These are scenes from the August 9, 1996 production draft (first revision) of the script for the episode "The Guardian" written by Tracy Tormé. These scenes did not make it into the final episode due to time restrictions and story considerations.
One of the largest changes of the script comes right at the front...
OPEN ON
the revved-up sounds of CELEBRATION. A cacophony of MUSIC, LAUGHTER, and CLINKING GLASSES.
INT. LAST CHANCE BAR (REDRESS) - NIGHT - FADE IN ON
a cork popping froma bottle of top notch champagne. This world's ELSTON DIGGS (goatee and all) is tending bar at a rocking New Year's Eve party - it's just minutes now till midnight. He looks up to see a beaming WADE approach the bar.
WADE
Three champagnes, please.
DIGGS
(pouring)
Three? Tell me you're not
driving.
WADE
Actually, we're flying. At noon
tomorrow.
DIGGS
Yeah? Where ya headed?
WADE
Another Earth.
Wade shoots the perplexed bartender a smile and a tip, then makes her way across the crowded room, balancing the drinks. A banner on the wall reads : JIM HALL'S 10th ANNUAL NEW YEAR'S BASH! People are milling around before it in anticipation - on the big screen TV in the background, the ball is minutes from dropping in the nation's cultural capital...Milwaukee.
VOICE IN THE CROWD
Five minutes, everyone! Five
minutes!
Suddenly everybody aroudn her starts kissing - Wade is shocked when a HANDSOME YOUNG MAN boldly places a hand around her waist and plants a passionate kiss on her lips.
Wade comes up for air - before she can ask what gives, he's already moved on, kissnig someone else. Wade's eyes go wide as she spots another guy making a beeline for her.
INT. PATIO ADJACENT TO LIVING ROOM - NIGHT - WADE
escapes the pleasured chaos of the living room, glasses still in hand, only to find QUINN and REMBRANDT locked in joyful kissing sessions with two pretty women.
Each reacts with a start when they open their eyes to see Wade standing next to them, a look of ironic amusement on her face. Like guys who've been caught by their mom, they each disengage and try to project a sense of nonchalance.
QUINN
(strained smile)
It's uh, apparently a custom of
this world, to kiss *before* the
clock strikes twelve. Weird, huh?
REMBRANDT
Yeah, like having New Year's Eve
on the last night in September.
When in Rome, what can you do?
WADE
You expect me to believe they just
came up and started kissing you?
Wade smiles a secret smile (knowing they have no idea she herself was just kissed) and hands them each a glass of champagne. As they tilt the glasses to take a swig, they notice they're 95% empty.
WADE
(sheepish)
They must've spilled on my way
back from the bar. Can't imagine
how that happened.
(looking around, frowning)
Anyone see the Professor?
QUINN
(shaking head)
He promised to meet us here
before the year turned.
REMBRANDT
(checking watch)
That was two weeks ago...he's got
a minute and a half to keep his
word.
The Sliders look back toward the living room where the crowd is reaching a fever pitch in anticipation of midnight.
Wade downs the pittance of liquid still in her glass - then once again scans the surroundings with a touch of anxiety...
WADE
Should we be worried? He's always
riding us about being on time, and
now he's late --
ARTURO (O.S.)
-- But I'm not late, Miss Welles.
The relieved Sliders turn to see ARTURO approaching.
ARTURO
In fact I'm a minute early.
Arturo is in arm with NATALIE HAMPTON, a stunning woman, attractive in a mature, intelligent way.
ARTURO
May I introduce Natalie Hampton...
soon to be Mrs. Natalie Arturo.
(she greets the stunned Sliders)
We'll be getting married in the
spring.
The Sliders are speechless, unsure of how to react, looking from Arturo to Natalie as the crowd in the adjoining living room builds to a fever pitch. Finally, Rembrandt manages a smile as he addresses Natalie...
REMBRANDT
Wow...Congratulations. So you'll
be coming with us in the morning?
ARTURO
No. She will be remaining on this
world. And so will I.
(deep breath)
I came here tonight...to say
good-bye.
The crowd in the living room is CHANTING now...TEN, NINE, EIGHT...
CROSSCUT THE SLIDERS
individually reacting to Arturo's stunning news - their somber, shocked expressions somehow enhanced by the excited crowd... THREE, TWO, ONE, HAPPY NEW YEAR...
