Sliders 4x06 - Oh Brother Where Art Thou (1997!10!13)

8/20/2019 Sliders 4x06 - Oh Brother Where Art Thou (1997!10!13)

1/52

EXEC. PRODUCER: David Peckinpah PROD. #K2811

CO-EXEC. PRODUCER: Bill Dial Prod. Draft 10/13/97 (F.R.)

PRODUCER: Jerry O'Connell

PRODUCER: Ed Ledding

PRODUCER: Marc Scott Zicree

EXEC. STORY EDITOR: Chris Black EXEC. CONSULTANT: Tracy Torme'

"O H B R O T H E R, W H E R E A R T T H O U ? "

Teleplay by

Bill Dial and Marc Scott Zicree

Story by

Chris Black and David Peckinpah

Directed by

David Peckinpah

- NOTICE -

THIS MATERIAL IS THE PROPERTY OF UNIVERSAL CITY STUDIOS AND IS INTENDED AND

RESTRICTED SOLELY FOR STUDIO USE BY STUDIO PERSONNEL.. DISTRIBUTION OR DISCLOSURE

OF THE MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING OR

REPRODUCTION OF THIS MATERIAL IN ANY FORM IS ALSO PROHIBITED.


2/52

SLIDERS

"Oh Brother, Where Art Thou?"

TEASER

FADE IN

EXT. A FIELD - DAY (D1)1 1

The Sliders rumble out of the vortex and into a wide meadow.Rolling hills. Trees. No sign of a city. Quinn, Maggieand Remmy pick themselves up and dust themselves off andstart looking around. Quinn checks the timer.

QUINNWe've only got two hours here.

MAGGIEThat'll never be enough time tofind your brother.

REMBRANDTYeah. Assuming this is the right world, he could be anywhere on it.

Quinn double-checks the timer. Maggie walks toward the topof the hill.

QUINNNo. The coordinates I programmed match the numbers I got in theencoded message I was left by myreal parents. The denominator that

I thought was so strange must besome kind of focussed coordinate,like a tracking device for asliding trace signature.

As he has done frequently in the past, Rembrandt just staresat his techno-babbling friend.

REMBRANDTOne of these days, we're gonnaslide into a world where all theyspeak is Greek. You'll fit rightin.

QUINN

I know it sounds weird, but when we move from from one dimension toanother, we leave a trail, likequantum tire tracks. We have toassume that my brother is the onlyperson on this world with such asignature.

#K2811 - "Oh Brother, Where Art Thou?" - Prod. Draft 10/13/97 1.

Prepared by Earth Prime


3/52

WITH MAGGIE2 2

higher up the hill. Shading her eyes with her hand, she'slooking up into the sky. Suddenly, what looks like anenormous bird swoops over the crest of the hill behind her.

ANGLE ON GLIDER3 3

A closer look shows us that this is a man suspended in aharness beneath wide, canvas wings. It's a primitive-looking hang glider. Maggie turns to the others and theylook up to see the glider soar over them and circle and thenhead away.

MAGGIEDoes that look like him?

Quinn just grins at her, and the Sliders take off down thehill, after the flying man.

ANGLE ON HILL4 4

A gang of angry farmers comes running over the hill wavinghoes, axes, a couple of rifles, yelling up at the flying man.

THE GLIDER5 5

Something goes wrong, a strut breaks, something, and theglider veers to one side and down, crashing into some thickbushes. Quinn, Maggie and Remmy run up and start to helpthe flyer out of the wreckage. When the flyer stands up and

takes off his makeshift flying cap and muffler and we get agood look at him, he looks a lot like Quinn. He's wearingearly 19th Century homespun -- plain, undyed shirt, black Xpants and heavy shoes. He retrieves a long black coat and wide-brimmed hat from a backpack in the wreckage of theglider. This is COLIN MALLORY, Quinn's brother. Quinnreacts, but before he can say anything:

FARMER ONE (O.S.)Kill him!

ANGLE ON FARMERS6 6

who have arrived now and start moving angrily in on Colin,brandishing their hoes, rakes and axes.

All dressed in homespun, wide hats, some straw -- 19thCentury farmers. One of them has a musket. The Slidersbegin to move between Colin and the farmers to protect Colinand try to prevent an escalation in the conflict.

The farmers' dialogue overlaps, all of them talking at once.


CONTINUED



4/52

FARMER ONEWe have had enough of this. Ourchildren are frightened.

FARMER TWOMy cows tore down their fencing...My sheep are scattered over tenacres...

FARMER ONELet's burn his wings...

The farmers move in. The Sliders try to hold them back.

FARMER TWOLet's just shoot him and be rid ofhim.

He lowers the musket on Colin. Rembrandt is closest to it,so he shoves the rifle to one side and decks the farmer.

The Sliders wade Into the farmers, ducking the hoes andgetting in some punches.

The fight is just under way when it is rudely interrupted bysudden gunfire.

ANGLE ON SHERIFF7 7

The town sheriff has ridden up on a horse and he's firinghis pistol in the air. A big, tough-looking guy in homespunshirt and buckskin pants, high riding boots. His name isDAWSON.

DAWSONBreak it up!

THE FARMERS AND SLIDERS8 8

pull apart and stop fighting. Dawson rides between thecontending groups, moving the farmers back. Mounted copcrowd control.

DAWSON(to farmers)

Abel...John...William...you all goback to your farms. I'll take careof this.

The farmers grumble, but they move away and head back acrossthe field. The Sheriff turns his horse toward Colin and theSliders.

DAWSONYou're lucky I came along.


CONTINUED6 6

CONTINUED



5/52

COLINI am much obliged, Sheriff.

The Sheriff rides closer to the Sliders, looking them overcarefully.

DAWSONI have not seen you three in thisarea before.

REMBRANDTWe're just passing through.

MAGGIE(re: Colin)

We saw this man crash and just wanted to help him out.

Dawson nods, thinking things over.

DAWSONWhat kind of dress is that?

QUINNWe're from San Francisco.

DAWSONOh.

This seems to answer it for the Sheriff. He turns his horseback toward Colin.

DAWSONOne of these days, you will go too

far, Colin Mallory.Quinn, Maggie and Rembrandt all react to the name.

DAWSONNow, clean up that mess and getback to town. Quietly.

He spurs his horse and moves away.

CLOSE ON QUINN9 9

as he moves to Colin. Face-to-face.

COLINThank you for your help.

QUINNNo problem. Look...there's no wayto say this that won't be a shock,but I don't have much time.

(pause, then)I'm your brother.


CONTINUED8 8



6/52

ON COLIN'S STUNNED REACTION10 10

and we...

FADE OUT

END OF TEASER




7/52

ACT ONE

FADE IN

EXT. COUNTRY ROAD - DAY11 11

The Sliders are walking along a dirt road with Colin. Colinis pushing a wheelbarrow loaded with his crashed hangglider.

COLINI know you must be sincere in yourbelief that we are brothers, and Ican see some resemblance. But I'mafraid it is impossible. Surely my mother and father would have told me I had a brother if it were true.

QUINNThey did. You just haven't gotten

the message yet.

COLINWhat you say makes no sense to me.My parents died when I was a child.

QUINNDid they leave you anything?

COLINYes. But I have moved many timesover the years. Some things werelost or left behind.

