These are scenes from the October 25, 1996 production draft of the script for the episode Season's Greedings written by Eleah Horwitz. These scenes did not make it into the final episode due to time and story considerations.
Our first alteration is slight, but interesting...originally the Sliders' exit at the start was a bit more stunning, and the Sliders were in San Francisco...
TEASER
FADE IN
EXT. SAN FRANCISCO RESIDENTIAL STREET - DAY
The VORTEX opens on an almost deserted residential street and a BIG SPLASH OF WATER carries a CANVAS BOTTOM CANOE out onto the pavement. Inside are the Sliders. Outside, the canoe has been speared by a dozen arrows. The canoe careens down the street until it grounds to a stop.
Then the dialogue is just as we heard in the final version...
Another difference comes when we first see the mall. In the script, it was a much more realistic version...
INT. MALL OF SAN FRANCISCO - DAY - ESTABLISHING - (CGI MATTE)
A huge enclosed mall, bigger than the Mall of America. The "inner city" of this world. Twelve stories high with very few windows, every inch covered with advertisements and decorated lavishly for Christmas.
ANGLE - NEAR THE ENTRANCE
Many urgent shoppers pull/push wagons/carts loaded with their copious purchases.
Sales people buzz around the entrances of stores hawking samples of perfume, chocolate, anything else you can pass out.
The Sliders struggle to keep up with Arturo, who is all but bulldozing shoppers out of his way. Quinn ad libs apologies to the ones that bounce off him.
WADE
Could you slow down? My legs
aren't as long as yours.
ARTURO
I cannot slow down, Miss Welles. I
am on a mission.
As a hurried shopper bumps into Remmy and keeps going...
REMBRANDT
I think I'm out of shape for
Christmas season.
They approach a large DIRECTORY of the entire mall, with the traditional "You are here" arrow and a Scale of Miles legend prominently displayed. At the top, an ELECTRONIC DISPLAY has a continuous stream of ads running across it.
REMBRANDT
(eyeing it, amazed)
Wow. Look at this map. This mall
must be eight miles long.
And it continues from there as we saw it...
Our next change comes with the scene where Kelly confronts a mall worker for not paying enough...originally, Wade and Kelly's father was supposed to have a say...
INT. FOOD COURT - AFTERNOON
Wade is at the counter, paying Carol for a soft drink with her mall card when Kelly comes up to Carol.
KELLY
Carol, I need a word with you.
CAROL
Certainly, Miss Welles.
Wade lingers, eavesdropping.
KELLY
I just came from a department head
meeting in Mr. Bernsen's office.
It was about the employee spending
reports.
Don Welles approaches.
MR. WELLES
There a problem, Kelly?
KELLY
I'd appreciate it if you'd call me
Miss Welles at work.
MR. WELLES
(subdued)
Okay.
KELLY
(to Carol)
Apparently your spending is only at
forty-eight percent this month.
CAROL
(frightened)
I know, Miss Welles. It's just
that my mom takes this really
expensive medicine for her heart,
and prescriptions don't count as
part of your eighty percent. It's
eating up most of my spending
money.
Wade watches as Don Welles pulls a different looking MALL CARD from his pocket.
MR. WELLES
(to Kelly)
Maybe we can work something out.
(to Carol)
Look. This pre-paid mall card was
supposed to be your Christmas
bonus, but if you leave an hour
early tonight, and spend it all, it
should make it into the December
totals.
Wade can't help but smile at her dad's gesture.
KELLY
That's in direct conflict with mall
policy. You know I can't allow it.
MR. WELLES
Kelly, she's a hard worker with
extenuating circumstances. And
it's two days before Christmas.
KELLY
We're running a business here.
(to Carol)
I'm sorry, Carol. My instructions
are to let you go.
As Carol disappears to the back of the storefront, Wade can't hold her tongue any longer.
WADE
How can you be so hard-hearted?
KELLY
Excuse me. This is none of your
business and if you value your own
job, I'd suggest you get back to
work.
WADE
You've always had a little issue
with power.
KELLY
(anger rising)
I beg your pardon?
MR. WELLES
Kelly, you're starting to sound
like Bernsen.
KELLY
Better than sounding like you.
Ouch. That hurt.
KELLY
Look, you've always been a great
guy, Dad, but it takes a lot more
than that to rise above Food Court
Manager.
Kelly turns and marches off, leaving Welles to stare after her. All he can manage is a quiet...
MR. WELLES
Yeah.
Then he exits as Wade watches him, feeling his pain.