SLOWLY FADE TO BLACK
END TEASER
ACT ONE
FADE IN ON:
INT. JIM HALL'S PATIO - NIGHT - WE REJOIN THE SLIDERS
and Natalie in the same setting - the New Year is at hand, people continue to celebrate in the background, in stark contrast to the mood of Arturo's sliding companions.
ARTURO
Please... be happy for me. And
Slide tomorrow with no regrets.
(to Quinn)
I'm indebted to you. Your
invention allowed me to meet the
love of my life. The peace and
tranquility that embraces me now
would be a distant dream if not
for you.
They shake hands profoundly - two colleagues and friends who know they will never see each other again. In the background, the other party-goers begin to sing the traditional New Year's song of this world, the wistful ballad "I'll Be Seeing You".
Arturo turns to Rembrandt...
ARTURO
My thoughts will often be of you,
and the great times we've shared.
Like the day I saved you from
those cannibals.
REMBRANDT
You? Saved me? I've never seen a
man run so fast in my life. You
would've been Arturo soup if it
wasn't for me.
ARTURO
Maybe so. But all in all, we had
a hell of a lot of fun, didn't we?
Rembrandt nods, a little choked up. They clasp hands warmly.
REMBRANDT
Man, I'm close to living up to my
nickname.
Finally, Arturo turns to Wade. Although they've often been at odds, in many ways this is the most painful good-bye. She suddenly embraces him, holding him tightly, closing her eyes...
WADE
(tearful whisper)
I'm going to miss you more than
you'll ever know.
Arturo is secretly very moved; he struggles to mask it. Gently disengaging from Wade, he signals a passing server and has champagne poured into everyone's glasses.
ARTURO
A toast everyone, a toast.
(lifts his glass, looks at
Natalie)
May you all find the happiness
that I've found.
(to Sliders)
Good-bye... and good luck.
The others hesitate... then clink glasses with The Professor and his bride-to-be. In the background, the crowd is coming to the end of their song...
SINGING CROWD
I'll find you in the morning
sun... and when the night is
new... I'll be looking at the
moon... but I'll be seeing you.
DISSOLVE TO:
INT. DOCTOR'S OFFICE - DAY - CLOSE ON A SIGNATURE
in the making - the name being signed is Maximillian P. Arturo - the bill is for medical services rendered.
PULL BACK TO SEE ARTURO
place the pen down in the presence of Natalie Hampton. Natalie wears the white frock of a doctor - all the romance between the two has vanished, replaced by a mood formal and professional.
ARTURO
I'm grateful for your assistance.
It was above and beyond the call.
NATALIE
I don't usually take on roles,
Professor, but given the
challenges you face... I wanted to
help in whatever way I could.
Arturo puts on his overcoat, prepares to exit. He notices that Natalie is looking at him with sad eyes.
ARTURO
Please don't feel sorry for me,
Doctor. I've seen more, done more
in my life than any ten men I
know.
EXT. STREET IN FRONT OF DOCTOR'S OFFICE - DAY
TIGHT ON ARTURO
as he steps into the bright sunshine, putting on dark shades. Turning to walk up the block, he bumps right into Quinn --
ARTURO
(flustered)
What are you doing here? You had
no right to follow me!
QUINN
I spoke to Doctor Hampton's
receptionist -- apparently Natalie
Hampton is already married,
apparently you're her *patient*.
Arturo simmers, trying to cook up an explanation... but finally sighs, a beaten man.
ARTURO
Alright, I admit to the charade.
I wanted you to leave this Earth
without remorse. To remember me
with a smile instead of a tear.
(deep breath)
I have a terminal disease, Quinn.
The details are unimportant - what
matters is, there is no cure.
Arturo starts to walk down the block - Quinn follows, reeling.
QUINN
How long?
ARTURO
A month. A year. Somwhere
in between.
QUINN
Are you... in pain?
ARTURO
Remarkably little. That will
undoubtedly change when I near
the end.
Quinn is thinking hard, still trying to fathom this.
QUINN
What do you plan to do --
ARTURO
-- With the time I have left?
Travel... seek out adventure...
live every remaining minute to the
fullest.
QUINN
Then you should be coming with us.
We slide in an hour.
(off Arturo's look)
Where else could you find more
adventure than sliding?
ARTURO
I would like to continue... but
I refuse to be the object of pity in
the eyes of Miss Welles or Mister
Brown.
QUINN
Then let's not tell them.
(Arturo is skeptical)
If that's how you feel, we can
keep it between us.