This bothers Quinn.

QUINNOh, brother.

(then)You've got to have what I'm lookingfor.

COLINYou are welcome to come to myhouse. And to stay there if youhave need.

They pass a farm where the farmer is working his field withan old-fashioned scythe. Colin gives him a friendly wave.

The farmer spits and turns his back. Colin seems not tonotice the hostility, but the Sliders do.

COLINWhere do you people come from?

REMBRANDTThat's a little complicated.


CONTINUED



8/52

COLIN(to Maggie)

I have never seen anyone dressedlike you.

MAGGIELikewise.

REMBRANDTHave we fallen into some kind oftime warp?

MAGGIEWhat year is this?

COLINIt is the year of our Lord, 1998.

QUINN(looking around)

No wires going to the houses. Nopavement. No vehicles other than wagons.

REMBRANDTMaybe it's 'Amish World.'

COLINAmish?

QUINNIt's a kind of religious communitythat lives in isolation. They'veturned away from modern science.

COLINWe're nothing like that. We haveall the latest conveniences.

They pass a woman who is throwing a pail of "we don't wantto know what" into the road.

COLINWell, not all.

MAGGIEWhat do you do when you're nottrying to break your neck in a hangglider?

COLINHang glider? That is an excellentname for my flying machine.

(proud)I invented it, you know.

QUINNYou're an 'inventor'?


CONTINUED11 11

CONTINUED



9/52

COLINTinker, Jack of all trades. Idabble in mechanics andelectricity.

They pass another farm. A woman is hanging out wash. Colin waves. She shakes her fist at him.

REMBRANDTYou don't seem to be too populararound here.

COLINThey do not understand my work.Especially my experiments withelectricity. Once, during athunder storm, I trapped alightning bolt in a stone jug.

REMBRANDT

A regular Ben Franklin.COLIN

My hair stood on end for a week.

MAGGIEI can see how your neighbors mightthink that was strange.

COLINThey are hide-bound, and misguided.I can prove to them thatelectricity can provide good power,and is safe, but they have nopatience.

QUINNThings go wrong a lot? Like theglider?

COLIN(a shrug)

So I fried a few chickens.

They are on the edge of a village now. We can see a fewhouses, some wagons, people on the street.

A NEW ANGLE12 12

as the walk up the main drag of the town. A young woman ina gingham dress comes out of a house and across the yardtoward Colin. This is SUSANNAH. And she is very happy tosee Colin. They don't embrace -- this is too strait-laced asociety -- but it's clear from her body language, and his,that these two are in love.


CONTINUED (2)11 11

CONTINUED



10/52

SUSANNAHOh, Colin, I am so glad to see you well. I was worried.

(sees the glider wreckage)

Oh, my, did you crash?

COLINOnly a little. I was not hurt.

Susannah is looking at the Sliders curiously.

COLIN(realizes)

Oh...these are my new friends...(to them)

Sorry, I do not know your names.

QUINN(to Susannah)

I'm Quinn, this is Maggie andRembrandt.

SUSANNAHI am Susannah Morehouse. Welcometo El Segundo.

Susannah is fascinated by their strange clothing, especiallyMaggie. She goes to her.

SUSANNAHI have never seen clothes likethis. Did you make them?

MAGGIENo. They're what you probably call'store-bought.'

SUSANNAHBeautiful. But I could never wearanything like this.

MAGGIESure you could.

MOREHOUSE'S VOICESusannah!

A NEW ANGLE13 13

to include a large, mean-looking woman in a dark,floor-length dress, high collar. She comes off her porchand heads for the group in the road. This is MOTHERMOREHOUSE. We begin to notice that several othertownspeople are beginning to gather to gawk at thenewcomers.


CONTINUED12 12

CONTINUED



11/52

MOREHOUSEGet back in the house, child. Itold you to stay away from thisdemon and necromancer.

Susannah backs away, embarrassed, head down.

COLINI am not a necromancer, Mrs.Morehouse. And you know how I feelabout your daughter.

MOREHOUSEI know and I disapprove. Mydaughter is promised to another.And there's the end of it.

(turning to the Sliders)Who on earth are you?

REMBRANDT

We're just passing through.MOREHOUSE

Where did you get such outrageousattire?

QUINNWe're from Canada.

MOREHOUSEOh.

That is apparently good enough for her. She approachesMaggie.

MOREHOUSEYou had best cover yourself, younglady. Women in these parts are more modest. The men in theseparts are likely to get the wrongimpression.

Mother turns back toward her house, herding Susannah along.

MOREHOUSE(as she goes)

You strangers would do well to stayaway from Colin Mallory. He'sdoing the devil's work.

Colin shrugs to the Sliders, and we...

CUT TO


CONTINUED13 13



12/52

ON SPINNING WHEELS14 14

This is Colin's version of a Wimshurst induction machine,two glass wheels with metal contact points and combs. Whenspinning, as they are now, they produce electrical sparks.

WIDEN to...

COLIN'S HOME/WORKSHOP - DAY15 15

There's a simple cot, a table and chair in one corner. Therest of the space is filled to overflowing with Colin's"laboratory," a kind of machine shop gone nuts. A long workbench covered with dozens of jerry-built, half-finished RubeGoldeberg gizmos. Colin is rotating the disks of theinduction machine as Quinn, Remmy and Maggie watch.

QUINNAmazing. Where we're from this iscalled a Wimshurst machine. One of

the first gizmos to generateelectricity by induction, and storeit in jars like these.

(to Colin)And you invented this?

COLINYes. And everything else here.

Pointing a few things out.

COLINSeveral variations on the lightningrod...This is a kind of calculating machine...bicycle generator...Ihave built a flush commode in theouthouse, but I cannot get anyoneto use it.

QUINNMy brother's a genius.

Remmy holds up the timer with the numbers clicking down.

REMBRANDTI'm happy for you, but we'rerunning out of time.

Colin takes the timer from Rembrandt, amazed at it.

COLINMarley's ghost! How do the numberslight up like this?

QUINNI'll explain later. (MORE)


CONTINUED



13/52

QUINN (CONT'D)(then)

I told you I might be able to proveI'm your brother. Our parents lefta special message for me. They must have left one for you. You

said your parents left you a fewthings.

He crosses to a cabinet, opens it and takes out a bigleather-bound Bible and hands it to Quinn.

COLINThe family Bible.

Quinn, Maggie and Remmy look it over. Quinn quickly flipsthrough the pages, holds it by the covers and shakes it.Nothing. He glances at the ticking timer, then grabs thetop of the binding and rips it down to the cardboard.

COLINHey!

Quinn can't find what he's looking for.

QUINNAnything else?

Colin takes a gold watch on a chain from the cabinet, but heholds on to it, reluctant to give it to Quinn after whathappened to the Bible.

QUINNIt's very important.

Colin holds out the watch. Quinn takes it and looks itover, listens to it, opens the back, then puts it on the work bench and, before Colin can stop him, grabs a malletand smashes the watch: Colin just stares in open-mouthedamazement as Quinn quickly sorts through the wreckage of the watch.

MAGGIEYour Earth Prime mother had thechip in her arm.

QUINNRight.

Quinn grabs Colin's arms, pushes the sleeves up and looks atthe forearms.

QUINNDo you have a sharp knife?

