These are scenes in the revised first draft of the Nan Hagan Post Traumatic
Slide Syndrome script which was completed 2-15-96. These scenes did not
make it into the final episode due to time concerns and story
considerations.
The original script called for a mention of the Kromaggs since the
episode was being produced to air after "Invasion". Fox's reshuffling
of the episode order caused those lines to be deleted:
Wade pays a visit to Rembrandt at the recording studio the day after
someone breaks into Quinn's basement and steals the timer...
WADE
Have you talked to Quinn?
REMBRANDT
Not since last night. Something about
the timer being stolen...
WADE
I'm really starting to get worried.
(then)
He said the whole basement was ransacked.
REMBRANDT
You think Arturo had something
to do with this?
WADE
I've got to admit, it crossed my mind.
(then)
You know what Quinn thinks? It's the FBI,
foreign governments -- He even said it might
be the Kromaggs.
(Off Rembrandt: absurd)
I think he's in denial, Rembrandt. He's
insisting we're not home.
Originally Quinn was supposed to figure out Arturo was lying earlier the
episode, but the following lines were later changed to reflect what made
it into PTSS:
At the University press conference, Quinn walks in and Arturo calls for
a break so he can walk over to talk with Quinn...
QUINN
We need to talk.
ARTURO
(harsh whisper)
How did you get in here
without press credentials?
QUINN
You're not that important
yet, Professor. I told them
I was on the school paper.
ARTURO
What are your intentions, boy?
To discredit me and steal the
spotlight for yourself?
QUINN
Take all the credit you want. It doesn't
change the fact that we're not home.
ARTURO
What?
QUINN
You heard me. It's close --
almost a carbon copy.
But it's not our Earth.
(off Arturo)
Look.
(then)
I dug out my old baseball card
collection. There's no asterisk
by Roger Maris' home run record.
ARTURO
So?
QUINN
The Niners beat the Dolphins in
Super Bowl 23.
ARTURO
Mr. Mallory, I am no particular adept
of American football, but one thing I am
sure of; the Niners defeated the team from
Miami in a rout.
(then)
Everyone remembers that.
Quinn reacts -- this is obviously a lie --
QUINN
How can you lie like that?
ARTURO
This is home, Mr. Mallory. If you're
having trouble accepting that, I suggest
you seek professional counseling.
(then)
Excuse me, won't you?
The museum of interdimensional travel was originally meant to look
different than what we saw in the final product. Budget concerns caused
ideas in the script to be scaled back, but here is a description of what
it was to look like along with a missing line:
A crowd gathers around an enormous diorama, the size and scale of the
Elephant Exhibit at the Museum of Natural History. Flashbulbs pop,
camera/auto-rewinds whirr.
Wade and Rembrandt enter the exhibit hall astonished to see the Sliders
diorama. It features a bronze statue of Arturo, finger pointing towards
the horizon. He is massive, imposing -- like a statue of Lenin before
Communism collapsed. Trailing him, like pack-bearers on Safari (reduced
in scale to make them look even more insignificant), the three other
Sliders.
WADE
I don't believe this!
REMBRANDT
Who does that egomaniac think he's fooling?
(panicked)
We've gotta stop this. I got people
from Rolling Stone here for God's sake.
Have you ever wondered how Quinn and Wade broke into the museum? All we
were shown was Quinn and Wade walking up to the glass case. Here is the
deleted scene that explains their entry:
Quinn has just attempted to call Rembrandt as he prepared to go onstage
at MTV Unplugged. Due to problems with the Topps, Rembrandt wouldn't
take the call...
INT. QUINN'S BASEMENT -
Quinn tears through the contents of a steamer trunk --
WADE looks on as --
WADE
-- I don't understand.
Why wouldn't he take your call?
QUINN
We'll worry about Rembrandt
once we get the timer --
(reacts)
There it is.
He pulls out a small fishing rod, the cheeseball kind they advertise on late night T.V. --
WADE
What's that thing?
QUINN
It's called a pocket fisherman.
(then)
My Dad gave it to me when I was a kid.
(then)
My Dad's double in this case.
WADE
What good's it gonna do?
QUINN
It's gonna get us home.
INT. MUSEUM - NIGHT - ESTABLISHING
illuminated by lights. The lights blink off:
The building is closing for the night.
INT. MUSEUM - A guard move along an empty corridor.
GUARD
First floor clear. Alarms set.
ANGLE - THE TIMER DISPLAY CASE
Laser beams emanate from the ceiling, a light sensor alarm system.
ANGLE - MUSEUM ALCOVE
Quinn and Wade hunkered down. Quinn's got the fishing rod at the ready.
QUINN
It needs more weight.
Wade searches, not much. However, she's got a
necklace on. It's a film camera pendant. Quinn seizes on it.
QUINN
Your necklace. Let me have it.
WADE
Penny Marshall gave me that when we
closed her directing deal.
She takes it off, sad to see it go. Quinn weights the line and then steps out into the open --
INT MUSEUM - EXHIBIT ROOM
Quinn casts the line towards the display case. The fishing line ribbons through the air. As it reaches its furthest point -- THAT ALARMS ARE SET OFF. RING. RING. RING.
Quinn reels the line back in, ducks for cover as -- ALARMS BLARE from the outside --
QUINN
Three more false alarms, they'll be
ripping the system out of the walls...
VOICES. Then the alarms turn off --
DISSOLVE TO:
INT. MUSEUM - CORRIDOR - GUARD
GUARD
(into his radio)
I don't know what the problem is, Ted.
It's three times now. Shut the damn
thing down and call the alarm company.
INT. EXHIBIT HALL -
Quinn and Wade as the guard's crackling radio moves out of earshot --
QUINN
Come on --
They move to the plexiglass display case -
the timer waiting to be snatched.
QUINN
It's at thirty seconds!
(then)
I must've timed the countdown wrong.
WADE
What?
The rest of the episode plays out as we saw it...with one notable exception. The famous "My God." Arturo quote from the end of the episode was not in the script.
 
Source:
Script City
8033 Sunset Blvd, Suite 1500
Hollywood, CA 90046
Tel. 213-871-0707
Fax 213-871-9260
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