These are scenes from the March 17, 1995 fifth revision draft of the script for the episode Luck of the Draw written by Jon Povill. These scenes did not make it into the final episode due to Fox meddling, time and story considerations.
First of all, before we get into the script outtakes I have now...there is something important to note. Originally "Luck of the Draw" was not supposed to be the season one finale. The original order for Sliders season one was for 22 episodes (counting the Pilot used to sell the show as one of the order). Fox, however, didn't like the course the show was taking...and they put the show on hiatus as of the 9th episode..."Luck of the Draw". When the order came down, "Luck of the Draw" was prepping to be written. The decision was to make the story have a cliffhanger ending, and this ending went against Fox's request to not connect episodes. This is why the resolution in "Into the Mystic" almost didn't occur.
I have been able to acquire a production draft copy of the "Luck of the Draw" script courtesy of Jon Povill and will be adding it to this site in the future. Act Four is completely different, but the cliffhanger is still in place. The production draft left off with our Sliders still in the vortex, however. So, stay tuned for rare info from the production draft...including what Quinn and Wade were meant to be arguing about, what role Richard Simmons was to play in the episode, and just how different Act Four was.
We begin with a missing line after Arturo loses his wallet..
Arturo reaches for his wallet. Pats his breast pocket --
ARTURO
I appear to have misplaced my
wallet --
As now --
ROLLER BLADER #1 (a tough-looking kid)
re-appears [he had just passed by in the script]
KID
Excuse me, Mister? I think you
dropped this.
ARTURO
Why -- thank you.
Arturo takes the wallet.
WADE
Aren't you gonna offer him a
reward, Professor?
KID
(skating away)
Get real.
WADE (V.O.)
On this world, San Francisco feels
like a small town --
And Arturo originally wasn't so humble when visiting the Lottery money machine...
ARTURO
There's no such thing as something
for nothing, Mr. Brown.
REMBRANDT
(pockets the dough)
That's what I always thought --
till now.
Arturo steps up to the booth.
ARTURO
Maximillian Arturo, room 12 at the
Motel 12. One hundred dollars
please.
(then more quietly)
On second thought, make it five
hundred.
Rembrandt reacts, pleased. As Arturo exits the booth (and Quinn enters) --
REMBRANDT
Change of heart?
ARTURO
Pro rated over the length of our
stay, I merely took 150 dollars a
day -- a very modest per diem.
The dog, meanwhile, has taken a shine to Arturo.
ARTURO
Get away, you slobbering beast!
WADE
(has her cash)
Henry's just trying to be friendly,
Professor.
REMBRANDT
At least he's not humping you.
ARTURO
"Henry's" affections are *not*
appreciated. I cannot imagine what
possessed you to befriend this
creature -- unless it was simply to
torment *me*.
WADE
I love animals. I miss my kitty at
home.
ARTURO
-- And because you miss your
"kitty" must *I* be subjected to
dog hair and saliva at every turn?
Quinn's exited the booth, having collected his cash --
WADE
Frankly, yes.
And then our Sliders walk away as the two members of the local populace talk about their admiration for "high rollers"...
And some slight changes in events at the beginning of Act One...
ACT ONE
FADE IN:
EXT. YET ANOTHER STREET - LATER - ARTURO
carries a large, picnic hamper. Henry, the dog, tags at his heels, very interested in its contents. Wade and Rembrandt are there --
ARTURO
Miss Welles -- will you exert some
control over this obnoxious
mongrel?
WADE
(tried to collar Henry)
It's not his fault, Professor -- if
you'd keep your hands out of the
picnic basket, he wouldn't bother
you.
As they stop for a red light --
QUINN
is a step or two behind, his nose buried in a Time magazine, steps off the curb without noticing --
REMBRANDT
Watch it --!
(Quinn reacts)
This may be Paradise, but if they
hit you, you'll be just as dead.
QUINN
(off the mag)
Listen to this, guys. This world's
only got about 500 million people
on it.
ARTURO
(astounded)
Half a billion? That's less than
ten percent of the population on
our world.
QUINN
According to this recent census,
the entire population of San
Francisco's only about 75,000 --
REMBRANDT
I've played bigger crowds
than that.
ARTURO
My friends -- we are beginning to
get a handle on things. Low
population appears to be an
effective antidote to nearly every
one of our civilization's ills.