Colin jerks his arms away.


CONTINUED15 15

CONTINUED



14/52

COLINYou are quite mad, are you not?

QUINN(getting desperate)

Anything else? You've got to havea chip, a micro-dot.

Colin looks in the cabinet and brings up a silver locket ona chain.

COLINIt belonged to my mother.

He's reluctant to let Quinn have it, but Quinn grabs itanyway. He opens it. Nothing. Turns it over. There isanother lid on the back. He opens it. There is the micro-dot. Quinn-is relieved. He takes the dot and holdsit out toward Colin, who shrinks back.

QUINNYou must put this on your forehead.

Colin doesn't want to.

QUINNPlease...trust me.

Colin looks at the dot, then into his brother's eyes. Hesighs and gives in. Quinn puts the dot on Colin's forehead.

CLOSE ON COLIN'S FACE16 16

As the micro-dot on his forehead begins to glow and pulsatein vivid colors, as it reacts with Colin's brain chemistry.

COLIN'S VISION17 17

A kaleidoscopic experience (not unlike the one Quinn hadin "Genesis,"^Prod. #K2801). Swirling colors and shapes.Mists part to reveal a young couple dressed in white. Theyare COLIN'S BIRTH PARENTS.

MOTHERHello, our precious son. We hopeyou will understand the difficultdecision your father and I had to make concerning you and yourbrother.

FATHERA terrible war is raging on our world. If we lose, it will meanthe end of life for us as we knowit. (MORE)


CONTINUED (2)15 15

CONTINUED



15/52

FATHER (CONT'D)Our enemies are the KromaggDynasty, a separate race of higherprimates.

MOTHERThe Kromaggs control more than halfour planet and have enslaved millions. Your father and I are working with other governmentscientists to develop a weapon thatcould turn the tide and win the warfor us.

FATHERUntil we succeed, we have made thepainful decision to place you andyour brother with foster parents ondifferent worlds to ensure yoursafety.

ANGLE ON COLIN18 18

as he takes his mind trip. Quinn, Maggie and Remmy watching.

MAGGIEQuinn, this thing almost blew your mind and you were already aware oftravel between worlds...

REMBRANDTYeah. What do you think it will doto a guy who thinks a toilet is a

big deal?

COLINI'm from another planet?

REMBRANDTNow, he's getting to the good part.

QUINN(looking at the timer)

We have no choice.

COLINCoordinates? I do not understand.

Quinn looks around, grabs a pencil and paper.

QUINNThey must be telling him how to getto their world.


CONTINUED17 17

CONTINUED



16/52

COLINTwelve...twelve...cosine nine,by...I can't make it out...

Quinn writes what he can, then stops, frustrated. Suddenly,Colin's eyes flash open. He stares wildly at the Sliders.He's scared out of his wits. He jumps up to run away, butRembrandt blocks him and Quinn grabs him. Colin is shaking with fear.

QUINNYou're not crazy, Colin. I knowthat's what it feels like. but Iswear to you, it's all true.

Quinn holds Colin by the shoulders, looking at himintensely. He carefully removes the micro-dot,and replacesit in the locket. He hands the locket to Maggie.

QUINN

My birth parents came back for me.My foster mother told me about it.She hid me because she couldn'tbear to give me back. I think thesame thing happened here with you.

COLINBut my parents...all that time...everything in my life was a lie?

QUINNDid you love them? Did they loveyou?

COLIN

Yes.

QUINNThen it wasn't a lie. But there isa greater truth. And you justheard it.

REMBRANDT(re: the timer)

Quinn...it's getting close.

QUINNWe want you to come with us.

COLINWhere?

Quinn takes the timer from Rembrandt and shows Colin thenumbers.


CONTINUED18 18

CONTINUED



17/52

QUINNIn less than two minutes, this machine will open a tunnel thatleads to another dimension.

COLINIn here?

QUINNWe have to go through it. All ofus. Or we have to stay here for along time.

(holds up the paper)These numbers you were given. Ididn't get them all down.

Colin is calming down, the implications of all this sinkingin. He looks at the paper.

COLIN

No. I could not understandeverything they were saying. It was as though they were fading intoa fog.

MAGGIE(re: the locket)

This thing is pretty battered.Might have damaged the micro-dot.

QUINNI think they were giving Colin thecoordinates of their home world.

(looking at the timer)In a few seconds we have to slide.

(to Colin)You must come with us. This micro-dot was designed to work only with your brain chemistry.Without you, I can't work out thecoordinates and I'll never find ourhome, our parents.

Colin is undecided. He looks around.

COLINCould I take some of my work?

Relief among the Sliders. He's caving.

QUINNSorry, but we'll have plenty to work on, I promise.

COLINWhat about Susannah?


CONTINUED (2)18 18

CONTINUED



18/52

QUINNYou have to leave her.

REMBRANDTThat battle-ax of a mamma won't letyou marry her anyway.

COLINYou're probably right.

QUINN(looking at the timer)

It's time.

COLINBut...my life here...

QUINNYour life is in the future. With me. And your real family.

Quinn hits the button and the VORTEX swirls up into theroom.

QUINN(to Maggie and Remmy)

You two go ahead.

MAGGIEYou sure?

Quinn nods and Maggie and Remmy leap into the vortex. Colinhas backed away from the vortex a little, understandablyfrightened by it.

Colin looks at Quinn. Quinn reaches out his hand.

QUINNBrother?

Colin makes up his mind. He takes Quinn's hand and togetherthey jump into the vortex.

EXT. WIDE TARMAC - DAY19 19

Maggie and Remmy are there when Colin and Quinn arrive.It's a wide stretch of pavement that apparently goes toinfinity in all directions. There is a high wind.

QUINNWhere are we?

REMBRANDTL.A.X.

There is a sudden roar and a...

SMASH CUT TO


CONTINUED (3)18 18



19/52

ANGLE ON 747 (STOCK)20 20

landing straight at us.

THE SLIDERS AND COLIN21 21

Maggie and Rembrandt are running off the runway. Colinstands, frozen at the sight of the approaching jumbo jet,the first image he has of this brave new world. At the last minute, Quinn grabs his new brother by the arm and drags himoff the tarmac-to safety.

FADE OUT

END OF ACT ONE




20/52

ACT TWO

FADE IN

EXT. CITY STREET - DAY22 22

The Sliders, plus Colin, are walking along a busy street.Everything looks pretty normal to us, but absolutelyincredible to Colin. Just about everything he sees is a mind-blower. For Quinn, Maggie and Remmy, this is likeherding a three year old through a toy store.

COLIN'S POINT OF VIEW - ANGLE ON STREET23 23

The cars, the lights, the stores, the people in theirstrange clothes, some of whom notice Colin in strangeclothes. Rembrandt is constantly getting a kick out ofColin's reaction to things and people's reactions to him.

INT. CHANDLER HOTEL - DAY24 24

as the Sliders enter and cross the lobby to the front desk.The hotel seems to be quite normal on this world. As theycross, the Sliders explain the situation to Colin.

QUINNThere seems to be a variant of thishotel on just about every world wevisit.

MAGGIEWe usually try to get the same

room.

REMBRANDTUnless, of course, the place isheadquarters for some doomsdaycult, or a military bunker for theKromagg, or a bombed-out hulk fullof hungry rats.