CUT TO
INT. MALL - SANTA'S VILLAGE #63 - AFTERNOON
Wade returns to her seat at the computer. There's now a small line of children and their parents who watch the video tape. Quinn hands out candy canes to the waiting kids as a miserable Arturo deals with a squirmy KID on his lap.
1ST KID
And I want a Sammy Spender Doll,
and a Cosmic Turbo Fighter Jet, and
some Creepy-Nasty-Gooey-Ooze, and
two My First Mall Cards 'cause they
wear out fast, and...
ARTURO
But those are the same mind-numbing
games and expensive, pointless toys
that all your little friends have
been asking for. Why not be
special? Ask for something that
stimulates the imagination -- like
a chemistry set or building blocks.
1ST KID
(Damien)
Look, Santa. If you don't give me
what I want, I'll tell *them*.
And from there, it continues like the final version portrayed...
The next changes are really just side notes...but important all the same.
First of all, the original script called for Rembrandt to *not* like the altered Christmas songs he had to sing. The dialogue is same, except that he said he didn't like the songs...
A more important change is the name of the young woman who abandoned the baby at the beginning of the episode. In the original script, Arturo reads her name to be "Mary"...thus putting a true Christmas spin to the story...but unfortunately, that was dropped by the final version (likely to be politically correct...ugh) and the young woman's name was changed to something that had *no* meaning...
The beginning of Act Two was largely altered...
ACT TWO
FADE IN
INT. MALL - SANTA'S VILLAGE #63 - EVENING (NIGHT #1)
Arturo pushes the last kid of the day from his lap.
ARTURO
(edgy)
Yes, I'm sure you'll get all you
asked for. And more. Merry
Christmas.
The kid leaves as Wade approaches, wrinkles her nose.
WADE
You have an interesting smell.
Like a combination of baby powder,
drool and old Huggies.
Arturo painfully rises, trying to get the circulation going. He glances over at Remmy, who's glued to the video monitor.
ARTURO
Quitting time, Mr. Brown.
REMBRANDT
Uh huh.
He shares a look with Wade, then she crosses to the monitor and clicks it off. As she ejects the tape...
REMBRANDT
Hey! I was watching that.
WADE
Just like you've been doing all
day.
REMBRANDT
So? That tape's getting me in the
Christmas spirit.
WADE
Well, how about getting into the
work spirit and help us close up?
ARTURO
Be careful with that tape, Miss
Welles. The way they made us sign
for it, you'd think it was gold.
Quinn approaches, sporting a slick Armani suit.
REMBRANDT
Something tells me you've moved up
the elf career ladder.
QUINN
Kelly hired me as her assistant.
Said she could use an extra hand
during the Christmas rush.
WADE
(icy)
Of course she picked you because of
your vast experience in mall
marketing.
QUINN
I didn't ask why. I saw a chance
to get out of a stupid costume and
took it.
WADE
You can be so naive, you know that?
(indicates tape)
I'm going to sign this back in.
As she disappears...
QUINN
(re: Wade)
Am I missing something?
ARTURO
When it comes to the opposite sex,
men are always missing something.
Then the scene finishes out with the discussion about the mall bracelets and how they are akin to indentured servitude...just like in the final version when that scene occurred...
Once the bracelet conversation is finished, we follow up on where Wade went and the conversation with her Dad has more and better dialogue than we saw...
INT. MALL - AT ESCALATOR - NIGHT
As Wade steps on, Mr. Welles hurries up from behind, holding a file.
MR. WELLES
Excuse, Miss Welles? I noticed
on your application that we have
the same last name. Is it possible
we're related?
WADE
I don't think so. All my relatives
live... far away.
MR. WELLES
What's really odd is that "Wade"
was what my wife and I were going
to name our second daughter.
WADE
(uncomfortable)
Really? Yeah, that is odd.
They reach the top of the escalator, step off.
WADE
So you had a boy instead? I mean,
I heard Kelly was your only
daughter.
MR. WELLES
Actually, Kelly's my only child.
My wife and the baby died during
childbirth.
WADE
(stunned realization)
Oh my God... oh, I'm so sorry...
MR. WELLES
It was a long time ago. In fact,
the baby would have been about your
age now.
(an awkward moment)
Well, good night.
He turns to leave. Wade's not sure she wants him to go just yet.
WADE
Mr. Welles? I, uh... I was just
trying to decide where to have
dinner. Have any advice?
MR. WELLES
(smiles)
Yeah. Don't eat here. In the
mall's never ending quest for more
profit, we charge way too much.
WADE
Guess I'll just make something back
in the room then.
MR. WELLES
You know, I just hate eating alone.