EXT. URBAN ALLEY - DAY - ON WADE AND REMBRANDT
The Professor is looking away and they are eying him with deep empathy. We hear QUINN'S WORDS from the previous scene...
QUINN (O.S.)
We'll say you and Natalie broke
up. You took it kinda hard and
decided to slide after all. Simple
as that.
QUINN
aims the timer and forms the gate.
REMBRANDT
sidles up to Arturo on his way to the vortex.
REMBRANDT
(male bonding)
Hang in there, big guy. I know
what it's like - any time you need
to talk you just shout.
He continues on and slides.
WADE
also passes, but first stops and looks at Arturo with eyes befitting the examination of a wounded puppy. Her heart is breaking for him and it is driving the Professor out of his skin. At last... she gently touches his face... then slides.
ARTURO
Pity is pity, Mr. Mallory! No
matter how misguided!
A PERTURBED ARTURO
leaps into the void
QUINN
takes a deep breath and follows suit.
EXT. SLIDING TUNNEL - FLYING THROUGH THE VOID
EXT. CITY STREET - DAY - THE SLIDERS
arrive to find the streets relatively quiet. They dust themselves off, take a look around, and size up their surroundings - definitely San Francisco. Remmy (eyes still on the city) queries Quinn...
REMBRANDT
Definitely San Francisco... don't
you think?
QUINN
Yeah... but something's
different... Can't put my finger
on it.
They notice The Professor has wandered off... they move in that direction, still looking around.
ON THE PROFESSOR
as the others sidle up. He is standing before a car dealership that does luxury rentals... and his eyes are lovingly glued to a black Bentley.
ARTURO
Beautiful, isn't she? When I wore
a younger man's clothes I owned one
just like it. Those were some
of the happiest days of my life.
REMBRANDT
I know just how you feel. A man's
car is right up there with his
woman and his vocation. My
Cadillac --
(looks at Quinn)
-- the one now stuck in an
iceberg?
(back to Arturo)
-- meant everything to me. Losing
it was like losing my...
(looking down, then sees Wade,
avoids saying "dick")
-- arm.
ARTURO
(puts an arm over
Remmy's shoulder)
Well my friend, I still have some
cash from the last world... and
you only live once.
CUT TO:
INT. BENTLEY - DAY - THE SLIDERS ARE RIDING IN STYLE
a nostalgic Arturo driving, Remmy beside him, Quinn and Wade in the back. CLASSICAL MUSIC is playing on the radio.
QUINN
I think I've nailed it.
Everything on this Earth seems to
be ten to fifteen years old. Even
the new things.
REMBRANDT
Are you cracked, Q-Ball - the new
things are old? What is this,
hand me down world?
QUINN
What I mean is... it all looks
mid-eighties.
WADE
Are you saying we've traveled back
in time? I thought that you didn't
believe in that sort of thing.
Quinn is stymied - his eyes wander out the window, lost in thought. Arturo brings the car to a stop at a red light near a small city cemetery called "Whispering Glades".
ARTURO
I can assure you, the year is
1996. It's on the rental form I
filled out.
(to Quinn)
Van Meer's Theorem: straight
relativistic time dilation.
QUINN
Right! That could explain it.
REMBRANDT
Oh really? Doesn't do a thing for
me.
ARTURO
(to Wade and Remmy)
Herbert Van Meer, a Dutch
astrophysicist, theorized about a
parallel world which revolved
around the sun at the same rate
as ours, but which spun more quickly
on its axis. Thus over the centuries,
a subtle time lapse could occur.
It may be 1996, but from our perspective
events are occurring as they did a
decade or two ago --
QUINN
(staring out window)
-- Pull over!
ARTURO
I beg your pardon?
QUINN
Stop the car and pull over!
The scene then finishes out with Quinn finding his younger self in the cemetery as we saw in the final version.
In the final version of the episode, our first visit to the Sliders' hotel room had Arturo explaining Van Meer's theorem...but in the original script, he said something surprisingly different yet crucial to continuity...
INT DOMINION HOTEL - NIGHT - THE SLIDERS
are spread out about the room - Quinn is standing, silently staring out the window, while Arturo is pouring himself a drink.
ARTURO
I have something to share - I'd
decided to keep it to myself, but
now that we're partners in sliding
again, I feel I owe you the truth.
Quinn glances over at the Professor, surprised - Arturo takes a swig and goes in a different direction...
