Sliders: The Dimension of Continuity
Roads Taken Script Outtakes
 
Sliders DoC   Lost and Found   S4

These are scenes from the March 19, 1998 1st revision draft of the script for the episode Roads Taken with story by Marc Scott Zicree and teleplay by Bill Dial. These scenes did not make it into the final episode due to time and story considerations.



We begin with a missing observation by Remmy about the cause of the explosion...

ACT ONE

EXT. ALLEY - DAY - CONTINUOUS

Rembrandt and Colin have taken cover behind some crates and barrels and are looking cautiously out into the street.

REMBRANDT Seems pretty quiet now. COLIN Maybe that explosion was some kind of mistake. REMBRANDT That was an anti-tank rocket. They don't go off by mistake. Somebody out there is angry.


Rembrandt's reporter friend was also supposed to give us a bigger glimpse at this world's alternate history as well as the Hotel's food...

CAROLINE Microsoft went under, took the whole market down. President of Mexico thought he might have a shot at taking back some land he said we stole. REMBRANDT (playing along) Those guys were just waiting for a shot at us. CAROLINE They grabbed southern California, parts of New Mexico, Arizona. Just about the whole southwest is under Mexican control except for some hold-outs here in L.A. the B-One Bobbies mostly, and of course, Texas. REMBRANDT Of course. CAROLINE (to bartender) Marvin, another Don Diablo shooter down here. (then) The Mexican army didn't know that every man, woman and child in the state has an automatic weapon. It's a law. Then they ran into the Willie Nelson Suicide Brigades. Drove them back across the Rio Grande. REMBRANDT Don't mess wih Texas.
The bartender brings a shot glass of tequila. Caroline does the salt, shot and lime routine. Rembrandt notes it as he sips his beer.

REMBRANDT You do nice work. CAROLINE (a shrug) I'm a journalist. REMBRANDT Say, they used to have a pretty good kitchen in this hotel. How's the food? CAROLINE Kitchen's closed. No room service. Your best shot is a Red Cross package from the wagon on the street. REMBRANDT Sounds tasty. CAROLINE Be careful. The stuff that looks like cheese is actually Sterno.
Her phone chirps. She answers it.

CAROLINE Tatashore. (listens) No, no, no, no...I don't care if Ted doesn't want to see the guy on fire...It's my report...
As she continues on the phone, Rembrandt leaves some money on the bar and slips away

CLOSE ON WIND-UP RADIO

A hand is cranking the lever.

And just as we saw, this hand belongs to Colin as he works the complimentary radio...



At the beginning of Act Two, we were supposed to be shown why Remmy was going after ice...

COLIN Like I said. Could have been a ghost. REMBRANDT I don't want to think like that. (holds up ice bucket) Does fifty bucks for a handful of ice cubes sound right to you? Now where's that artificial, simulated soda I saw in the Red Cross box? COLIN Bring the ice over here. Quinn and Maggie are running a fever.
Rembrandt crosses to Colin. During the following, Colin takes ice from the bucket, wraps it in cloths and places the cloths on Quinn's forehead, then Maggie's.
REMBRANDT A fever? Are they sick?


During the first "dream sequence" view into Quinn and Maggie's life in the bubble universe, we were supposed to have a short break in the middle and get a view of what Rembrandt and Colin were doing...

EXT. PARK - DAY (DREAM SEQUENCE)

A titled, subjective, moving viewpoint of children running and playing in the park. We see, vaguely, a young couple walking toward the children. BRIGHT FLASH.

DISSOLVE TO

INT. HOTEL ROOM

It's later, and Colin and Rembrandt are playing cards at the table, listening to their wind-up radio. The timer and Colin's notebooks are on the table. A piece of music finishes, and the announcer comes on.

ANNOUNCER'S VOICE It's 11:45, and Music Till Midnight will continue after the news... California Governor Robert Dornan made a broadcast today from his hidden fortress in the Sierra Madres. He denounced the continuing sanctions, claiming that women and children are starving in the streets, medicine and food are in short supply. The U.N. Secretary General responded that the people of California would do just fine if the humanitarian Aid- for-Avocados actually got to them instead of being diverted to Dornan's inner circle, and his Republican Guard. REMBRANDT I'm tired of this news.
He turns off the radio.