How about joining me for dinner at
my place. We can compare family
trees. Maybe we *are* related and
just don't know it.
WADE
(unsure)
I don't know...
MR. WELLES
(enticing)
I make a legendary Texas style
chili.
WADE
(it slips out)
I know.
MR. WELLES
You do?
WADE
(covering)
Like you said. It's legendary.
(and then)
So, okay, Let's eat.
Then when we later cut to Mr. Welles' apartment, he and Wade have a much different conversation...and the rest of Act Two was different in many places as well...
INT. WELLES' HOME - DINING ROOM - NIGHT
Wade (in regular clothes) is looking wistfully at framed photographs of Mr. Welles, a four year old Kelly and their mother. Mr. Welles enters behind her, carrying a pot of chili. Wade gestures to a photo.
WADE
Yosemite. Right?
MR. WELLES
(how did she know?)
Yes.
WADE
(hearing the surprise in
his voice)
I went there once with my family.
We had a great time.
MR. WELLES
I thought you said your
family lived far away.
WADE
They do. Now.
(let's drop this)
It's a long story. And there's no
happy ending.
MR. WELLES
Well, I don't know what problems
you're having with them, but my
wife used to have a saying.
He sets the chili down, starts back for the kitchen.
MR. WELLES
"Never give up on your family..."
As he disappears into the kitchen...
MR. WELLES (O.S.)
"They're all you really have
in life."
WADE
(softly - at same time)
"They're all you really have
in life."
MR. WELLES (O.S.)
I'm sorry. What did you say?
WADE
I said...it's a good saying.
As she ponders the wisdom of the words...
CUT TO
INT. MARY'S EMPLOYEE HOUSING ROOM - NIGHT
Someone's knocking at the front door. Mary enters frame, opens it. It's Arturo.
MARY
Why don't you leave me alone?!
She starts to close the door, but Arturo stops her.
ARTURO
I have my reasons.
(and then)
Please. Can't we just talk?
A beat, then Mary relents, lets him inside. As she closes the door, Arturo scans the room. It would be simple and spartan, were it not for mounds of merchandise still in boxes: Jewelry, clothes, appliances, video games, etc. And of course, a TV, tuned into a mall commercial.
ARTURO
Mary... you're in debt up to your
neck and yet you still go out and
buy things?
MARY
I can't help it.
(gestures to TV)
When you're watching those ads, you
think that if you stop spending
you'll stop breathing.
ARTURO
(clicking off TV)
So stop watching.
MARY
I wish it were that easy...
Arturo moves to her, takes her by the shoulders.
ARTURO
It's quite clear you should get
help. If you don't do it for
yourself, do it for your child.
Off Mary's tortured look...
CUT TO
INT> WELLES' DINING ROOM - NIGHT
Mr. Welles and Wade sip after-dinner coffee.
MR. WELLES
After Kelly graduated, I got her a
job working with me. It was
great... till Bernsen took an
interest in her. He's turned
everything I taught her about
giving people what they need into
how to take what *he* wants.
WADE
Have you told Kelly how you feel?
MR. WELLES
I doubt she'd listen.
WADE
You know... I once dated this boy
in high school. He broke my heart.
The night he dumped me, my dad took
me out for a burger. He told me
that he'd always had a bad feeling
about the boy, but wasn't sure he
should say anything.
(and then)
I told him I wished he *had* said
something. Because I respect my
dad. And I would have listened.
As Mr. Welles considers this --
CUT TO
INT. MALL - FOOD COURT - NIGHT
Quinn and Kelly are at a secluded table, eating dessert.
QUINN
Doesn't it bother you that the mall
is so tough on people just because
they're in debt?
KELLY
No one forced them to come in and
open a credit line in the first
place. If they're irresponsible,
that's their problem.
(the oldest excuse)
We're just giving them what they
want.
QUINN
Did you ever think that maybe you
shouldn't?
KELLY
Look, Mr. Bernsen has turned this
mall around. We used to be
fourteenth in the state, now we're
closing in on first. And my star
is rising with it.
QUINN
So that makes everything okay.
Kelly suggestively leans over the table.
KELLY
You know, this isn't the image I
had in mind for us tonight.
QUINN
Yeah? What is?
KELLY
This.
She closes her eyes, leans in to kiss him. But Quinn pulss back. Surprised, she opens her eyes.
QUINN
I'm sorry. Maybe we should just
keep this business.
KELLY
(tightly)
Maybe so.
Embarrassed, she rises and exits, leaving Quinn behind.
CUT TO
INT. MARY'S EMPLOYEE HOUSING - NIGHT
Arturo paces as Mary sits on a couch.
