
Quinn told me a recurring dream he
had. In it, he could travel
between worlds without ever leaving
Earth.
QUINN
(unheard)
Man, that's weird. I stumble
across it on my world, but dream of
it on this one.
ARTURO
And he referred to this travel as
sliding?
MIKE
He was all excited about it. I
can't say I encouraged him. I mean,
our technology is so simple
and what he was talking about was
quite unbelievable...
(lifts timer)
It still is.
ARTURO
As I said... on our world, your son
is quite an accomplished inventor.
MIKE
And he's well... he's healthy?
The Sliders exchange looks. Better not to say too much.
REMBRANDT
He's fine. We wanted him to come
with us, but... well, he's busy
inventing. You know.
MIKE
I'd like to have met him... see if
he was like my boy...
(then)
So tragic really, that he should
lose his father, and I should lose
my son --
And from there we find out how the Quinn double died...just as we saw.
And here's an important missing line for Quinn/Wade romantics...the scene is when Rembrandt is asking about "the basement" scenario from "Last Days"...
WADE
Look -- it seemed like the world
was coming to an end -- we had to
confront how we felt --
(then)
We talked... and we kissed -- no
big deal.
Rembrandt shoots her a look that makes her blush.
WADE
I can't believe I'm talking to about
this.
(then)
You're the one who started this
Quinn.
QUINN
(small smile)
It was a great night. I think
about it a lot.
REMBRANDT
So you two were finally gonna go
for it --
(louder, toward Arturo)
-- until the Professor burst your
bubble.
ARTURO
(without looking up)
An asteroid was about to wipe out
the world, and these two were
playing Archie and Veronica in the
basement! That bubble needed
bursting.
(then)
All right. This should do it --
But as we know...it didn't.
Another change...Gillian worked at the Bookstore...and there was no stealing incident.
INT. CHATTERTON'S BOOKSTORE - DAY - GILLIAN
is moving amoungst the stacks, putting new stock on the shelves. After a moment she realizes she's not alone. She looks up to find Quinn standing right behind her.
GILLIAN
I knew it! I knew you'd break your
promise!
QUINN
(with difficulty)
I'm sorry. I wouldn't be back here
if I wasn't desperate.
Worried, she glances over her shoulder to make sure no one else is near, then moves forward to get right in his face.
Quinn sees tears forming in her eyes.
GILLIAN
I'm not going to go through it
again. Not for you. Not for
anybody.
You don't know what it's like to
have your family think you're
crazy.
She returns to placing books on the shelves. Quinn studies her a beat, then *walks through a shelf* so that he's facing her again.
QUINN
You're wrong. I know what it's
like. I skipped two grades when I
was a kid... I was always younger
and smaller than everyone else in
my class. I know it's hard to fit
in when you have... special
abilities.
Gillian turns slightly, trying to ignore him but intrigued by his choice of the words special. It takes a beat, but she finally looks at him.
QUINN
My friends need information that
only I can provide. If they don't
get it... it could be the end.
(then, gently)
Please.
We HOLD ON Gillian's anguished look, before MRS. HENRY, an old biddy who runs the cash register, comes around a shelf...
MRS. HENRY
(a touch icy)
Are you alright, dear?
(then)
You aren't hearing those voices
again, are you?
GILLIAN
I, uh, I have to go, Mrs. Henry. If
my mother calls, tell her I'll be
at the...
QUINN
Dominion Hotel.
GILLIAN
Dominion Hotel.
Off Mrs. Henry's probing looks of disapproval, Quinn and Gillian exit and we --
cut back to the basement where a frustrated Arturo begins to feel insulted by Rembrandt's wish that Quinn was there...
Originally, we were also supposed to be privy to a conversation between Quinn and Gillian as they walked to Mike's house (this was simultaneous with the Sliders arrest in the basement)...
EXT. STREET - DAY - QUINN, GILLIAN
are walking toward Mr. Mallory's.
GILLIAN
So if you're not really a ghost...
then maybe some of the others I've
seen aren't either.
QUINN
It's entirely possible. They could
be normal people, trapped between
planes of existence, like me.