COLIN I'm tired of this world. (checks the timer) Nine more hours to the slide. (re: Quinn and Maggie) What do we do if they're no better by then? REMBRANDT We have to take them with us. Hope for better help in the next world. COLIN The 'next world.' Where I come from people only talk about that when they're dying.
They look over toward Quinn and Maggie. Rembrandt is unable to consider such a possibility. He rises and crosses to Maggie's bed, takes the cloth from her forehaed, dips it in the now melted ice in the bucket and replaces the cloth.

CLOSE ON MAGGIE'S FACE

moving in closer and close until we dip into *her* dreams.

DISSOLVE TO

EXT. CHURCH - DAY (DREAM SEQUENCE)

A wide angle up on the steeple of the church. We can see the bell inside, ringing, swaying back and forth. A BRIGHT FLASH.

INT. HOSPITAL CORRIDOR - DAY - A SUBJECTIVE POINT OF VIEW (DREAM SEQUENCE)

We seem to be moving along the corridor as if we were in a wheelchair, moving through the waiting patients. BRIGHT FLASH.



When Rembrandt went to look for a doctor, he was originally supposed to run into his reporter friend Caroline again...

COLIN I don't know. In my world, some people looked like this when they were sick. It's not a good sign. REMBRANDT I can't take this anymore. They need a doctor, and I'm gonna find one. Stay here, try to keep them comfortable. I'll be back as soon as I can.
Rembrandt leaves. Colin looks down at his brother.

CUT TO

INT. HOTEL CHECK-IN DESK

Gomez Calhoun is there. Rembrandt waits impatiently as Gomez deals with some people. He looks around the lobby, still crowded with a motley group of folks. He sees Caroline Tatashore is still at the bar.

INT. BAR

Still a group of reporters sitting around, working, drinking. Rembrandt approaches Caroline Tatashore. She's working on her laptop.

REMBRANDT Excuse me, caroline? CAROLINE Yes? REMBRANDT I have two friends traveling with me, and they've become ill. I don't know any doctors around here. Does the hotel have one? CAROLINE This hotel doesn't have aspirin. You won't find any civilian doctors in the city. They all took off when the bombing started. The Peace Keepers have medics and a couple of field hospitals. REMBRANDT That'll have to do. CAROLINE They're pretty busy, and they only take care of casualties. Unless your friends have been shot, they won't help you. REMBRANDT Maybe I can change their mind.
He exits. Caroline watches him a moment, then shakes her head and goes back to her note taking.

EXT. CITY STREET - DAY

Rembrandt comes out of the hotel and looks up and down the mostly deserted street. Suddenly, there is a rifle shot, and a bullet takes a divot out of the pavement right by Remmy's foot. He jumps back into the cover of the doorway. Then he peeks out cautiously to see who's shooting at him.

And that's the point that we started seeing events...



Did you wonder why Rembrandt offered the Lieutenant a cigarette after he was shot? It was supposed to be the pay off to something set up earlier...

REMBRANDT Wait up. I need your help. DODGE You've *been* helped. REMBRANDT I know that. And, thanks. But I have friend back in the hotel. They're very sick and need a doctor. DODGE Good luck on that. REMBRANDT I was told you people had medics. DODGE Can't spare any right now.
They make a quick move to the wall of a building at a street corner. One of the Peace Keepers peers around the corner. It seems to be clear, and the Peace Keepers start up the new street.

ANGLE ON STREET

as the Peace Keepers come around the corner. The partrol moves in a spread-out formation, each man scanning the building windows around them as they move. They get across the street, Rembrandt following, adn pause in the shelter of a stoop. Dodge posts a couple of lookouts, then directs the other men to take it easy for a few minutes. SOme of the soldiers sit on the steps of the building.

WITH REMBRANDT AND DODGE

as Dodge relaxes and takes out a pack of smokes. He offers one to Remmy, who declines.