MARY
I started working here after my
divorce. Everything was going okay
for awhile, then I started spending
like crazy. I wanted to stop,
especially after I lost my house,
but I just couldn't. Then the mall
gave me this housing to help out
temporarily, but things kept
getting worse.
(then)
Now I'm a prisoner to this place.
ARTURO
And you thought by leaving your son
at the church, he'd have a chance
at a better life.
MARY
I'm going to spend the rest of my
life living and working in this
mall. Anything's better than that.
He sits next to Mary, takes a deep breath. What he's about to say is painful for him.
ARTURO
Mary, at the end of the Second War,
my parents had to place me in a
boy's home. Our flat had been
destroyed during the Blitz, and
they just couldn't care for me.
(then)
I was only a lad, but I remember
them walking away. I tried to
follow, but the Sisters wouldn't
let me. I cried every night
thinking I would never see them
again.
He takes a moment to gather himself, then...
ARTURO
Thankfully, they did come back for
me. But the fear of abandonment
haunts me to this day. I have
wonderfully supportive friends, but
always in the back of my mind, I
wonder if they'll leave me one day.
(then)
I don't think you want your son to
battle that demon all of his life.
Off her reaction...
DISSOLVE TO
INT. HOTEL ROOM - NIGHT
Pan across a huge pile of presents, wrapping paper, ribbon. RIND REMBRANDT tying a bow as he hums, the TV on in the background.
REMBRANDT
"Dashing through the mall, buying
presents on the way..."
He's startled by Arturo's entrance.
REMBRANDT
Hey! Don't look!
ARTURO
(too late)
My Lord... where did all this come
from?
REMBRANDT
(proud)
I bought you guys Christmas
presents.
ARTURO
How much did you spend?!
REMBRANDT
Don't worry. The mall gave me a
line of credit.
The door opens and Quinn enters.
REMBRANDT
Oh, great. Now everyone's going to
know what their gift is.
QUINN
What's going on?
ARTURO
I'm not sure.
(then)
Mr. Brown, why this sudden need to
shop? We've never exchanged
Christmas gifts before.
As Remmy starts to wrap an AUTO-FLOSS...
REMBRANDT
Yeah, I know. But I really wanted
to show you guys how much I care.
(by rote)
"Remember, nothing says you're
special like the Auto-Floss."
A look of concern crosses Arturo's face as Remmy rises.
REMBRANDT
Left a bow in the bedroom. Now
don't you peek!
As he exits, Arturo drifts slowly towards the TV, his eyes riveted on the commercial that's playing MOS.
QUINN
Look at all this stuff. What the
hell is Remmy thinking?
ARTURO
(knowingly)
Perhaps what they want him to
think.
(turns to Quinn)
I suspect Mr. Brown has been
brainwashed.
And off Quinn's reaction, we...
FADE OUT
END OF ACT TWO
And in turn...most of Act Three is the same way. It begins with the conversation between Kelly and her Dad and some missing dialogue on the end...
KELLY
It's business, Dad.
MR. WELLES
Business. And what do you think
you're gonna get from doing this
kind of business? A big house? A
fancy car? And what? You think
there's no price tag for that?
Kelly doesn't want to hear this. She turns to leave.
KELLY
I'm late.
Mr. Welles grabs her arm and holds her.
MR. WELLES
You hurt that kid when you fired
her. So tell me, you feel good
about yourself today? Feel like a
big shot? You can push the little
people around?
She doesn't like it, but she's not about to admit it. And she's angry about her father pushing her face in it.
KELLY
(tense)
Look, it's my job. And I'm going
to do it the best I can. And you
know why? Because I don't want to
spend my life just being a food
court manager.
That stung.
MR. WELLES
Let me tell you something. I can
get up everyday and look myself in
the mirror and like myself. That's
worth more to me than any house or
car. And that's the way you used
to be. Before Bernsen snowed you
into thinking that money is more
important than people.
There's a beat between them.
KELLY
Like I said. I'm late.
She turns and walks off, leaving Mr. Welles to look after her. Wade approaches him.
WADE
I'm sorry.
MR. WELLES
Not your fault. You had good
advice.
(turns to Wade)
I hope your Dad knows how lucky he
is to have a daughter like you.
Off Wade's reaction...
CUT TO
We then cut to the Sliders viewing the slowed down version of the tape where they find the subliminal messages...
The next addition comes when Quinn and Wade are in Bernsen's office hacking into the computer...
INT. BERNSEN'S OFFICE - MOMENTS AFTER [MARY LETS THEM IN]
Quinn eyes the monitors as Wade works at the computer.