ARTURO
In recent weeks I've done some
intensive calculations based on
our journeys and the writings of
Russian physicist Vladimir
Skrevadenska.
REMBRANDT
Oh yeah, there you go again -
Hubert Van Decamp, Vlad
Skrevadooski - don't smart guys
ever have simple names?
ARTURO
Apparently not, Mister *Brown*.
(clears throat)
As I was saying, I'm now convinced
that there are likely *millions*
of parallel Earths... and that the
odds of our returning to the one
we started from are akin to
finding a needle in a haystack.
REMBRANDT
(suddenly somber)
Wait a minute - you're saying
we're *never* gonna make it home?
Q-Ball?
QUINN
(quietly)
I don't agree. The Professor's
calculations must be flawed.
WADE
(to Arturo, ticked)
Flawed or not, what business do
you have telling us something like
that? I don't know much about
your endless "calculations" but I
do know that *hope's* the one
thing we can't afford to lose.
For an instant, it looks like Arturo is going to come right back at her - a typical clash of philosopies between these two - but the Professor's initial irritation quickly turns to genuine affection.
ARTURO
My dear Miss Welles, your naivete
is so refeshing, no matter how
misguided. Don't ever change.
Wade initially feels patronized... but something in the Professor's eyes tells her he's sincere.
ARTURO
I raised this thesis not to
discourage but to motivate. Our
modus operandi must change from
"don't get involved" to "let's
make a difference". Give my
doubts about an eventual
homecoming, I propose that being a
force for good *is* the moral and
responsible course.
All the Sliders take a moment to consider this. MOVE IN ON QUINN who in particular is thinking about it.
The scene then cuts to the next day when Quinn stops the bullies tormenting his younger self...his first act of intervention in the events of his own life.
When Quinn returns Bopper home, he was originally supposed to have an added comment as he walked in the door...
He takes a moment to listen to the music... loses himself in it...
a slow smile of remembrance spreading across his face.
QUINN
Mancini... the soundtrack from Two
For The Road. He really loved that
movie.
Mrs. Mallory is quietly amazed by this young man. As he moves to the stereo, looking at their record collection with nostalgic fondness, she studies his form, trying to identify what she's feeling.
QUINN
(softly, back turned)
You were the center of Michael's
universe. I know he cared for you
more than anything in this world.
Tears are welling up in her eyes.
MRS. MALLORY
(choked half-whisper)
I still feel him you know... when
I play the music he loved... when
I whisper his name in this empty
house.
Quinn turns, sees the tears on his mother's face... He desperately wants to hug her, to tell her everything will be alright... but he can't. He's a stranger here.
QUINN
(lowering his eyes)
I... was hoping to say hello to
your son.
Mrs. Mallory wipes her eyes and manages a semi-cheerful smile.
MRS. MALLORY
He left a note. He's at the
library, the place he always
goes... to escape from the world.
ON QUINN thinking, remembering.
The scene then switches back to the Whispering Glades Cemetery where we find young Quinn standing at his father's grave. Our Quinn walks up and the conversation is that "Stardust" speech Quinn gave on top of the house in the final version of the episode.
In the original script, our Quinn was supposed to be a little cosier with the Mallory family...this scene picks up just after the cemetery conversation with his younger self...
INT. SLIDERS HOTEL ROOM - NIGHT - QUINN
has rejoined Wade and Rembrandt (who are each getting dressed up) while the Professor can be heard SINGING operatic riffs from the bathroom. Quinn is getting some things together...
WADE
You're moving in with your family?
You sure that's such a good idea?
QUINN
I'm a temporary boarder, I'll be
staying in the guest bedroom for
the week we're here.
(pause, smiles)
My mom instincitively feels
comfortable having me around...
even though she thinks I'm Jim
Hall.
REMBRANDT
You took the name of our friend
from the last world - pretty
crafty Q-Ball.
QUINN
The timing is so fortuitous
Rembrandt, likes there's a *reason*
we landed here. Something's about
to happen on the playground, an
incident the day we slide...
(steely)
But it won't happen here. Not the
same way, I won't allow it.
Wade and Rembrandt exchange uncomforable glances.
WADE
Quinn... maybe you should take a
step back... think this over --
QUINN
-- Don't try to talk me out of it
Wade! I know what I'm doing.
Wade is taken aback by his sharp, defensive response. Rembrant strategically changes the subject...