DODGE Don't blame you. I didn't smoke myself until I got this duty. Something about being scared all the time, getting no sleep, and shooting guys makes you want to smoke. REMBRANDT Lieutenant...my friends...What can I do to persuade you to get us a medic? DODGE You ever heard of 'triage'? REMBRANDT Sounds French. DODGE It is. It's a way to decide who gets medical help in a war zone. The victims are rated on survivability. The ones who are gonna make it get the treatment. The ones who aren't gonna make it don't. REMBRANDT Sounds French.
Dodge shrugs and tosses his cigarette, turns to his men.

DODGE Okay, let's move out.
Dodge and his men start up the street, turn and head down an alley.

Rembrandt sits there on the stoop for a moment, thinking things over. There's got to be something he can do. Not knowing anywhere else to go, he gets up and follows the Peace Keepers.

The the scene cuts back to Colin in the hotel room listening to the radio as he sees the spectral image of Thomas appear again...just as we saw in the finished episode.



After Dodge is shot and Remmy pulls him to safety, there were a few additional lines to help pay off the cigarettes mention before...

IN THE ALLEY

Rembrandt pulls Dodge to cover and props him against the wall. He finds Dodge's cigarettes in his pocket, offers one to the wounded man. Dodge shakes his head.

DODGE Good time to quit.
Rembrandt tosses the pack.

DODGE I owe you. Get me to a doctor, and I'll get *you* to one.


The original script also had Rembrandt and Colin more concerned about the impending quarantine. In fact, the original version has them so concerned that they move themselves into hiding...

KURTZ You two must stay in here with them. We can't risk spreading this...whatever it is?
He leaves. Colin and Rembrandt react to this twist.

REMBRANDT Quarantine. We can't let that happen. COLIN So what do we do now? REMBRANDT We have to move. Hide them until we make the slide.
The move to Quinn and Maggie on the bunks.

DISSOLVE TO

INT. BASEMENT ROOM

Colin and Rembrandt have improvised bunks from flattened cardboard boxes. Quinn and Maggie are resting there beneath blankets. Colin is watching them, holding his notebook and the timer. Rembrandt enters with more ice in a bucket.

REMBRANDT This is it for the ice. I'm out of cash.
He takes ice and cloths and goes to work on Maggie and Quinn.

COLIN Remmy, I'm sure it's connected. REMBRANDT Stop it right there. I don't want to hear any more about that ghost.
And the rest goes on just as we saw it...with one small addition. When Thomas appears at the end of Colin's explanation, Thomas says:

VISITOR'S VOICE You were right to bring them down here. They'll be safe.


The original script also offers a much more detailed explanation of the bubble universe concept and how it occurred...

REMBRANDT You're telling us that our Quinn and Maggie split off into another universe? THOMAS A part of them did, and a part of them arrived here with you. The two that split into the bubble have lived an entire lifetime in what, for you, has been only a few hours.
Colin is beginning to get it.

COLIN The Quinn and Maggie who split off are dying of old age in your world, and somehow *our* Quinn and Maggie are going with them.
Thomas is excited to find a kindred spirit here and goes on to explain quickly.

THOMAS Exactly. They are linked to one another. It took me a while, but I determined that the quantum wave occupied by my parents had to be multiplied by the complex-conjugate of the wave to fix this point, where we are now. Of course, if I'd thought it through, I would have seen this was predicted by Newton's Second Law. REMBRANDT Of course. THOMAS Think of the quantum wave as water disturbed by a stone dropped in a pond. The waves expand equally toward the edge of the pond. The complex-conjugate wave expands too, but inward from the edge of the pond to the center. We are now at the point where the quantum wave moving out meets the conjugate wave moving in.
Colin and Rembrandt stare at him a moment.

COLIN So now that we've met... THOMAS We have to 'unmeet.' Somehow. REMBRANDT What is this to you? Some kind of experiment?
Thomas looks down at Quinn and Maggie.

THOMAS I'm sorry. I forgot to introduce myself. I'm Thomas Mallory.
The scene continues on as we saw it...with Thomas asking for some equipment and Colin explaining the Navaho fate of the famous laptop...