COLINThat happens?

REMBRANDTThat happens.

Quinn steps up to the desk. The CLERK smiles.

CLERKGood morning.

QUINNGood morning, we'd like to check inif you've got room for us.


CONTINUED



21/52

CLERKCertainly. Will that be bone graftor DNA debit.

Quinn reacts to the others.

QUINNDo you take cash?

Only the slightest pause from the Clerk, and the smile nevergoes away.

CLERKOf course, sir.

And as Quinn starts to fill in the guest card, the cameraPANS TO...

A COMPUTER TERMINAL25 25

On top of the monitor there is a compact mini-camera. WeZOOM in on the lens of this camera and...

CUT TO:

INT. POLICE STATION - DAY - CLOSE ON A COMPUTER PRINTER26 26

It whirs to life and spits out a page.

WIDER ANGLE27 27

as a plain-clothed police officer rolls his chair over fromhis desk to the printer to take the page and look at it. Ashe turns back to his desk and to camera, we see that he isthis world's alternate for Sheriff Dawson from Colin's world.

Here he is SERGEANT LOU DAWSON. He studies the printout.It's a photo of Quinn, Maggie, Remmy and Colin as they checkin to the hotel. Dawson takes a file folder from a wireholder on his desk, puts the photo in it, puts it back andgoes back to his paper work.

INT. HOTEL ROOM - DAY28 28

As Quinn, Maggie, Remmy and Colin enter. Colin sees thetelevision and crosses to it.

COLINHere's one of those cathode imagedisplay units we we saw in thestore window. Is it for us?


CONTINUED24 24

CONTINUED



22/52

MAGGIEEverything in the room is for us.

COLIN(looking around)

For keeps?

REMBRANDTWe're just renting.

He crosses to the mini-bar, opens it and takes out a soda.Colin follows to the mini-bar and bends down to study it asRembrandt tosses sodas to Quinn and Maggie. Rembrandt handsColin a soda and shows him how to pop the top. The sodafizzes up a little out of the can, startling Colin.

REMBRANDTTaste it.

Colin does. Then...

COLINOdd. What is it?

REMBRANDTCola.

COLINWhat is that?

REMBRANDTNo one knows.

Colin bends down to pull the mini-bar away from the wall and

starts examining the condenser coils.MAGGIE

You know, if we've got three dayshere, I could stand to do someshopping. What do you say, Remmy, why don t we let the brothers do alittle bonding?

Remmy takes a wad of cash from his pocket.

REMBRANDTAren't you sorry you made fun of mefor trying those ATM machines alongthe way? I knew I'd hit one

sometime.

Quinn has a thought. He crosses to the door with them asColin continues to bury his nose in the mini-bar innards.


CONTINUED28 28

CONTINUED



23/52

QUINNBe careful with that cash. You sawhow the woman acted when we checkedin. If anybody asks about thatbone graft thing, I think we shouldsay we've got them, but we just

like to do business with cash.

Rembrandt and Maggie shrug "Okay." Maggie opens the doorand exits. Rembrandt turns back to Colin.

REMBRANDTDon't do anything I wouldn't do.

And they're gone. Colin rises from the mini-bar and crossesto the clock radio on the bedside table. He picks it up,shakes it, looks at the LED numbers.

COLINI do not think I know him well

enough to know what he would or would not do under certaincircumstances.

Quinn crosses to Colin.

QUINNIt's just an expression.

(takes radio from Colin,puts it back on thetable)

Here, let me show you around.

CUT TO

A SILENT SEQUENCE29 29

as Quinn shows his brother some of the wonders of the modernage without even leaving the hotel room.

THE CLOCK RADIO. Quinn shows Colin how it works, settingthe alarm, then hitting the "on" button. An up-tempo songis playing on the radio. Colin is at first startled by it,then begins to dig it. This song now becomes the source forscore for the rest of the sequence.

IN THE BATHROOM30 30

Quinn shows Colin the SHOWER. Colin holds his hand underthe stream of water, pulling it back when the water is toohot.

Quinn flushes the TOILET. Colin is fascinated, putting hishead right down in the bowl to observe the water. AHAND-HELD HAIR DRYER. Quinn flips the switch and Colin isliterally "blown away."


CONTINUED (2)28 28



24/52

BACK IN THE BEDROOM31 31

as Colin sits on the bed, still sipping his soda, openingdrawers in the bedside table. He finds a GIDEON BIBLE,opens it, seems pleased to discover what it is. As he putsit back, his eye catches a COIN SLOT on the table too. Helooks up at Quinn, who smiles, pulls some coins from his

pocket. He deposits a coin and the "magic fingers" vibratorof the bed starts to wiggle. Colin is like a little boy with a new toy. He lies down on the bed as Quinn crosses tothe television and comes back with the REMOTE CONTROL.

The music starts to fade away as Quinn hits the remote andthe TV comes to life.

ANGLE ON TELEVISION32 32

as it tunes in a vintage episode of "Simon and Simon." Rickand A.J. chasing a bad guy.

ANGLE ON COLIN AND QUINN ON THE BED33 33

as Quinn hands him the remote and shows him how to work it.The camera stays on Colin as he clicks around, channelsurfing, vibrating on the bed, sipping his soda. The effectis carried by sound only.

TELEVISION(montage of different'voices)

I know it's only a dog, but I thinkhe's trying to tell us something...Bacon, ninety-nine cents a pound!...No, Kalkie, the hat goes on yourhead...These sharks swim in shallow water quite close to the short...Anxious about your future? Call aregistered psychic at... Tell me,you're a scientist, what couldcause tomatoes to grow to thissize?

Colin clicks the television off.

COLIN(puzzled)

You like this?

QUINN(shrugs)Sometimes there's a good show on.

Colin rises and crosses to the TV, starts to pull it forwardout of the cabinet.

COLINI think it would be moreinteresting to take it apart.


CONTINUED



25/52

QUINNWe can't do that. It's not ours.

The telephone on the bedside rings. Colin drops his sodacan. Quinn crosses and answers the phone.

QUINN(into phone)

Yes? Yes, we have plenty oftowels. Thank you.

He hangs up. Colin crosses to the table and leans down toobserve the phone closely.

QUINNIt's called a telephone. A communication's device.

COLIN(picks up phone)

Can I take this apart?

QUINNNo. It's not ours either.

Colin is punching the buttons on the phone.

QUINN(demonstrating)

You have to pick up the receiver.

Colin listens.

QUINN

Hear the tone? Means it works.(doing it as he talks)Then you just punch in the numberyou want.

COLINWhat number do I want?

Quinn goes to the bedside table, opens a drawer, finds aphone book, shows it to Colin.

QUINNEvery person and business who has atelephone has a number, and most ofthem are in this book.

COLIN(looking at the book)

This is a wonder. I must read it.


CONTINUED33 33

CONTINUED



26/52

QUINN(takes book)

Later, why don't we go out for a while. Let me show you more the way this world works.

COLIN(excited)

Yes. If it is all as fantastic asthat great book of numbers, Icannot wait.

Quinn takes Colin by the arm and they head for the door.

CUT TO

INT. CHANDLER BAR/CLUB PAIN34 34

On this world, the bar is a "techno-punk rave bar." Pulsing

European computer driven music, wandering spotlights andlasers, a dance floor crowded with radically dresseddancers. Colin and Quinn enter and look around.