(then)
Competition, neurosis -- to say
nothing about greed and pollution.
REMBRANDT
Yeah, but at least in our
civilization, we wouldn't have so
much trouble finding a taxi.
WADE
(to a passerby)
Excuse me. Where'd we find a taxi
stand around here?
ELDERLY MAN
(surprised)
Taxis? You can't be old enough to
remember taxis! Mayor Johnson got
rid of 'em in '52.
ARTURO
Of course.
(then)
Then perhaps there is some other
form of public transportation
available.
ELDERLY MAN
Sure, sonny. Take a public car.
(points)
There's three of 'em right over
there.
ANGLE - THREE N.D. LATE MODEL SEDANS
lined up, waiting -- like the lots where you get a rental car. The cars of logoed with the seal of --
WADE
San Francisco Rapid Transit?
Rembrandt and the others have already crossed the street.
REMBRANDT
It's got a CD player, too!
As the Sliders pile in --
ARTURO
(off the dog)
I'm not getting in back with him.
REMBRANDT
Well, he ain't riding in front.
INT. CAR - QUINN'S
the driver. As soon as his seat belt's secured, the engine starts --
WADE
It doesn't even need a key!
QUINN
(skeptic, skill)
Weird.
REMBRANDT
Man -- this place just gets better
and better.
Then we fade into the scene in the park...
After the Wade and Quinn decide to go horse back riding, we were supposed to have a scene of them mounting up at the stable where they separate from Arturo and Remmy...
EXT. THE STABLES - A BIT LATER - WADE AND QUINN
mount their horses. Wade has no trouble, but Quinn is clearly ill at ease. As they start to move out, Henry starts running around Quinn's horse, spooking it.
WADE
Henry! Stay with Uncle Arturo!
(the dog whines)
He'll give you some food.
The dog's ears perk up, his tail wags and he runs off.
QUINN
Maybe I should switch horses. This
one doesn't seem happy.
WADE
You'll be fine. Just let him know
who's boss.
QUINN
I'm trying.
WADE
You've never done this before, have
you?
QUINN
Not with a horse --
As they trot away --
And then the scene changes to watch Arturo and Remmy fishing...or in Arturo's case, bird catching...
And when we cut back to Quinn and Wade, the original conversation after Quinn falls from the horse was different...
He watches her tenderly minister to him, enjoying her. She feels his gaze and her eyes drop from his wound to look into his eyes.
WADE
What're you looking at?
QUINN
You. You're incredible.
His gaze is intense.
WADE
I thought we weren't gonna do this.
QUINN
When'd we decide that?
WADE
I don't know -- the way things've
been going.
(she's removed her red bandana,
gives it to him to staunch
the blood)
Here --
QUINN
Thanks.
(then)
Maybe we should just sit for a
while?
She moves next to him --
WADE
Isn't this place great? I wish we
could just bottle it and take it
with us.
QUINN
Yeah. Except for the horses.
WADE
I'm serious. What if we decided to
stay here?
QUINN
Not a good idea.
WADE
Why not? Look around you.
Beautiful countryside. The people
are so nice --
(then)
It's probably the most perfect
place ever to raise children.
QUINN
Children?
WADE
(off his tone)
I didn't mean with you.
QUINN
That's not what I meant. Anyway,
aren't you getting a little ahead
of yourself here?
WADE
Why? Because I'm tired of Sliding?
Because I'm starting to believe
we're never going to get home
again?
(then)
Because we go from world to world
and we don't know if the timer's
gonna give out and we'll be
stranded, or dead by the side of
the road on the next Slide?
QUINN
Don't! All right?
(agitated)
Don't talk like this!
WADE
Why? Because it's real?
(then)
Because we've been dodging this
issue now for months.
QUINN
What issue? What are you talkking
about?
WADE
*Us.*
(then)
Face it, Quinn -- we *are* one
another's world.
(then)
ALong with Rembrandt and the
Professor.
QUINN
What do you suggest? We just give
up?
WADE
No!
QUINN
We've got to keep trying, Wade!
(then)
We've got to get home.
WADE
That's not what I'm talking about!
(Quinn's at a complete loss --
how'd we get here from there?)
Dammit, Quinn!
QUINN
What do you want me to say?
WADE
Nothing. Don't say anything, all
right?