QUINN
You think Kelly's involved in this?
WADE
I don't know. One thing I've
learned from sliding is people's
doubles aren't always the same.
(with an edge)
So how *was* your dinner with my
sister?
The comment catches him off guard.
QUINN
Okay. Why?
She doesn't answer... keeps typing.
QUINN
Are you jealous?
WADE
Don't be ridiculous.
(and then)
Okay, I'm in. So if I were a
highly incriminating, illegal
document, where would I be?
She contines typing.
QUINN
You *are* jealous.
WADE
Okay, so maybe I am. A little.
QUINN
Buy why? We're sliding out of here
tonight. You know nothing could
happen between her and me.
WADE
I know. It's just... you remember
before we started sliding, I had
kind of a crush on you? And I
invited you home for dinner? ALl
night long you couldn't keep your
eyes off my sister.
QUINN
Well, yeah, I guess.
WADE
You guess? Come on, your tongue
was practically handing out. The
only reason she didn't pursue it
was she knew I'd cut off all her
hair while she was sleeping.
She stops hacking a moment and turns to him.
WADE
I guess when I saw you two together
again, all that stuff came rushing
back. Stupid, huh?
Quinn smiles affectionately at her. They share a moment, then she goes back to hacking. Quinn returns to the monitor when suddenly they hear a kepy slip into a lock at a side door. Before Quinn and Wade can react
KELLY
enters and off her astonishment at the sight of Quinn and Wade, we...
FADE OUT
END OF ACT THREE
And some missing dialogue in Act Four explains what Bernsen's real scheme was...
BERNSEN
That's what I thought.
(to Arturo)
And as for you...I just hate to
break up a set.
He gestures to the two guards. As they start to handcuff our two heroes...
CUT TO
INT. BERNSEN'S OFFICE - DAY - SAME TIME
Kelly and Quinn hover behind Wade as she scrolls through file names. Quinn suddenly points to the screen.
QUINN
There. Open that file named "Mall
Loans."
Wade types, then...
WADE
That's it.
QUINN
(reading file)
Look at this. Bernsen's the money
behind Bay Funding.
WADE
(eyeing screen)
Incredible. First he seduces
people into getting in over their
heads with subliminal advertising,
then he loans them money at an
obscene interest rate.
QUINN
(pointing)
And look at all these properties in
his name. Including Mary's house.
KELLY
What's it mean?
QUINN
Don't you get it? Bernsen's
personally buying up the debtors'
homes for pennies on the dollar
from his own corporation.
WADE
(shakes her head)
This guy's pure slime.
QUINN
Wade, download that file.
The next scene is Kelly confronting Bernsen in the mall...just as we saw...
Our final altered bits come at the very end...
MR. WELLES
(entering with dessert)
ARTURO
Do we have time, Mr. Mallory?
Quinn checks his watch.
QUINN
Oh man. We have to go!
WADE
How soon?
QUINN
Now.
A flurry of activity. Kelly heads for a nearby cabinet as Quinn goes for his jacket, hanging on a chair.
MR. WELLES
(to Wade)
What do you mean, go?
WADE
(with a look to Kelly)
It's a complicated story.
She hugs him, kisses him on the cheek.
WADE
Thanks for being here. Just know
you were the best Christmas present
I could have.
MR. WELLES
I don't understand. But for some
reason, it feels okay.
All Wade can do is smile. Kelly approaches with an instant camera (the kind where the photos come out right away).
KELLY
Everyone squeeze together.
QUINN
Not much time...
As the Sliders gather together, Arturo reaches out to include Mary.
MARY
No, just family.
ARTURO
We are all one family.
She smiles, joins them. Wade grabs her dad close.
KELLY
Everyone smile!
FLASH! As the camera ejects the undeveloped photo, Quinn turns, hits the timer button. The VOTEX opens. As Kelly, her dad and Mary react...
QUINN
(to Rembrandt)
Go!
Remmy's first. Quinn's next.
ARTURO
(to Mary)
God bless you.
MARY
And you.
ARTURO
He has. I have my friends.
Mary smiles. Arturo slides. Wade smiles at her family, steps towards the vortex.
WADE
I guess you can think of this as a
Christmas miracle.
She blows them a kiss, slides. The vortex closes. A beat,
then Mr. Welles looks down at the now developed photo Kelly holds.
CLOSE ON PHOTO
The Sliders are framed by Mary and Mr. Welles (or, if we want, they've been edged out). FREEZE ON THE PHOTO as the words "HAPPY HOLIDAYS" appear acorss it, then...
FADE OUT
THE END
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