COLINIs this some kind of harvestfestival?

QUINNCould be. Must be some kind ofholiday for the club to be thisbusy this early.

They cross to the bar and find a a couple of slots tobelly-up. A bartender crosses down.

QUINN(to bartender)

Draft beer.(to Colin)

Want anything?

He sees a nearby customer with a tall drink with an umbrellain it.

COLINI'll have one of those.

Bartender nods and goes away.

COLIN(to Quinn)

Why does the drink have an umbrellain it?

QUINNI've never really thought about it.Decoration, I suppose.


CONTINUED (2)33 33

CONTINUED



27/52

COLINMaybe this is a world where it'simportant to protect your beveragefrom the elements.

QUINN(a chuckle)

You might be right.

The drinks come. Colin tries to take a sip around theumbrella, fails, finally has to take it out. He savors hisdrink.

QUINNWell, you be careful with that.It's loaded.

(sees buffet)I'm gonna grab some food. You wantanything?

COLINNo thanks.

QUINNDon't wander off.

Quinn leaves to cross to the buffet table, dodging throughthe dancers. Colin sips his drink and looks around,noticing for the first time that the leather and nose studpeople around him are staring at his long coat and widebrimmed hat, smiling and nodding them approval of his look.

COLIN'S POINT OF VIEW - ANGLE ACROSS BAR35 35

A woman is leaning against the bar. She's dressedprovocatively in a very short skirt and revealing top. Sheis back-lit so we can't see her face clearly, but she looksto be a knockout. Colin reacts to her. Then, looking moreclosely, begins to think she might look familiar.

He starts to cross toward her, dodging dancers as he goes.As he gets closer, she turns her head toward the light andColin and we get our first good look at her.

COLINSusannah!

She looks at him, wondering who this geek is. She's the

alternate for the Susannah from Colin's world.COLIN

What are you doing here?! Anddressed like that?! If your mothercould see you... well...I do notknow what she would do.


CONTINUED34 34

CONTINUED



28/52

SUSANNAHDo I know you?

COLINDon't you remember? Colin Mallory.We were to be wed.

SUSANNAHAre you some kind of lab experimentthat blew up?

COLINPeople are always asking me that.

She turns away from him. Colin shakes his head, realizingthat he's on another world. This can't be his Susannah.

COLINAh...Susannah...I thought you weresomeone else.

SUSANNAHNo big deal.

(then)Nice outfit.

COLINThanks.

SUSANNAHHow come you know my name?

COLIN(almost to himself)

I know everything about you.

SUSANNAHWhat?

COLINNothing. I am not myself. Maybeit is the drink.

Susannah nods, looks him over a moment.

SUSANNAHYou're kinda cute, in a weird way.

Colin looks at her. She looks exactly like the girl he

loves. Gets up his courage.

COLINCan I buy you something with anumbrella in it?

SUSANNAHSure.


CONTINUED35 35

CONTINUED



29/52

He waves to the bartender, who crosses down.

COLINOne of these for the lady.

The bartender nods and goes away.SUSANNAH

You're not from around here.

COLINWell, actually...

(catches himself)How can you tell?

SUSANNAHYou don't look, dress or sound likeanyone around here.

COLIN

You noticed.

The bartender brings Susannah's drink. Colin fumbles in hispocket for some money and puts it on the bar. Susannahtakes serious note of the cash.

SUSANNAHYou're a casher?

COLINSorry...

SUSANNAHDon't you have a bone graft?

Colin wasn't listening earlier when Quinn warned Remmy andMaggie about this.

COLINYou know the lady at the desk askedabout that when we checked in. No,I do not have a bone graft, whatever that is. And I do nothave anything else she talkedabout. What was it? DNA.

Susannah looks at him a moment, then.

SUSANNAH

I have some place very important togo. But I'm afraid to go by myself. Will you come with me?

Colin looks at her, torn. He looks around the bar, seesQuinn at the buffet table, loading up on finger food.Susannah steps closer to Colin an opens her eyes wide.


CONTINUED (2)35 35

CONTINUED



30/52

SUSANNAHPlease.

Colin looks at her. What the hell. He's a guy.

COLINWell, maybe for a little while.

She takes his hand and leads him away from the bar.

WITH QUINN36 36

as he starts back toward the bar. He sees Colin, his bighat really, moving toward the door, with a girl. He triesto hurry toward his brother, shoving his way through thedancers.

QUINNColin...wait!

EXT. HOTEL - DAY37 37

Susannah hops into the driver's seat of a van. Colin getsin the passenger side and the van pulls away. After a moment, Quinn comes out the door and looks up and down thestreet at the traffic. He can't tell which car, if any,Colin has been taken in. He reacts with frustration, and we...

FADE OUT

END OF ACT TWO


CONTINUED (3)35 35



31/52

ACT THREE

FADE IN

EXT. CITY STREET - DAY38 38

A plain van is moving along in the traffic.

INT. VAN - DAY39 39

Susannah driving, Colin taking in every feature of thisstrange chariot, opening the glove box, flipping down thevisors, rolling the electric windows up and down. Susannahtakes a cell phone from her purse and punches in a number.

COLINIs that a telephone?

SUSANNAHYes.

COLINNo wires?

She looks at him oddly, then talks into the phone.

SUSANNAH(into phone)

Mother, guess what, I found theperfect person to help us with ourproblem. We're going right over tothe home.

She ends the call, puts the phone back in her purse. Smilesat Colin and explains:

SUSANNAHI know I really shouldn't burdenyou with this since we've just met,but you seem like such a kindperson. My dear Uncle Ray is beingkept in an old folks' home. Myawful relatives have put him thereagainst his will.

COLINThat is terrible.

SUSANNAHMother and I have been heart brokenabout it. We want to get him outand bring him home where we cancare for-him.

COLINThat would be a very decent thingto do.


CONTINUED



32/52

SUSANNAHBut we can't get to him. Thesecurity system at the home is setto pick up bone grafts. Anyunauthorized person sets off thealarm. Since you don't have a

graft, you could go in and get him.

COLINYou want me to steal your uncle?

SUSANNAHRescue.

Colin gulps, but he'll do pretty much anything for Susannah.

CUT TO

EXT. OLD FOLKS' HOME - DAY40 40

A sign says: CLARENCE BIRDSEYE INSTITUTE. Susannah's vandrives around to the back of the building and parks near aloading dock.

INT. THE VAN41 41

Colin turns to Susannah.

COLINSusannah, I am not sure this isright.

SUSANNAHIs it right that a helpless,elderly person be kept in aheartless institution when a lovingfamily is ready to care for hisevery need?

Colin looks at her, falling more in love with her, like asap. He gulps again, but he's going.

SUSANNAHHe's in Suite 433.

Colin opens the door and gets out. He looks nervously backat Susannah, who smiles.

INT. CLARENCE BIRDSEYE INSTITUTE - HALLWAY - DAY42 42

Colin is making his way down a long hallway. He turns acorner and sees a wall full of large drawers, like a storagearea in a morgue. There are numbers on the drawers. He walks along, Yooking for 433. We TILT up to see, in acorner, another one of those pesky computer-drivensurveillance cameras following Colin in as he walks.