REMBRANDT
Well... maybe it's lucky for you
you're moving out for awhile. The
Professor is driving us nuts -
he's acting weird with a capital
W.
WADE
Yeah, he keeps pausing to smell
flowers, or to pick out a bird and
give us ten scientific reasons why
it's such a wonderful creature.
*Weird*.
REMBRANDT
He even stopped me from squashing
a spider - launched into a speech
about the rights of all creatures
to lead full and productive lives!
(deep sigh)
Man I tell you love is *sick*!
QUINN
Hang in there with him guys. He's
going through more than you can
imagine.
WADE
*We've got no choice* - you're
gone so we're his long lost pals.
He's decided to impart culture on
us, to "show us how rich life can
be".
(looks at Rembrandt)
Tonight he's taking us to the
opera.
Rembrandt shudders, a chill running down his spine as Arturo hits a high note in the shower.
INT. OPERA HOUSE - NIGHT - SOTCK OF A HIGHBROW CROWD
watches a performance of La Traviata as it nears its finale.
DISSOLVE TO:
INT. PRIVATE BALCONY BOOTH - NIGHT - PAN THE SLIDERS
STARTING WITH WADE
who is absently concentrating on her program, turning it into paper mache (she's obviously been at it for a long time).
NEXT IS REMBRANDT
who is sound asleep, his body slumped down into an uncomfortable position that is sure to leave him with a stiff neck.
AND FINALLY THE PROFESSOR
who is enraptured by this performance as never before. Uncontrollable tears are streaming down his face as the tenor reaches his final crescendo.
Arturo can't take it anymore. Overcome with emotion, he leaps to his feet, the first to shout:
ARTURO
(applauding, weeping)
Bravo! Bravissimo!
His entusiastic response is so loud and powerful it wakes Rembrandt with a start!
REMBRANDT
(to Wade)
Is it over? Please tell me it's
over.
A blissful, emotional, still applauding Arturo looks back over his shoulder at his companions - Wade and Rembrandt each flash frozen smiles.
ARTURO
Encore! Encore!
REMBRANDT
(*alarmed*, tugging on
Arturo)
No!! Professor sit down -
that's enough culture for one
night!
The scene then fades to the next day with Quinn watching the second fight begin from behind the fence...it plays out as we saw it in the final version.
This scene was originally meant to be inserted halfway through Quinn and Heather's dinner...
INT. BENTLEY - NIGHT - ARTURO IS DRIVING
Wade and Rembrandt are in the back seat.
ARTURO
I wash my hands of Mr. Mallory's
situation. I have given him my
counsel, the rest is up to him.
REMBRANDT
I don't get it - you were the one
who lectured us to *get
involved* - seems to me that's
just what he's doing.
ARTURO
(irritated)
Well this world is the exception
to the rule!
(relaxes, lights cigar)
Let's talk about the adventure
before us this evening. I say
it's an anything goes night!
Whenever the spirit moves us, we
act - beginning *now*!
Arturo suddenly jerks the wheel to the right, careening the car into a Seven Eleven parking lot.
ARTURO
Apparently this establishment is
offering a "Frozen Squishee" for
only 99 cents.
(parking)
I've never had one. I think it's
about time.
And just like that he's out the door with a smile, heading into the store and leaving Wade and Rembrandt to ponder...
WADE
The Professor wants a Squishee? Am
I dreaming?
REMBRANDT
(sighing)
Oh well, Quinn said to hang in
there with him.
WADE
Easy for Quinn to say, *he's not
here*. But at least tonight should
be more fun than opera night --
REMBRANDT
-- That's not saying much --
WADE
(eyes lighting up)
-- Oh God look, he's raiding the
candy counter!
Then we were to fade back in on Quinn and Heather's dinner right at the point where Quinn is talking about the crush he had on his teacher when he was younger...
After the finish of the Quinn/Heather dinner conversation, we were supposed to check in on the fun seeking Arturo again...
INT. BENTLEY - NIGHT - ARTURO IS CRUISING
though a funky part of town.
WAGNER is playing on the radio- loud, aggressive music to fit the mood. Junk food is spread out in front and back - the Professor is polishing off a second round of Squishees, his straw making a GURGLING SOUND as he sucks up the last drops.
ARTURO
Where to now?
WADE
(giddy, having fun)
We've already gone bowling and go-
karting - maybe you should call it
a night.