On our world, there are stories of
hundreds of people disappearing
into thin air every year --
(then)
There was this thing called the
Bermuda Triangle -- boats, planes
kept vanishing.
For the first time, Quinn actually sees Gillian smile.
GILLIAN
I'm not crazy then, am I?
(off Quinn's reaction)
What's wrong?
She looks ahead to see what he sees.
THEIR POV - MIKE MALLORY
is being led from the house in handcuffs and taken towards a waiting car --
GILLIAN
OhmiGod -- it's Anti-Tech.
QUINN
They've got my father.
(then)
What's the penalty on this world
for illegal use of the kind of
technology I told you about?
GILLIAN
(after a beat)
Death.
Off Quinn's reaction, we --
FADE TO BLACK
END OF ACT TWO.
And there was also some missing dialogue as the Sliders discuss their fate of being trapped on this world...
REMBRANDT
So this is it. This is where we
spend the rest of our lives. On a
world that's stuck with 1945
technology.
ARTURO
I'm afraid so. Perhaps, someday,
I'll be able to construct another
timer. But until then... yes, this
is our new home.
WADE
Look... it was always a big crap shoot.
Think of the bright side -- we're
all togther. There's hardly any
pollution. The people are all
friendly and churchgoing.
REMBRANDT
I feel like we're trapped in an
Andy Hardy movie.
WADE
No TV, no "information
superhighway" or global warming or
nuclear energy.
ARTURO
No computers. No space program.
No medicines.
(then)
I refuse to even dignify this
absurd debate.
WADE
What's absurd about it?
ARTURO
You are dismissing forty years of
scientific inquiry!
WADE
My point exactly!
REMBRANDT
Guys -- give it a rest.
They're interrupted by a KNOCK on the door. Wade opens it revealing Gillian (and Quinn).
WADE
You!
Gillian enters, Quinn following...
GILLIAN
Quinn's with me.
(then)
He wants to tell you something.
And we heard what that was in the final version...
And originally...the power company was something less generic than "Bayside Power"...
WADE
Quinn, they've confiscated the
timer.
GILLIAN
He knows.
(then)
He's asked me to tell you his
father knows the two men who took
it. It's a scam. They work for
General Electric.
WADE
What?!
And after the conversation in the room, Wade and Gillian head downstairs...to find her mother in the Dominion lobby...
EXT. DOMINION HOTEL - NIGHT - A CAB
pulls up -
NICOLE
exits, heads inside --
INT. DOMINION HOTEL - GOMEZ CALHOUN
looks up as --
NICOLE
enters, heads in his direction. Reacts now as --
WADE AND GILLIAN
(and Quinn) emerge from the stairs.
GILLIAN
reacts, freaked --
GILLIAN
My mother.
NICOLE
Gillian?
WADE
What are we gonna do?
Nicole moves to them, very pissed --
GILLIAN
Mom -- please.
WADE
Miss Lazear -- my name in Wade
Welles.
GILLIAN
I'm not crazy, Mom.
NICOLE
(to the Sliders)
Listen to me! I don't know who you
people think you are. My daughter
is unwell.
(then)
If you don't stay away from her,
I'll come down on you so hard
you'll think it was raining
hammers.
Wade and Quinn are speechless. There's nothing they can do --
Then we cut to Remmy and Arturo as they break into the research center using a flash light in a unique way...
And about that break in...in the original version, Arturo really did try to pick the lock!
REMBRANDT
These are all offices.
As they throw open doors --
REMBRANDT
This one's locked!
ARTURO
Let me see.
He whips out the Swiss army knife and starts to pick the lock.
ARTURO
I may have an ordered mind, Mr.
Brown, but you'd be astonished at
the number of times I've misplaced
my keys.
Rembrandt waits a moment while Arturo works, but he gets more and more nervous. Finally, he grabs a fire extinguisher form the wall.
REMBRANDT
Science may have it's applications,
Professor -- but now's not one of
'em.
He smashes the glass portion of the door with the fire extinguisher, then reaches in and unlocks it. They enter --
And they then enter the lab...to find there is technology, just hidden from the public...
And Act Four originally had a disturbing beginning...as we find Gillian in a psychiatric ward...