CONTINUED39 39



33/52

COLIN43 43

finds "Suite" 433.

COLIN(to himself)

Mighty small suite.

He presses the handle and opens the drawer. The thingslides out on bearings and Colin raises the lid, and a lotof frozen nitrogen steam rises up in a fog. When the fogclears, Colin looks inside and there is Uncle Ray. Frozenstiff. Colin's mouth drops open, it's safe to say.

EXT. STREET - DAY44 44

Susannah waiting in the van. After a moment, here comesColin. By himself. No Uncle Ray. Colin seems upset.

COLIN

There's a problem.

SUSANNAHWhat?

COLINSomething you did not tell me.

SUSANNAHYes?

COLINUncle Ray is frozen.

SUSANNAHSo?

COLINHe is dead as a mackerel.

SUSANNAHNo, he's not. Oh, I'm sorry,you're a Canadian. I don't thinkthe have this technology up there.Uncle Ray is in a state ofsuspended animation. His bodyfunctions have been lowered, buthe's alive. It's the way oldpeople are handled here when they

become too much trouble.

Colin looks at her a long moment, not sure whether tobelieve her.

SUSANNAHThere are shipping containers inthe loading area. (MORE)


CONTINUED



34/52

SUSANNAH (CONT'D)I didn't tell you before because Ithought you would know. Just slipUncle Ray into one of thosecontainers and bring him out. Ipromise you he'll be so much

happier with us.

COLINWell...he sure does not look veryhappy now.

Colin turns and heads back to the building.

INT. CLARENCE BIRDSEYE INSTITUTE - HALLWAY45 45

Colin coming down the hallway with a container on a gurney.He pauses a moment, looks at the drawers. Then he turns andlooks in the opposite direction, thinking things over.

CUT TO

INT. HOTEL LOBBY - DAY46 46

Remmy and Maggie are returning from their spree withpackages. Quinn crosses quickly to them.

QUINNColin's gone off somewhere.

REMBRANDTWhat?

QUINNHe left the bar with a woman.

MAGGIEWell, it didn't take him long tolearn how to do that.

QUINNShe must have had a car. By thetime I got out to the street, they were gone.

REMBRANDTHave you been up to the room?

QUINNNo. I've been looking for him onthe street.

They head for the elevators.


CONTINUED44 44



35/52

INT. HOTEL ROOM - DAY47 47

A discreet knock, then Quinn keys the lock, opens the doorand the three of them come in.

QUINNColin?

A quick look around. No one.

REMBRANDTWhat do we do now?

QUINNWe stay calm. We've got three daysto find him, or for him to find us.He's not dumb, you know.

MAGGIEHow can you tell?

CUT TO

INT. VAN - DAY48 48

Susannah driving. Colin riding. He's a lot quieter now, watching the road, trying to remember which route they'retaking.

SUSANNAHYou don't know how much this will mean to Mother. Ray is herfavorite uncle.

Colin looks at her a lot differently now. The puppy lovelook is gone. He's studying this young woman carefully.

CUT TO

INT. HOTEL ROOM - LATER49 49

Rembrandt on the sofa. Maggie in a chair. Quinn pacing.

QUINNI can't believe it. First thing Ido after I find the guy is losehim.

REMBRANDTI think you're right about waitinghere. He knows where we are.

QUINNI don't think he would purposely wander off like that. But someonecould take advantage of hisinnocence.


CONTINUED



36/52

REMBRANDTMaybe he's just shacked upsomewhere with this woman.

QUINNI haven't known him long, but I gotthe idea that Colin is not a'shackin' up kind of guy.

MAGGIEHe's a guy, isn't he?

Quinn stops his pacing.

QUINNWe could go to the police.

MAGGIEWhat?

REMBRANDTNot good.

MAGGIEWe haven't had a lot of luck inthat area.

QUINNThis seems to be a pretty normal world. The cops I've seen don'tlook like stork troopers. Wehaven't seen any abuse.

(picks up phone, dialszero)

Operator, how do I reach thepolice?

A knock at the door.

QUINNThat could be him.

Rembrandt crosses and opens the door. It's Sergeant Dawson.He's holding up his I.D. badge.

DAWSONSergeant Lou Dawson, L.A.P.D.

Quinn hangs up the phone and looks at Maggie.

QUINNThat was quick.

Rembrandt shows Dawson into the room. The cop is carrying afile folder under one arm and is checking notes in a littlenotebook.


CONTINUED49 49

CONTINUED



37/52

DAWSON(to Quinn)

You Quinn Mallory?

QUINNYes.

DAWSON(to the others)

You're Brown, and you're Beckett?

QUINNIs there anything wrong, Sergeant?Have we done something?

DAWSONOh, you haven't done anything, butthere's definitely something wrong.Mind if I sit?

QUINNGo ahead.

Dawson sits in an easy chair, puts the file folder on thecoffee table in front of him. The Sliders gather around.Dawson opens his file and shows them a picture. It's of thefour of them checking into the hotel.

DAWSONEvery transaction made with cash isphotographed for the police.

REMBRANDTSomething wrong with cash?

DAWSONNo. Just unusual. We take thepictures because we want to makesure you didn't get the cashillegally. Why didn't you use yourbone graft or make a DNA debittransaction?

Quick glances among the Sliders.

MAGGIEWe just prefer to use cash.

QUINN

We're from Canada.DAWSON

(good enough for him)Oh.

REMBRANDTMy mother always told me not tospend money I couldn't see.


CONTINUED (2)49 49

CONTINUED



38/52

DAWSONGood advice.

(then)You do have bone grafts, don'tyou?

ALL OF THEMOh, yeah...of course...certainly.

Dawson nods, leans forward and points out Colin in thepicture.

DAWSONThis guy. In the big hat.

QUINNThat's my brother, Colin.

DAWSONWhere is he?

QUINNI'm not sure. We haven't seen him for a couple of hours.

DAWSON well, I've seen him.

The Sliders don't know if this is good or bad.

QUINNReally? Where?

Dawson takes another photo from his file and hands it to

Quinn. It's a high angle shot down the hallway in thecryomorgue. Colin is pushing a covered gurney down thehallway.

QUINNIt's Colin, all right. What's hedoing?

DAWSONHers stealing a corpse from acryomorgue.

On the Sliders' looks of astonishment...

FADE OUT

END OF ACT THREE


CONTINUED (3)49 49



39/52

ACT FOUR

FADE IN

INT. HOTEL ROOM - DAY - CONTINUOUS 5 050 50

We rejoin the Sliders, who are stunned at the idea thatQuinn's brother might be a body snatcher. Sergeant Dawsonis holding the photo from the morgue.

DAWSONThis was taken at three-forty thisafternoon at the Clarence BirdseyeCryogenic Storage Facility onAlvarado.

QUINNCryogenic? That's a frozen body?

DAWSON

I don't know what it's like inCanada, but down here this sort ofthing is getting popular, if youcan afford it. And there's a new wrinkle. Not only can you haveyour body frozen, hoping thatsomewhere down the road we can cure what killed you, you can freezeyour assets too.

REMBRANDTI'm not following that.

DAWSONYour money. Fat cats have finallyfound a way to 'take it with them.'We've got special DNA entryaccounts. Your stash just sitsthere piling up interest untilyou're thawed out. Only way intothe account is with a DNA match.

