Sliders: The Dimension of Continuity
Gillian of the Spirits Script Outtakes
 
Sliders DoC   Lost and Found   S2

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




Sliders DoC : Lost and Found : S2 : Gillian of the Spirits Script Outtakes