Colin also had a bit more to say at the end of his first conversation with Thomas...

THOMAS Your friend is a philosopher. COLIN Sometimes. THOMAS Your travels have been hard? COLIN It seems that whatever world we visit, certain things are always the same. Peace, love, happiness -- things that ought to be easy for us to find are hard.
Thomas nods and studies the timer.



Another joke (and its later payoff) were inexplicably cut. The scene is when Quinn and Maggie are in the convertible talking about marriage and kids...

MAGGIE That's why you don't get all that all at the same time. We got a step at a time. We get engaged. We plan a wedding. QUINN Do you want to do it in a church? MAGGIE (a joke) Get married?
Quinn gives an embarrassed laugh.

QUINN Of course, what did you think I meant?
Maggie just smiles at him a moment, then...

MAGGIE Put up the top.


And Colin's role in the bubble universe? Thomas was to elaborate...along with giving the payoff to the church joke mentioned above...

REMBRANDT You mean you can *wish* a whole world into being? THOMAS Why not?
Thomas pauses, looking at Colin a moment. Then:

THOMAS My dad used to talk about you a lot. COLIN He did? THOMAS You were lost from the family when you were very young. Somewhere in the mountains above Big Bear. You were never found. But Dad always hoped you were safe somewhere, and now, I can tell him you are. If we can get back to him.
A pause as Colin continues to work.

THOMAS Do you mind if I call you Uncle Colin? COLIN Yes.
Thomas smiles at that. Colin shows him some calculations. Rembrandt looks across towards Maggie. Thomas continues to talk, and it will now become our narration for much of the following sequence.

THOMAS They did it in a church.
REMMY'S POINT OF VIEW - CLOSE ON MAGGIE'S FACE

REMBRANDT'S VOICE Did what?
We begin to hear the ringing of a church bell.

THOMAS' VOICE Got married.
And then we dissolve into Maggie's dreams.



Thomas also originally gave more information on his birth...

THOMAS' VOICE They named me Thomas Michael. Thomas for the General, and Michael for my father's dad. I was just under eight pounds and a little colicky.


Also, Thomas originally did not take Remmy and Colin with him...

COLIN If this works, they should come back on their own. They haven't really left, you know. REMBRANDT The more I hear about quantum physics, the less I understand it. THOMAS It's that way for everybody.
Using calculations from Colin's notebook, Thomas punches data into the timer. Then he looks up at Colin and Rembrandt.

THOMAS Well, here goes...everything.
He shakes hands with Colin.

THOMAS It's been a pleasure working with you. *Uncle* Colin. COLIN Same here. Thank you for doing this.
He turns to shake hands with Rembrandt.

THOMAS There's a chance it might not work. REMBRANDT Than you for the *offer* to do it.
Thomas nods and smiles at him. He looks at Quinn and Maggie one last time, then points the timer at the wall between their beds. The laser streams that flow from the timer are a different color. He hands the timer back to Colin. Then, there is a FLASH OF LIGHT, and Thomas is gone. Quinn and Maggie are still in their beds. Remmy and Colin look worried. Did it work?

CUT TO

INT. WORMHOLE

Another twisting, plunging space inside a vortex. It's white this time, almost blinding.

DISSOLVE TO

INT. WHITE SPACE

Almost an undefined area. No walls. Maybe a kind of glowing mist along the floor. There are two beds in the space. Brass frames topped with white, chiffon-like fabric. On the beds: an old man and an old woman (this might be reminiscent of the scene at the end of "2001", with Keir Dullea on his death bed). To one side, we see a shiny stell machine, lights and dials blinking and glowing.

ANOTHER ANGLE

As Quinn, Maggie and Thomas enter the space and move toward the beds.



Old Quinn also cited a different poem originally...as well as a bit more criticism on his younger self...