QUINNI don't understand what this has todo with my brother.

DAWSONNew wrinkles usually lead to newcrimes. The bad guys are startingto highjack rich corpses. Theydefrost them, take some tissue toget the DNA, then they clean outthe accounts.

QUINNFirst of all, I don't believe mybrother would even think ofstealing a body. (MORE)


CONTINUED



40/52

QUINN (CONT'D)Second, that scheme is socomplicated, he would have no wayof knowing about it. None of us would.

DAWSONYes, I've heard Canada is a simplerplace.

MAGGIEColin is certainly simpler.

QUINNWhat she means is that my brotheris a bit naive. But he'sabsolutely not a criminal.

DAWSONMaybe someone is taking advantage

of him. Using him to do somethingthey couldn't do for some reason.

QUINNIf this picture is for real, that'sthe only possible explanation.

DAWSONFor example, this cryomorgue, likea lot of businesses, uses a bonegraft security system. Only waysomebody like your brother couldget in and out without tripping thealarm would be if he doesn't have abone graft.

Some uncomfortable looks exchanged among the Sliders.

REMBRANDTIs not having a bone graft againstthe law?

Dawson rises and starts for the door.

DAWSONNot if you find such a person andget him back to Canada before it'sfound out.

(takes card from pocket)We're rounding up the usualsuspects and I've got my top teamon this case. If you should happento run into your brother, be a goodidea to give me a call.

He gives Quinn his card and exits. The Sliders look at oneanother for a moment.


CONTINUED50 50

CONTINUED



41/52

REMBRANDTNow what?

QUINNWe have to find him.

MAGGIEIt's a big city. Besides, what ifyour brother really is a bodysnatcher. You don't know what kindof stuff he was into.

QUINNYou saw the world he lived in. Ithink the Sergeant got it right.Somebody is taking advantage of hisinnocent nature.

MAGGIEShort skirts make new fools every

day.REMBRANDT

Well, we can't let the cops findhim. Even if we prove hisinnocence, we'll be all tied up inan investigation, they'll get intothat bone graft stuff. They'lltake our timer like they always doand we'll end up here for twenty-nine years.

MAGGIE(sarcastic)

Don't sugar coat it, Remmy. Tell

it like it is.

CUT TO

EXT. MANSION - DAY51 51

Long driveway from a big gate. The van pulls in and goes tothe open garage. Three people are waiting there, a womanand two men.

As we get closer, we may recognize the woman as this world'salternate for MOTHER MOREHOUSE from Colin's world.

INT. THE VAN52 52

As Susannah jumps out and goes to talk to her mother,leaving Colin, for the moment, alone in the van. Colinlooks own at Susannah's purse. He quickly reaches in andtakes her cell phone and puts it in his pocket.


CONTINUED (2)50 50



42/52

EXT. DRIVEWAY53 53

Susannah and her mother cross to the van. Susannah opensthe door and Colin climbs out.

SUSANNAHMother, this is Colin Mallory, thekind young man who helped me getUncle Ray.

Mother gives Colin a big smile.

MOREHOUSEYou'll never know how grateful weare for this. Come on in thehouse. You must be starved.

Colin and Susannah start into the garage, heading for theback door into the house. Mother is right behind them,turning to the two men as she goes.

MOREHOUSE(sotto)Get that stiff down to the sauna.

INT. DEN - DAY54 54

A nicely furnished, bookshelf-lined room. Leather sofa,easy chairs, big desk. The door opens and Colin is escortedin by Susannah. She crosses to the sofa with him. Mothercomes with them.

MOREHOUSEYou know, when my Susannah told meshe'd met a nice, young man whocould help us with our problem, Ijust knew my prayers had beenanswered.

COLINI was glad to be of help.

MOREHOUSEYou must not be from around here.

COLINI'm from Canada.

MOREHOUSE

Ah...that explains everything.(then)Well, then, we've got a littlebusiness to take care of, then we'll tie on the feedbag, Don'ttell me you don't like pizza.


CONTINUED



43/52

COLIN(has no idea what pizzais)

Very well. I will not tell youthat.

Mother crosses to the desk while susannah moves in closer toColin.

SUSANNAHWe're going to get Uncle Ray intothe reanimating facility, and then we'll have a nice quiet dinnerand...

(seductive)...get to know one another better.

COLINThat would be nice.

WITH MOTHER MOREHOUSE55 55

as she takes the phone from the desk, unplugs it, puts it ina desk drawer and locks it. Colin nay or may not see this,but it is Susannah's intention to distract him from it.

COLIN AND SUSANNAH56 56

She gives him a light kiss on the cheek.

SUSANNAHYou just sit down, relax, read

something if you like. I'll beright back.

She turns and heads for the door. Mother and Susannah giveColin a big smile and leave. We and Colin clearly hear thekey in the door locking him in. Colin goes to the desk,tries the drawers. All locked. He checks the door.Locked. Goes to the windows. All locked. He thinks a moment, then crosses back to the desk, sees a phone book andpulls it toward him as he takes Susannah's cell phone fromhis pocket, opens it and starts to try to figure out how to work it.

HOTEL ROOM - DAY57 57

The Sliders are on their way out.

QUINNWe get a Thomas Guide and do aquadrant search...

The phone rings. Maggie is closest, so she answers it.


CONTINUED54 54

CONTINUED



44/52

MAGGIE(into phone)

Hello...

INTERCUT58 58between Colin in the den on the cell phone, and Maggie, thenQuinn, in the hotel. We see Colin has looked up the hotelnumber in the phone book.

COLINMaggie? Thank heavens. I foundthe hotel in the great book ofnumbers Quinn told me of.

MAGGIEYou know the police think you'resome kind of sicko grave robber.

COLINCan I speak to my brother?

Maggie holds out the phone to Quinn, who takes it.

QUINN(into phone)

Colin? Where are you?

COLINI'm not sure. I tried to rememberstreet names, but there were a lotof turns, and what's a Sepulveda?

QUINNNever mind that, we've got to findyou.

COLINWell, I'm in a big house. Room with a desk and a lot of books.

QUINNA study. That's no help.

(gets the idea)Wait a minute. Look at the desk.

Colin crosses to the desk.

QUINNThere's got to be something there with an address on it. Stationery, mail...

Colin rummages, finds an envelope.


CONTINUED57 57

CONTINUED



45/52

COLINHere's something.

(reads)One-six-five-oh-nine GlenellenDrive...

QUINNGot it. We'll be right there.

Quinn hangs up. The Sliders exit in a hurry.

END INTERCUT.

ON COLIN59 59

who folds up the hone, puts it in his pocket and crosses tothe window to wait.

CUT TO

INT. SAUNA ROOM - DAY60 60

The two men are struggling to open the body container.Mother and Susannah enter.

MOREHOUSEDon't bother with that now. Putthe whole thing in the sauna.We've got to get it thawed, choppedup and out of here as quick aspossible.

They shove the container into the sauna and close the door.

SUSANNAHWhat do we do with the hayseedupstairs?

MOREHOUSEWe keep him around. A casher withno graft could come in prettyhandy. Think of all the otherUncle Rays out there who'd like to warm up and give us their dough.

SUSANNAHWhat if Colin wants to go back toCanada?