ACT FOUR
FADE IN:
INT. PSYCHIATRIC HOSPITAL - COMMON AREA - EARLY MORNING - A NURSE
at the front desk finishes up some paperwork as --
QUINN
angles over, behind her --
ANGLE - CLIPBOARD
cataloguing recent admissions. Tenth on the list, Gillian Lazear. Room 6-C.
THE NURSE
continues her chores, oblivious as --
CUT TO:
INT. PSYCHIATRIC HOSPITAL - CORRIDOR - NIGHT - QUINN
The place is eerily quiet -- sterile. He comes to a door -- 6-C. His head disappears inside the door a beat --
QUINN's POV - GILLIAN
on a bed. She's in a hospital gown, looks up, as --
GILLIAN
No!
INT. ROOM - QUINN
enters --
GILLIAN
Why are you doing this to me?
QUINN
Trying to survive is kind of a
strong motivation.
(then)
You okay?
GILLIAN
Oh sure. I love it here.
QUINN
I feel terrible. This whole
thing's my fault.
GILLIAN
What's to feel terrible about?
They're probably let me go in a
year or two --
GILLIAN
My friend is outside. If we can
break the window, we can get you
out of here.
GILLIAN
And go where?
(then)
They'll just bring me back.
(then)
If I say what they want, they'll
leave me alone --
QUINN
Gillian -- we're all gonna be
trapped here.
(off her)
Even if I didn't need your help so
badly, I'd still tell you to fight
back.
(kneels next to her)
People are afraid of what they
don't understand. You have some
kind of gift -- call it
clairvoyance, or heightened
perception -- you can't let these
people take it away from you.
She considers his words --
QUINN
Whoever -- whatever -- gave you
your power wouldn't want you to
throw it away like that.
Gillian gasps -- reacts. Quinn follows her line of sight --
ANGLE - THE DOORWAY - NICOLE
standing there.
NICOLE
Gillian --?
GILLIAN
I'm not crazy, Mom.
(then)
I want to go home.
NICOLE
That's for the doctors to decide.
GILLIAN
No!
(then)
He's here, Mom. And he's trapped
in the astral plane.
(then)
Touch her, Quinn.
NICOLE
Stop it!
Quinn moves to the woman -- puts his hand on her arm. She shudders --
GILLIAN
You see? I'm not making it up!
NICOLE
This is insane -- I'm getting the
nurse.
QUINN
Her neck!
GILLIAN
Now he's gonna touch your neck!
Nicole shudders --
GILLIAN
Please, Mom -- don't you see?
NICOLE
My God --!
QUINN
She's got to get us out of here.
Tell her.
Off which --
CUT TO
EXT. MIKE MALLORY'S HOUSE - NIGHT - QUINN, WADE, GILLIAN
and a suspicious Nicole stand silently near some bushes in the front yard. Frustrated, Wade checks her watch.
REMBRANDT (O.S.)
Wade!
ANGLE - REMBRANDT AND ARTURO
slinking towards them.
WADE
Did you get it?
REMBRANDT
Let's just say we got the timer and
not get into specifics.
(indicates Nicole)
Everything okay?
WADE
For the moment.
ARTURO
Is the house clear?
WADE
Yeah, but for how long is anybody's
guess.
SMASH CUT TO:
INT. MIKE'S BASEMENT - NIGHT - A WINDOW
shatters as Rembrandt's jacket covered fist smashes through. Pries open the latch. As the Sliders clamber inside --
TIME CUT TO:
INT. MIKE MALLORY'S BASEMENT - NIGHT - MINUTES LATER - ARTURO
at the work table...
ARTURO
The circuitry is safely re-grounded
in its casing. Alright, Mr.
Mallory, tell this young lady what
I need to do next.
NICOLE
She's really translating for you?
And from there the scene finishes as we saw it...with Gillian explaining that the polarities needed to be reversed...
And finally, there was originally supposed to be *more* nudity! But even Fox balked at this one apparently...
QUINN
I don't know, Rembrandt. I'm
pretty sure that mailman on our
world wore clothes.
As now --
A YOUNG MOTHER
pushing a stroller. A cop on the beat. People of all races and shapes -- all naked. Off the Sliders' laughter, their gratitude --
FADE OUT
THE END
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