#K0803 - "Love Gods" - 11/20/95 Prod. Draft 19.
ACT TWO
FADE IN:
19 INT. DIANA'S HOUSE - LIVING ROOM - NIGHT - QUINN, ARTURO, 19
REMBRANDT
and Diana and David. The place is modest, two-story. The
blinds are drawn -- everybody's on edge, like bank robbers
holing up until the heat dies down.
DIANA
My friends think it's immoral to
want a monogamous relationship.
DAVID
(scorn)
What friends?
DIANA
People are gonna be judgmental,
David -- They can't accept that the
idea of you with thousands of other
women is painful to me...
DAVID
(to Sliders)
A love that dare not speak it's
name.
Quinn, Rembrandt, Arturo are trying to process this.
QUINN
How long've you two been planning
this escape?
DAVID
On and off -- two years.
(then)
Ever since Diana's application was
first rejected at the B.R.P.
ARTURO
Rejected on what grounds? You're
married, are you not?
DAVID
The system's rigged, Mr. Arturo.
(then)
Offend the wrong petty bureaucrat
and you're history.
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 20.
19 CONTINUED: 19
DIANA
All David and I wanted was the
right to have children and do our
part to rebuild the population on
our own terms.
DAVID
Our lawyers petitioned, but this is
a National Emergency -- the State
can make any ruling it wants.
REMBRANDT
What'll you do now?
DAVID
We have food and supplies for the
next few days -- When things die
down, we'll make a run for Mexico,
where there's no forced breeding.
(then)
You're welcome to make the run with
us.
QUINN
Thanks. I think our plans call for
more drastic action.
REMBRANDT
What time is it?
ARTURO
After seven.
(to Diana)
Perhaps we should try the hotel
again.
CUT TO:
20 INT. DOMINION HOTEL - LOBBY - SPECATELI 20
sits in a chair, reading a newspaper (Headline: "Four
Breeders Escape from Center"), one eye on --
WADE
who's just emerged from the direction of the coffee shop,
stops now at a vending machine to get a newspaper of her
own. As she reads --
VOICE
It's so awful, isn't it?
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 21.
20 CONTINUED: 20
Wade turns --
BILLIE JEAN
who we remember from the earlier stake out --
WADE
I'll say.
BILLIE JEAN
The way this government overtaxes
its breeders, I don't blame them
for escaping.
WADE
Do you think they'll catch them?
BILLIE JEAN
They invariably do.
As now --
CLERK
Wade Welles -- ?
(off Wade)
There's a call for you.
WADE
(to Billie Jean)
Excuse me.
CLERK
You can take it on the house phone.
Wade moves to the phone, picks up.
WADE
Hello --
(the news she wanted)
Yes. Yes, it's me.
ANGLE - DETECTIVE SPECATELI
watching this. Wade turns her back for privacy, starts to
write down an address. Off Billie Jean -- she's witnessed
this also.
CUT TO:
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 22.
21 EXT. STREET -- NIGHT - WADE 21
moving out from the corner of a building, she peers into the
dark street. As she steps between two parked cars looking
for a taxi, she stops. Looks around. Did she hear
something? Maybe not.
ANGLE - DETECTIVE SPECATELI'S N.D SEDAN
parked across the way.
DETECTIVE SPECATELI'S POV - THROUGH CAR WINDSHIELD - WADE
as she climbs into a cab, heads off.
DETECTIVE SPECATELI
gives the signal to her driver. The unmarked car pulls out
in pursuit.
CUT TO:
22 INT. DIANA'S HOUSE - LIVING ROOM - ON TV - TWO WOMEN 22
mid infomercial. They stand near a toddler-sized MALE
CERAMIC FIGURE that holds a flower pot in one hand. A
SCRAWL runs across the bottom of the screen reading "As Seen
in TV Lists Magazine."
WOMAN #1
Dijon, this is the most amazing
product I've ever seen. And all I
do is spread the seeds, keep him
watered and he'll actually grow?
WOMAN #2
That's right. And the beauty of
the "Grow Your Own Chia Man" is you
control how fast or slow you want
him to mature.
WOMAN #1
That is so amazing. Dijon, like
many women, I'm concerned about
size. How do I control that?