MOREHOUSEIf you don't know how to keep a manon a string, then you haven'tlearned anything I taught you.


CONTINUED58 58

CONTINUED



46/52

The men have muscled Uncle Ray's container into the sauna.Mother crosses over and peeks through the glass, then checksthe temperature gauge. She turns to Susannah.

MOREHOUSEThis time tomorrow, it's front rowseven forty-seven to Bora Bora foryou and me: You know my idea of aperfect breakfast? A Ramos Fizzand fresh lifeguard.

Susannah smiles, and we...

TIME CUT TO

EXT. FRONT OF MANSION - DAY61 61

A cab pulls up to the front. The Sliders climb out.

WITH THE SLIDERS62 62

as they case the joint. The front gate is open, so theycautiously go in and down the driveway.

AT THE GARAGE63 63

The van is there, the doors are still open. The Sliders goin and Quinn tries the back door. It's open. If this seemstoo easy, remember Mother and Susannah are certain no oneeven knows Uncle Ray is out of the freezer.

INT. MANSION HALLWAY64 64

The Sliders moving along, looking for Colin. Quinn knockson a door.

QUINN(sotto)

Colin?

No answer. On to the next door.

QUINN(again)

Colin?

COLIN (O.S.)(other side of door)

Quinn?

Quinn tries the knob. Locked.

QUINNWe'll get you out in just a second.


CONTINUED60 60

CONTINUED



47/52

Quinn takes his micro-tool kit out of his pocket, checks thedoor lock, selects a pair of picks and goes to work. Thelock pops, the door opens. Colin comes out.

COLINI want to get out of here.

QUINNWhat about the old man you stole?

COLINI didn't...

MOREHOUSE'S VOICEMore company I see.

NEW ANGLE PAST SLIDERS65 65

Mother, Susannah and the two men are there. The men haveguns.

MOREHOUSEFriends of yours, Mr. Mallory?

The men with guns move around Mother and Susannah, towardthe Sliders to take charge of the scene.

COLIN(to Susannah)

How could you et involved up withpeople who would do such a hideousthing?

SUSANNAHIt was my idea.

MOREHOUSEAre you guys from Canada too?

REMBRANDTSomething like that.

MOREHOUSENo bone grafts?

MAGGIENot that we know of.

MOREHOUSEWhat a break! We can set up a whole syndicate. Highjackfreezeballs from all over thecountry.

(to the goons)Take these people downstairs andlock them in the pantry until wefilet Uncle Ray.


CONTINUED64 64

CONTINUED



48/52

The men with guns nudge the Sliders and Colin along thehallway.

INT. FOYER66 66

As our people are moving through it, suddenly the doorcrashes open, and SWAT team guys pour into the foyer.

SWAT LEADERFreeze! Drop the weapons!

The men with guns drop them. Sergeant Dawson makes his waythrough the SWAT guys. He has a couple of other plain-clothed officers who move to take charge of Mother andSusannah.

DAWSON(to Quinn)

Had you tailed ever since I saw you

in the hotel.(then)Rebecca Morehouse, SusannahMorehouse. You're under arrest forattempted post-mortem homicide.

(to his men)Take them away.

The officers cuff them and hustle all four of them off.

COLIN67 67

sad to see this version of Susannah hauled away in cuffs.

WITH DAWSON68 68

as he crosses to the Sliders.

DAWSONI hope it's 'attempted' homicide.Where's the old man?

COLINThey took the crate to a sauna room in the basement, but you see...

DAWSON(cuts him off)Sauna? Holy cow.

And he and a couple of SWAT guys rush of for the basement.

WITH THE SLIDERS AND COLIN69 69

following.


CONTINUED65 65

CONTINUED



49/52

COLIN(as they go, to Quinn)

I tried to tell you, it will be allright, but no one listens.

INT. SAUNA 70 70

Dawson is there. The SWAT guys are working quickly to openthe crate. There is water on the floor. The Sliders andColin enter.

DAWSONIf he's thawed out, he's dead forgood. Can't refreeze him.

The crate opens and out tumbles maybe a dozen partiallythawed frozen turkeys.

ANGLE ON COLIN71 71

who explains.

COLINWhen I saw Uncle Ray was frozen, Isuspected something was wrong aboutthis whole thins. The staffkitchen was right next door. So...

Everyone reacts to this, and we...

CUT TO

EXT. GARAGE72 72

where a police car is taking Mother and Susannah away.Dawson, the Sliders and Colin come out of the back door intothe garage and walk out onto the driveway as they talk.

DAWSONCommendable work, Mallory.

QUINNHe won't be charged with anything?

DAWSON

No. He stopped a crime from beingcommitted.

REMBRANDT(re: the police car withMom and Susannah)

Then what can you charge them with?


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50/52

DAWSONConspiracy. Both murder and DNAgrand larceny. They'll do someserious time.

(to Colin)Of course, we'll need your

testimony.

Our folks look a little worried. How long will that take?

DAWSONOf course, if you're planning to goback to Canada, as I recommended, adeposition will do just fine.

The Sliders are relieved, and we...

CUT TO

INT. HOTEL ROOM - LATER73 73

Quinn, Maggie and Remmy lounging around. Colin is notthere.

QUINNDon't you think you might berushing my brother a little,fashion-wise?

REMBRANDTAre you kidding? He wanted to tryon everything in the store.

MAGGIEHe thinks the zipper will changethe world as we know it.

QUINN(thinks about it)

Well, it did.

MAGGIEQuinn, I owe you an apology. Colinis a lot smarter than I thought he was.

Quinn just nods his acceptance. Maggie turns to Remmy.

MAGGIEWe've still got a couple of days tokill and the natives seem veryfriendly.

REMBRANDTEven the cops are nice.


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51/52

MAGGIEWhy don't we take in a movie? Letthese brothers do a little morebonding.

REMBRANDTI don't know. Look what happenedlast time.

QUINNThis time he doesn't get out of mysight.

REMBRANDT(to Maggie)

What do you want to see?

MAGGIEThere's a theatre just up the blockshowing something called 'Gone with

the Future,' starring Michael J.Fox as Rhett Butler.

REMBRANDTThat I've got to see.

The bathroom door opens and Colin enters. Utterlytransformed. Gone is the black coat, pants and big hat.Replaced by a slim-fit T-shirt with a wild design, baggyshorts, and hip high-top basketball shoes. On his head, abaseball cap, bill forward. The Sliders react.

MAGGIEWow.

REMBRANDTThe man is stylin'.

QUINNAbsolutely amazing.

COLINIs it me?

REMBRANDTIt's whoever you are now.

(crosses)One little thing.

He turns the baseball cap around so the bill pointsbackward.

COLINI do not understand.

(turns bill back tofront)

It seems to me the function of thisextension is to shade the eyes.


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52/52

REMBRANDT(turns bill to backagain)

For shortstops, yes. Not for you,cutting edge dude.

Rembrandt and Maggie head for the door and exit. Colinturns to Quinn, who just grins and shakes his head. Havinga new brother looks like a lot of fun.

FADE OUT

THE END


CONTINUED (2)73 73

Sliders 4x06 - Oh Brother Where Art Thou (1997!10!13)

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Transcript of Sliders 4x06 - Oh Brother Where Art Thou (1997!10!13)