Sliders: The Dimension of Continuity
Season's Greedings Script Outtakes
 
Sliders DoC   Lost and Found   S3

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




Sliders DoC : Lost and Found : S3 : Season's Greedings Script Outtakes