OLD MAGGIE (looks towards Thomas) And a loving son. (then to Maggie) Perhaps the memory of all that we have had will keep you strong in the hard times you have ahead of you. MAGGIE I think it will. OLD QUINN 'The lights begin to twinkle from the rocks. The long day wanes.' Tennyson. Do you know him? QUINN Not as well as I should Physics major. OLD QUINN (a little cranky) I don't know what's happening with students today. A physics major should know Keats and Tennyson as well as he knows M Theory. You *do* know M Theory, don't you?
Quinn looks at the floor like a student called on the carpet.

QUINN M Theory is the subsummation of what used to be called 'String Theory,' an effort to get Einsteinian mechanics to comply with known quantum rules. Supersymmetry in sub-atomic particles is measured in integer spin... OLD QUNN (interrupting) Yes...yes...good boy. QUINN Of course, there's still disagreement... OLD QUINN Not from me. I'm satisfied M Theory works. And that's that. QUINN Yes, sir. OLD MAGGIE Stop lecturing the boy, Quinn. (apologetic look to Maggie) Occupational hazard.


Soon after, Thomas gives the larger portion of the original Tennyson poem chosen for the episode...

Thomas moves to the machine and starts to work some levers (this is the machine he was working earlier in his ghost-like appearances. We just didn't see it before).

Old Quinn nods and stretches out his hand between the beds. Maggie reaches out and takes it.

OLD QUINN (to Quinn and Maggie) Put your hands on top of ours.
Quinn and Maggie do.

OLD QUINN (to Thomas) Say it, Thomas. You know the part we like.
Thomas steps forward and opens a small, leather-bound book.

THOMAS 'Tho' much is taken, much abides; and tho' We are not now that strength which in old days Moved earth and heaven; that which we are, we are; Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.'
As Thomas reads, we move in close on Old Quinn's face as he looks at Old Maggie. She looks back at him and smiles.



The ending is also very different and much better. No paradoxical "Groundhog Day" scenario...just a continuation from where we left off...

IN THE BASEMENT ROOM

Colin and Rembrandt waiting for whatever is to happen.

ANGLE ON QUINN

He stirs and opens his eyes. He looks over at Maggie, who is also waking up. They sit up. Quinn reaches out and takes her hand, and they stand and look at Rembrandt and Colin.

COLIN (softly) Thank God. REMBRANDT The right one to thank, brother. The right one to thank.
They both move to Quinn and Maggie and check them out. They seem back to normal.

COLIN Are you all right? QUINN Yes. I feel fine. MAGGIE Me, too. REMBRANDT Do you remember...anything?
Quinn and Maggie look at one another.

MAGGIE I remember everything. QUINN Me too. (then) But how? How can I have a lifetime of memories when I haven't lived my life yet? MAGGIE I don't know. But I want to hold onto every one. And in the meantime, we'll make new ones.
Quinn smiles at her, then, suddenly worried.

QUINN The timer. How long till we slide?
Colin grabs the timer.

COLIN Less than five minutes. QUINN Thank heavens.
Rembrandt starts to laugh in relief at seeing his friends well again, and at the prospect of getting out of there, but suddenly...there is a HUGE EXPLOSION, shaking the room violently. The Sliders hit the deck. Now, the Sliders jump up and run out of the room.

INT. HOTEL - CORRIDOR

The Sliders run for their lives as the HOTEL EXPLODES around them. Ceilings cave in.

THE LOBBY/BAR

The residents and reporter have jumped off their cots and everyone is running for cover or to get outside. An EXPLOSION blows in a window. The Sliders dodge their way through the people and to the door.

EXT. CITY STREET

People running everywhere. U.N. soldiers jumping for cover. The Sliders come out of the hotel and run up the street. EXPLOSIONS LAND all around them. They turn into an alley.

EXT. ALLEY

as the Sliders round the corner. Colin holds up the timer. Seconds to go.

QUINN AND MAGGIE

Quinn takes her hand.

QUINN I think we've reached the beginning.
COLIN

activates the...

VORTEX

It looks normal, and downright welcoming. Colin and Remmy jump in, followed by Quinn and Maggie. The VORTEX CLOSES, and as it does, there is a BIG EXPLOSION from a direct hit right where our people were standing.

FADE OUT

THE END




Sliders DoC : Lost and Found : S4 : Roads Taken Script Outtakes