ARTURO
Are you mad, woman? It's just the
shank of the evening and I'm still
thristy! There, that looks like a
nice place for a nightcap.
Much to Wade and Rembrandt's surpise, he has selected a place called "The Bloody Mustache", a rough and tumble bikers' bar.
Then we fade into the scene with Quinn talking to young Quinn in the bedroom where Quinn explains how he used to be afraid to close his eyes for fear the next day would come...
After that scene is finished, we once again come back to our intrepid Professor at the bar...
INT. THE BLOODY MUSTACHE - NIGHT - THE SLIDERS
have entered this funky hole in the wall, populated by mean - looking bikers and their grungy chicks. Wade and Rembrandt are wary but Arturo is free and easy, he has nothing to lose.
China Grove by The Doobie Brothers is blaring from giant wall speakers. The Professor, a profound rock hater, astonishes his friends by swaying to the beat as he head for the bar.
ARTURO
Very catchy. Who is this, The
Grateful Dead?
WADE
Why is it whenever you hear rock
music you think it's The Grateful
Dead?
REMBRANDT
It's The Doobie Brothers,
Professor.
ARTURO
Doobie Brothers? Charming name.
What does it mean?
WADE
You don't want to know.
(looking around)
This place isn't exactly your
style, Professor - whaddya say we
find a drink somewhere else?
ARTURO
Miss Welles, you amaze me. You're
the last soul I'd expect to judge
a book by its cover. To me the
patrons seem a happy lot - a bit
on the mangy side but happy
nonetheless.
Arturo is the first to reach the bar. He good-naturedly slams his hand on the counter to attract the attention of THE BARTENDER, a rail-thin biker with long stringy hair and several missing teeth.
ARTURO
Barkeep! What kind of ale have
you got?
BARTENDER
Well, that depends on what *ails*
ya!
For some reason, Arturo thinks that's the funniest thing he's ever heard. He adn the weird bartender laugh it up together, instantly bonding in the weirdest of ways. Wade and Rembrandt are all too aware that the boisterous LAUGHTER is attracting the attention of several Hell's Angels types all around the bar.
By the time Arturo stops laughing, a waifish 19 year old named AMBROSIA has sidled up to him.
AMBROSIA
You're cooool.
ARTURO
Yes, I supposed I am.
AMBROSIA
What's your name cool daddy?
ARTURO
Maximillian. Or Max if you like.
AMBROSIA
I like. I'm Ambrosia.
ARTURO
You certainly are. May I buy you
a drink?
AMBROSIA
If you only buy me *a* drink I'll
be disappointed.
ARTURO
Well, let's start with one, shall
we?
AMBROSIA
Zima.
ARTURO
I beg your pardon?
AMBROSIA
I want a Zima.
Arturo looks to Rembrandt and Wade, completely at a loss. Rembrandt cringes and says to Wade...
REMBRANDT
This is gonna be a long night.
Then we fade out and into Quinn's basement where he is teaching young Quinn to box on the punching bag...
The next difference comes in the Arturo bar fight...it originally had a much different outcome...Rembrandt has just stepped into the middle of Arturo and the Biker asking for calm...
BULL
(shoving Remmy)
-- Get out of my way!!
Rembrandt crashes back into Wade. Meanwhile the Professor has stepped down from his perch and is eying Bull with anticipatory glee as a curious crowd draws closer in a circle...
BULL
(nose to nose with Arturo)
Not only are you killing my ears,
but you're moving in on my wench!
So I'm gonna have to mess you up
good, old dude.
ARTURO
If it's fisticuffs you desire,
then you've come to the right place.
WADE
Professor, no!
ARTURO
It would be my pleasure to step
outside and teach you a lesson.
(to Ambrosia)
I was quite a pugilist in my day -
would've made the Olympic team if
not for an unfortunate groin
injury.
BULL
Why step outside?
That said, he launches a sucker punch at the Professor. Arturo displays amazing reflexes, moving his head, dodging the punch, and shocking Bull by expertly lauching a quick rabbit punch directly into the big man's solar plexus.
Bull gasps, doubling over - Arturo casually launches a straight left, right combination sending the biker reeling.
Ambrosia is ecstatic - Wade and Rembrandt are incredulous. Cool as James Bond at his finest moment, Arturo shoots them the confident ghost of a smile before addressing Bull, who is down on his knees.
ARTURO
Why step outside? Because that's
what gentlemen do when a dispute
needs to be settled.