She's up, climbing onto her horse. Off Quinn, bewildered by hte vagaries of women --
Then we fade into the hotel room scene where Remmy had just cooked up the catches of the day...
And the Lottery Television program? It was originally meant to be hosted by a more recognizable personality...
QUINN
In a minute.
(then)
They're announcing the Lottery.
All turn --
ANGLE - TV - BIG LOGO
indicating "Luck of the Draw." Theme music fades under --
ROBIN LEACH - ON TV
in tuxedo, unctuous and shameless as on our world, emerges from behind curtains to canned studio applause.
ROBIN LEACH
Thank you -- and welcome to
tonight's drawing, brought to you
by the California Lottery
Commission.
(then)
Tonight twelve lucky entrants will
share prize money valued at over
two million dollars each -- and
receive unlimited White Card
privileges -- talk about caviar
wishes and champagne dreams!
And then he moves over to the screen as the computer begins to make the selections...
And our intrepid Ryan Simms (called Ryan Smith in the final drafts of the script)? Well, in this early draft he had a much different name
Wade begins to fill out the form. Suddenly from behind --
T.J. (O.S.)
I'm leaving mine to the Sierra
Club.
Wade turns to find herself fact-to-face with T.J. Martin, a ruggedly handsome young man in a tuxedo. He hands her a glass of champagne.
WADE
Thank you.
T.J.
You're Wade Welles, aren't you?
WADE
How do you know my name?
T.J.
I saw you on television the night
they announced the winners
(extending his hand)
T.J. Martin.
(then)
Short for Thomas Jefferson.
Idealistic, so I try to live up to
it.
Wade stands there, a little flat on her feet.
T.J.
(off the form)
If you'll hurry up and sign that
thing, I can ask you to dance.
Off Wade -- charmed. As --
We cut over to Rembrandt and Julianne dancing...
And during Rembrandt's dance, we were supposed to momentarily cut to Quinn in the library (not outside the hotel)...
JULIANNE MURPHY
I'd like to spend the rest of my
life with you.
Rembrandt: not the response he was expecting --
CUT TO:
INT. LIBRARY - NIGHT - QUINN
is at a table, reading. Suddenly, he reacts to the page, deeply concerned. Cross references --
QUINN
(as it dawns)
Oh, God...
CUT TO:
INT. HOTEL BALLROOM - "WINNERS BALL" - REMBRANDT
and Julianne staring into each other's eyes. The music's a sultry, bluesy wail --
REMBRANDT
I used to write songs about love at
first sight -- but nothing like
this.
And the conversation continues until Julianne decides she wants to try another activity...
And a missing line from T.J. [Ryan] and Wade's dance reveals the age of the mysterious gent...
T.J.
I don't know.
(then)
I like to travel. My goal was to
climb Everest, swim the English
Channel and paddle the Amazon by
the time I was thirty.
WADE
Wow. Really?
T.J.
I finished the final leg of it last
year.
(then)
I'm 25 now.
WADE
God -- and I thought I liked
adventure.
T.J.
All that was left was winning the
Lottery -- and you're the best part
of that.
Wade reacts - wow, what a compliment!
And Arturo originally wasn't so nice about Rembrandt's suggestion of bringing along Julianne...
REMBRANDT
I mean it, guys -- I could really
be serious about this girl.
ARTURO
It is not a good idea to form
intimate attachments to people on
these worlds.
(then)
Next you'll want to take all twelve
of the winners with us. Why not
Miss Welles' appalling hellhound,
too?
QUINN
Rembrandt -- I'm not saying it's
impossible. But every person we
take through the wormhole drains
energy from the system --
(then)
There's no guarantee any of us
would make it safely into the
next world.
REMBRANDT
I can't just let her die, man.
Quinn sighs. What choice does he have?
WADE
I've gotta get back -- I'll meet
you guys back up at the room.
She goes --
REMBRANDT
Look at the bright side. At least
she's not talking about bringing
T.J. with us.
Rembrandt is aware of the situation between Quinn and Wade.
Directly following that line, the episode cuts to Arturo and Quinn in the bar discussing the morality of this world's system. But in the original script, we were supposed to be treated to a snippet of the "Amazing Discoveries" program on the bar television...
INT. HOTEL BAR - ON TV - ENGLISH CHARLIE and MIKE LEVY
standing in front of the "Amazing Bargains" logo.
CHARLIE
Mike, we all know how important
death is...