WOMAN #2
Simple. If you like a tall man,
water him regularly. For those
gals who prefer a more compact
fella, once a week is all you need.
WOMAN #1
Isn't that fabulous?
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 23.
22 CONTINUED: 22
The studio audience APPLAUDS wildly, somewhere under which
we've widened to find --
REMBRANDT
on the sofa holding the remote.
REMBRANDT
Damn. I thought TV was bad on our
world. Listen to this junk.
(picks up TV guide)
"Hangin' with Mrs. Cooper."
"Sisters." "The New Sisters." Oh,
and my favorite... "The Fresh
Princess of Bel Air."
Arturo's at the window, impatient.
ARTURO
Where the hell is she? It's been
hours since we called.
Off which --
CUT TO:
23 INT. DIANA'S KITCHEN - QUINN 23
at the refrigerator, getting something to drink.
DIANA
Find what you're looking for?
QUINN
(he's got some orange
juice)
'Thanks.
DIANA
I didn't completely understand from
David -- why you decided to escape.
QUINN
It's kind of hard to explain.
DIANA
You can trust me, you know. I'm in
no position to judge you.
(MORE)
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 24.
23 CONTINUED: 23
DIANA (cont'd)
(off Quinn: where to
begin)
Your friend, Wade, must be an
incredible woman for the three of
you to take this kind of risk.
(then)
If the B.R.P. thinks you're
defecting, they'll shoot to kill.
DAVID
enters. He's been working on the computer --
DAVID
I just got off the internet with
our friends to the South.
(then)
There's a way station in San Luis
Obispo. They'll be waiting for us
at daybreak.
(then)
We can travel the rest of the way
by boat.
DIANA
(to Quinn)
You sure you won't come with us?
(then)
It could be your only chance.
Off Quinn --
CUT TO:
24 INT. LIVING ROOM - ARTURO AND REMBRANDT 24
Arturo's still peering out the window. The TV news drones
on in b.g.
ARTURO
Paradise found, paradise lost, Mr.
Brown.
REMBRANDT
Funny how reality has a way of
screwing up fantasy, that's for
sure.
Quinn enters, under, headed for the door --
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 25.
24 CONTINUED: 24
ARTURO
(off this)
Where do you think you're going?
QUINN
I'm going to look for Wade.
ARTURO
Are your crazy? You'd be like a
red cape in a bull ring.
QUINN
We can't just sit here!
ARTURO
We have no choice!
(and then)
If she makes it, she makes it.
QUINN
And if she doesn't?
ARTURO
She has the timer, Mister Mallory.
Draw your own conclusions.
The tension hangs in the air as Arturo returns to the
window.
CUT TO:
25 EXT. DIANA'S STREET - NIGHT - CONTINUOUS - WADE 25
exits the cab and, warily approaches Diana's house. She
double checks the address, then moves to the door and raps
three short and two long knocks. A beat... the door opens a
crack... then is thrown open --
26 INT. DIANA'S HOUSE - NIGHT - ARTURO 26
as he pulls her in --
ARTURO
Where in God's name have you been!?
Do you know what you've put us
through?
WADE
Nice to see you too, Professor.
A beat then Arturo melts and paternally hugs her.
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 26.
26 CONTINUED: 26
QUINN
What took you so long?
WADE
Back streets. Maybe I'm paranoid,
but I got the feeling someone was
following me.
REMBRANDT
You have the timer?
Her face clouds.
WADE
What?
A beat. Quinn, Arturo, Rembrandt look devastated.
ARTURO
You had it when we landed and you
had it when we got separated!
Wade pulls the timer out of a jacket pocket and smiles.
They don't smile back...
ARTURO
Miss Welles, you'll be the death of
me... if sliding doesn't kill me
first.
Suddenly, a BLINDING LIGHT from outside pierces the window.
Detective Specateli's VOICE BOOMS...
DET. SPECATELI (O.S.)
San Francisco Police! Open the
door!
The front door shudders with the impact of a battering
ram --
DAVID
Upstairs!
David takes the lead as the Sliders bolt out of the room.
Diana stays behind. More POUNDING.
CUT TO:
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 27.