The Professor turns to take off his coat and loosen his vest.
ARTURO
Now if you'd care to join me --
The Professor turns again and the answer comes in the form of a brutal straight right from the now upright Bull, that catches Arturo right between the eyes with the sound of an exploding melon.
The Professor staggers straight backwards, collapsing against the bar in an unconscious heap.
Begin commercial break before Act Four.
ACT FOUR
FADE IN ON:
EXT. OUTSIDE THE BLOODY MUSTACHE - NIGHT - ON ARTURO
as he comes around. Ambrosia is cradling his head, stroking his hair - Wade and Rembrandt help him to sit up.
ARTURO
What happened?
AMBROSIA
You were wonderful. First you
whipped him fair and square, then
you took his best shot.
ARTURO
I did?
REMBRANDT
You sure did. Took it right in
the face.
WADE
Yeah, you hit him in the fist with
your nose.
ARTURO
(rising, dizzy)
I don't remember much... I didn't
hurt him, did I?
WADE
I think he'll live.
Wade and Rembrandt move to support Arturo, helping the wobbly Professor back to the Bentley. Ambrosia follows close behind, having found a new hero.
WADE
Time to go home Professor. You've
had quite a night.
ARTURO
Not tired. Want to go... bungee
jumping.
But his legs go out at this moment - Wade and Rembrandt catch him before he hits the ground, and off their pained reactions, we DISSOLVE TO:
Quinn teaching young Quinn more fighting techniques outside the front of the Mallory home, just as Mrs. Mallory walks up to scold Quinn for teaching her son to fight...the scene goes as we saw it.
And now for the bungee jump the way it was originally meant to happen...
EXT. EDGE OF BRIDGE - DAY - ON REMBRANDT
carefully tieing an elastic chord around someone's ankles.
REMBRANDT
You sure you wanna do this? I
mean... *really sure*?
ANGLE UP to see that the ankles belong to Arturo, who is sporting a black eye, loyal Ambrosia by his side.
ARTURO
(for Ambrosia)
Of course I'm sure. I want to free
fall, to soar like a bird on the
wing.
AMBROSIA
Oh Max, you're so intellectual.
The way you put things makes me
weak in the knees.
Wade overhears, can't help but laugh. Behind her, a small crowd of the curious is gathering.
WADE
Yeah, pretty intellectual Max.
Jumping off a bridge with a rope
around your feet.
ARTURO
I am not limited to intellectual
pursuits, Miss Welles.
ARTURO
(smiling at Ambrosia)
I find the physical realms quite
enticing.
WADE
(to Ambrosia, walking past)
I'd be careful if I were you. He's
on the rebound.
Wade approaches Rembrandt, who is finishing tieing one end of the long chord to the steel support of the bridge.
WADE
Should we be trying to stop this?
REMBRANDT
That's all we've been doing -
trying to reason with two stubborn
mules. I'm here to help The
Professor get over his broken
heart - if it means leaping off a
bridge, so be it.
Rembrandt moves to Arturo.
REMBRANDT
Alright Professor... The chord is
fifty feet long, the water is
seventy feet away.
ARTURO
Mr. Brown, do you realize I'm
setting precedent here? Bringing
a new fad to this world - a modest
but charming example of getting
involved and making a difference!
REMBRANDT
(flat)
Uh-huh. Get up on the bridge.
Arturo gets a good luck kiss from Ambrosia, then climbs up onto the edge of the bridge. We can hear MURMURS from the onlookers - cries of "look, he's gonna jump" - as The Professor steps to the edge of the ledge.
ARTURO'S POV:
Looking down, the icy Pacific looks a lot more than seventy feet away.
ON ARTURO
It's clear he's rethinking the situation. He takes a deep breath... looks left... looks right...
ARTURO
Uh, there are children in the
crowd... I uh, don't wish to set a
bad example. Perhaps we should
come back another time.
REMBRANDT
I don't see any children, do you
Wade?
WADE
Looks like all adults in the
peanut gallery.
ARTURO
(flustered)
Waht about that big kid over there
- the one with the Hawaiian shirt.
REMBRANDT
That guy's gotta be fifty!
ARTURO
Alright, alright! Let's get on
with it.
Rembrandt backs off. Alone on the bridge... Arturo looks down, the blood rushing to his head.
AMBROSIA
(stepping up, cheerful)
Come on Max, this looks like fun.