MIKE
Right!
CHARLIE
And we don't wanna go out looking
like we didn't care, do we?
MIKE
I know I don't.
(to audience)
Do you?
STUDIO AUDIENCE (O.S.)
No!!!
CHARLIE
Now you can't do much about your
own appearance - but you *can* make
sure your coffin shines like the
light at the end of the tunnel.
The Studio Audience OOOHS. PULL BACK TO REVEAL they're standing before a long black coffin. There is a dividing line down the middle - one side looks dull and drab, the other gleams like it's been polished for days.
CHARLIE
Mike look! We polished this
side...
(indicating the dull finish)
... with a leading coffin cleaner.
MIKE
(making a face)
It looks os dull!
CHARLIE
(indicating shiny side)
But this side was polished with...
He holds up a bottle of "Mr. Casket," featuring a happy-faced Grim Reaper...
CHARLIE
... "Mr. Casket," the complete
coffin cleaning system!
(audience OOOHS)
"Mr. Casket" polishes, shines,
cleans *and* disinfects your
coffin, making it much harder for
the worms to get to your corpse
after you've been lowered into the
ground.
MIKE
(to audience)
That's fantastic, isn't it?
Audience APPLAUDS.
ANGLE - QUINN AND ARTURO
nursing Scotches.
QUINN
It's barbaric.
ARTURO
On the contrary, my boy. In many
ways it's eminently more
enlightened than our own society.
And the conversation continues on just as we saw it in the final ep...
Also, the Municipal Processing Center had a different name...
Julianne dies. Rembrandt reacts, awe struck. Agent Jones promptly slaps handcuffs on Rembrandt, who is increasingly terrified.
REMBRANDT
(afraid to ask)
What now?
AGENT JONES
You're gonna be precessed at the
Kevorkian Center.
REMBRANDT
Processed? What does *that* mean?
AGENT JONES
It means, you're going to die, Mr.
Brown.
FADE OUT.
END OF ACT THREE
Just to note it...after Rembrandt is taken away from the hotel in cuffs, the script notes scenes 31A thru 53 OMITTED. Those scenes were the original ending which focused on a world where there was *no* resistance to this Lottery and everyone supported it - except our Sliders. These omissions will be seen when the production draft lost scenes come on line later. As for the version we are examining here, Scene 54 (the next scene listed in the script) is Rembrandt in the van watching the video...
Another missing portion of the story comes when Rembrandt, Quinn and Arturo try to escape the processing center in the rapid transit vehicle. In the final episode, we know that they wrecked the car...but in the original script, we find out that even those cars weren't free...
INT. PUBLIC CAR - THE THREE SLIDERS
clamber in.
ARTURO
at the wheel --
ARTURO
How much time?
QUINN
Not much! Step on it!
As the car engine roars to life, patches out --
REMBRANDT
Pedal to the metal, Professor. I
can't wait to get off this world --
ARTURO
(off the accelerator)
Something's wrong --
Suddenly -- chug, chug, chug --
THE DOORLOCKS
click shut.
REMBRANDT
What the hell?
QUINN
(the car's going the
wrong way)
What are you doing, Professor?
ARTURO
I can't control it!
Arturo howls as --
THE STEERING WHEEL
spins through his fingers, and the car is thrown into a violent, tire-screeching U-turn.
QUINN
It's taking us back to the center!
ARTURO
It's remote control!
Quinn, in the passenger seat, tears off the plastic sheath to the fusebox, exposing wires --
ARTURO
Hurry!
THE FUSEBOX
wires. No time to weed through this -- Quinn starts yanking indiscriminately --
REMBRANDT
(trying to kick out the
back window)
Oh man! We're all going to die!
ARTURO
Don't panic, man!
Quinn yanks a yellow wire and suddenly --
A PNEUMATIC HISS
all the electronics, the engine shuts down -- the car veers out of control, left --
INT. CAR - POV - THRU WINDSHIELD - A LAMPPOST
as the car smashes into it. Comes to a stop.
ARTURO
Everybody all right?
QUINN
Let's get out of here!
EXT. STREET - THE SLIDERS
exit the car. The sound of sirens approaching, riot police in pursuit. The Sliders take off at full sprint.
Then the scene cuts over to Wade hiding in the ballroom of the hotel...and the rest of the episode is as we saw it.
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