27 INT. SECOND FLOOR LANDING - NIGHT - DAVID 27
leads the Sliders to the top of the stairs. He stops in
front of a wall panel with a hat rack on it; he pulls a tine
of the rack and the wall panel opens.
DAVID
In here.
REMBRANDT
You got a whole secret compartment?
DAVID
Diana built it herself.
As they enter --
28 INT. HIDDEN ROOM - BOXES OF PROVISIONS 28
line the wall.
QUINN
Unbelievable.
DAVID
Don't move.
CUT TO:
29 INT. DIANA'S HOUSE - NIGHT - LIVING ROOM - DIANA 29
screams as the door flies off its hinges. We see the
colored lights of the squad cars as Specateli barges in,
followed by four uniformed female officers.
DET. SPECATELI
Hands above your head!
Diana complies, raises her hands high. As an officer pats
her down, Specateli barks orders.
DET. SPECATELI
Turn the place upside down if you
have to!
DIANA
You have no right to do this!!
DET. SPECATELI
(shoving a warrant at
her)
Search warrant. Read all about it.
CUT TO:
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#K0803 -"Love Gods" - 11/20/95 Prod. Draft 28.
30 INT. HIDDEN ROOM - NIGHT - THE MALE SLIDERS' 30
faces lit by moonlight coming through a ceiling vent. David
crouches silently in the shadows as they listen to the
COMMOTION of the Police Officers.
REMBRANDT
They're coming up the stairs.
QUINN
Shh --
CUT TO:
31 INT. DIANA'S HOUSE - NIGHT - CONTINUOUS - SPECATELI 31
confronts Diana.
DET. SPECATELI
(to Diana)
Where's the woman?
DIANA
What woman?
DET. SPECATELI
The woman I followed here! The
woman who's hooked up with the
escaped breeders.
DIANA
Did it ever occur to you before you
trampled all over my civil rights,
that you might have the wrong
house?
Specateli stares at her a beat, then turns to O'Grady.
O'GRADY
(squirming)
It's kind of a dark street...
She trails off under Specateli's glare.
DIANA
(moves to phone)
That's it. I'm calling my lawyer.
I'll sue the B.R.P., the
S.F.P.D. -- I'll have your badges!
OFFICER #2 (O.S.)
Detective! You want to see this!
Specateli hurries to over to the nearby bathroom. Diana
follows.
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 29.
32 INT. BATHROOM - CONTINUOUS 32
The officer points to a Commode showing the tell-tale sign
of a male. THE SEAT IS UP!
DET. SPECATELI
(to Diana)
Wrong house, huh?
CUT TO:
33 INT. DIANA'S HOUSE - ATTIC - NIGHT - THE SLIDERS 33
and David react to...
DET. SPECATELI (O.S.)
They're here somewhere! Look for a
crawl space, trap door... anything!
DAVID
I got to go back for her.
ARTURO
What good will that do? They'll
put you both in jail... separately.
Quinn meanwhile has moved deeper into the attic.
ANGLE - A DROP LADDER
QUINN
Guys. The roof.
CUT TO:
34 INT. DIANA'S HOUSE - SECOND FLOOR LANDING - O'GRADY 34
knocks on the walls. She hits the secret panel. HOLLOW.
She plays with the hat rack, twisting, turning, finally
pulling on it. The secret passage pops open.
35 EXT. DIANA'S HOUSE - ROOF - NIGHT - QUINN 35
pulls David up, the last one out of the attic. As Quinn
slides the cover back over the hole, David grabs a lock
hanging from a nail, slips it through the hasp.
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 30.
35 CONTINUED: 35
DAVID
We have to jump the breezeway.
(then)
If we make it across three houses,
we can reach the street without
being seen.
ARTURO
(of the chasm)
You can't be serious.
O'GRADY (O.S.)
(from below)
I found an attic!
REMBRANDT
Stand back.
As he's about to jump --
CUT TO:
36 INT. ATTIC - NIGHT - THREE COPS 36
storm into the attic. They scan the space with their
flashlights. One beam falls on the ladder to the roof.
CUT TO:
37 EXT. ROOF - NIGHT - EVERYONE'S 37
across the breezeway but Quinn and Arturo. Quinn backs up,
then sprints for the edge. He leaps like Mel Gibson and
easily clears the breezeway. As the police start BANGING on
the hatch from inside, a nervous Arturo takes a deep breath
then runs for all he's worth. He barely clears the
breezeway landing with a GRUNT, stumbling and rolling,
finally coming to rest in a sitting position.