Here, I'll go with ya.
ARTURO
Wait a minute! No! Watch out!!
She jumps towards him, locking him in an affectionate bearhug. As he catches her, the horrified Professor is knocked off balance. As the crowd shrieks with anticipation, Arturo pinwheels his arms, but it is too late.
Her momentum carries them off the ledge. Arturo lets out a legendary HOWL as they plummet toward the sea, clutching each other for dear life.
Arturo's plaintive screams carry all the way down... down... down. Wade and Rembrandt can barely look as Arturo and Ambrosia drop like a sack of bricks.
Scant feet before they hit the water, the chord goes taut and Artuor and Ambrosia come to a mind-numbing, gut-wrenching stop.
The Professor and his waif are hanging upside down just a foot or two above the waves. Arturo is trying to get his breath back - Ambrosia is giggling, having the time of her life...
ARTURO
(screaming, angry)
Mr. Brown, Miss Welles, cut me
down and get me the hell out of
here!!!
Fade out and into Quinn asleep in bed as Wade brings him breakfast on the morning of "the incident"...just as we saw in the final version.
Did you think the saga of Arturo was over? There's one more missing bit that caps off the whole thing which was to take place prior to "the incident"...
EXT. STREET BORDERING SCHOOLYARD - DAY - QUINN
is pacing, his eyes riveted on the spot where the school building ends and the playground begins. Wade stands nearby, Arturo and Rembrandt are in the background, leaning against the Bentley, listening to the car radio.
The Professor is wearing his dark glasses and gingerly oving his head, the result of a sore, sore neck.
Rembrandt has been tuning the dial - now he excitedly TURNS UP THE VOLUME -
REMBRANDT
Hey listen up everybody - they're
talking about the Professor!
Wade responds, hurrying to the others. Quinn acts as if he hasn't heard - he maintains vigil.
WADE
What's going on?
REMBRANDT
Someone recognized the Professor
yesterday - it's started a new
craze - they're calling it Arturo
jumping!
Wade shoots a glance at Arturo - he is rubbing his neck, looking chagrined.
RADIO ANNOUNCER
Reached at his home in the
Berkeley Hills, the physics
Professor issued this passionate
denial.
ARTURO 2 (O.S.)
It is an insult to my colleagues,
my family and most importantly
myself, to even *imagine* that I
would do such a thing! Hanging
upside down from a rope with a
pre-pubescent female draped
around my waist? I can assure
you, whoever that lunatic was, he
wasn't me.
A disgusted Arturo flicks off the radio.
ARTURO
(under his breath)
Pompous fool.
Rembrandt and Wade can't believe their ears - they are about to bust up when Arturo interrupts.
ARTURO
Look at Quinn. Something's
happening.
Quinn has pressed himself up against the fence - it is clear that something has grabbed his rapt attention. The Sliders hurry to join him.
QUINN
It's started.
And then we go into the battle of young Quinn as we saw it in the final cut...
Astonishingly, the original script had our Quinn revealing the entire story about where he came from to Heather before sliding out...
HEATHER
But I'll look after him just in
case. Until you come back.
QUINN
I won't be coming back Heather. I'm not
from this Earth... and I have to
try to make it back home.
HEATHER
(he must be joking)
Not... from this Earth?
He takes her hand in his.
QUINN
I'm from a parallel universe. *I'm
Quinn Mallory*.
She almost stops breathing.
QUINN
That's how I knew about you, about
Quinn, about what was going to
happen. You see, I've lived this
before... and the teacher I fell
in love with on my world... was you.
Of course, this can't be true... but looking at him now, somehow she knows it is.
Wade aims the timer and pushes the button - now Heather has visual proof, as the vortex forms above the hopscotch lines on the playground.
Heather gasps, takes a step back; she is spellbound, but she is not afraid.
Rembrandt looks over at Quinn, then leaps into the void. Arturo does the same. Wade hesitates, looking at Quinn and Heather, then she too takes a leap into the swirling blue mass.
QUINN
(tenderly)
My double is a lot like me, so I
know he must feel the same way I
felt. Give it ten years and maybe
you guys can connect.
(passionate kiss good-bye)
After all, I've always liked older
women.
Quinn lingers as long as he can, holding her angelic face between his hands.
Then he slides.
STAY ON HEATHER
staring into the heart of the void, at the spot where he just disappeared, soft blue light dancing off her face.
FADE TO BLACK:
THE END.
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