WADE
Look on the bright side, Professor.
Only two more to go.
CUT TO:
38 EXT. DIANA'S HOUSE - NIGHT - SPECATELI 38
checks a map against the backdrop of flashing cruiser
lights. Diana is led into a cruiser as a car pulls up and a
tense Doctor Morris gets out.
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 31.
38 CONTINUED: 38
DOCTOR MORRIS
Where are they?
DET. SPECATELI
We're starting a house-to-house.
DOCTOR MORRIS
(biting)
You let them get away?
DET. SPECATELI
(patronizing)
No Doctor, the B.R.P. let them get
away. I'm trying to get them back.
DOCTOR MORRIS
You'd better pray you do.
(then)
Those men in the aggregate account
for five thousand new births a
year, -- not to mention their
potential for artificial
insemination.
(then)
I'm holding you responsible.
CUT TO:
39 EXT. BACKYARD - NIGHT - THE SLIDERS 39
and David make their way through a break of shrubs and find
themselves on...
40 EXT. DESERTED RESIDENTIAL STREET - A POLICE CAR 40
rolling past, it's searchlight probing the periphery. The
Sliders pull back into the shadows 'til it passes.
REMBRANDT
Which way?
DAVID
(indicating)
Less traffic. C'mon.
They emerge from the bushes and start down the sidewalk.
QUINN
In case we get separated, meet in
the park behind the statue tomorrow
at...
(MORE)
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 32.
40 CONTINUED: 40
QUINN (cont'd)
(checks timer)
... three o'clock.
Suddenly --
A VAN
its lights off, appears out of nowhere and skids to a stop.
FOUR FACELESS COMMANDOS
pour out.
QUINN
Take off!
The Sliders take off into a dark alley.
THE COMMANDOS
follow. As they near the mouth of the alley, one drops to a
knee and fires a HIGH-TECH RIFLE.
QUINN
last in the group. The projectile hits him in the shoulder.
He flinches, pulls it out. It's a TRANQUILIZER DART.
WADE
Quinn?
QUINN
I'm all right!
Quinn's slow, he's wobbly as the tranquilizer takes effect.
ARTURO
C'mon man! Run!
QUINN
(drowsy)
Can't. No strength.
The others look back, see Arturo struggling with Quinn, the
commandos spilling out of the alley behind them.
AUSTRALIAN COMMANDO VOICE
(strong accent)
Split up! Don't lose them!
(CONTINUED)
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#K0803 -"Love Gods" - 11/20/95 Prod. Draft 33.
40 CONTINUED: 2 40
ARTURO
(to others)
Go on! Meet at the park, day after
tomorrow!
Rembrandt and Wade hesitate.
ARTURO
Go!!
David grabs them, forces them on as....
ARTURO
(to Quinn)
This way!
Quinn's staggering. He can't go much further.
THE COMMANDOS
rush for the two men. Arturo grabs a fallen tree limb and
faces his attackers. As they slow and cautiously approach
him...
ARTURO
I urge you, ladies. Stay back!
Behind him Quinn lurches into...
41 EXT. INTERSECTION - NIGHT - CONTINUOUS - HEADLIGHTS 41
an oncoming car. A SCREECH of brakes. The driver, JANE, a
beautiful 35-year-old woman, throws the passenger door open.
As a commando runs towards Quinn...
JANE
Get in!
A split second decision, then Quinn staggers to the Cadillac
and falls inside. The Caddy roars off leaving the pursuing
commando to stare after it.
ARTURO
can only watch him go.
ARTURO
(sees Quinn leaving)
Mr. Mallory! Wait!
One of the commandos pulls a tranquilizer pistol and quickly
fires at Arturo. The dart embeds itself in his arm.
(CONTINUED)
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#K0803 - "Love Gods" - 11/20/95 Prod. Draft 34.
41 CONTINUED: 41
ARTURO
Damn!
He grabs for it, then slumps to one knee. As the commandos
surround him...
FADE OUT:
END OF ACT TWO
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