Sliders: The Dimension of Continuity
New Gods for Old Script Outtakes
Sliders DoC   Lost and Found   S5

Working titles:

God's Country


God in the Machine

New Gods for Old

These are scenes from the November 5, 1998 production draft of the script for the episode New Gods for Old written by David Gerrold. These scenes did not make it into the final episode due to time and story considerations.

And where else to begin but at the beginning? Originally the teaser had a bit more detail, and a different take on the character of Diana...while the setting was the same, we were to open up with the Sliders running and Mallory obviously limping...

MAGGIE Who *are* these guys? REMBRANDT We don't wanna know. DIANA Yes, I do -- MAGGIE (to Mallory) How much longer? MALLORY (checks timer) 90 seconds. REMBRANDT How's your leg? MALLORY *I can make it!*

DISTANT VOICE They went down there! REMBRANDT (pushing Mallory) Come on!
CAMERA MOVES WITH as they run through the village. Rembrandt stays close to Mallory, as if to help him, but Mallory waves him off angrily. He glances back with genuine fear.

IN THE DISTANCE, THEIR PURSUERS are dark figures, hidden in the gloom of night. Brilliant red lights stud the darkness, like the glowing eyes of some demonic beast. SFX: WARBLING GESTAPO-SIREN.

DIANA pauses to look back, frowning.

REMBRANDT (continuing; passing her) Come on, Diana! DIANA Just a minute -- there's something very strange about those --
Rembrandt's hand reaches back into frame and yanks her out.

THE PURSUERS: are still indistinct, following them moves with a deliberate pace. They don't have to hurry to catch them.

THE SLIDERS: Rembrandt is pushing Mallory and dragging Diana.

MALLORY *I don't need your help.* My legs are fine! See --
He nearly topples into a wall -- and shuts up as Rembrandt lets go of Diana to grab him.

REMBRANDT It's no sin to lean on someone. DIANA -- those lights. Why red? (to Maggie) That's the most useless color for night vision, you know -- MAGGIE (O.S.) DIANA! DIANA I don't think they want to hurt us --

Hokay --

As Diana passes them all and moves into the lead!

DIANA Come on, Maggie!!


At this point, Krislov and Jill come up in a scene exactly as we saw in the episode...

...and then back to the Sliders for a moment for more missing dialogue:


Looking VERY worried.

REMBRANDT (genuine exhaustion) I've had enough of this! I am ready to go home! MAGGIE (ironic) Where's your sense of adventure, Remmie? REMBRANDT It's out adventuring -- MALLORY (checking timer) Just a few seconds more -- (points) Over there!
They head toward a corner, turn around it into a dark narrow street. And stop suddenly! DOWN AT THE END OF THE STREET -- more red lights!

WIDE ANGLE. A wall of them of redlights stretched across the street.

MED ANGLE. MATCHING. Black troops. Vehicles.

CLOSER ANGLE. MATCHING. The troops raise their rifles.


MALLORY Okay -- not there. *Here*!
He points the timer, opening an O.S. VORTEX. FX: Rising wind swirls leaves and paper. SFX: VORTEX SOUND begins. Diana looks back. SFX: WARBLING SIREN LOUDER.

THE PURSUERS BEHIND THEM are moving steadily closer.

THE LINE OF TROOPS AHEAD OF THEM are starting to approach.



MAGGIE This is going to be close --
FX: THE VORTEX FORMS in front of them.

REMBRANDT (pushes Maggie) Go!
She goes! She leaps and vanishes.

REMBRANDT (continuing) Diana! Go!
She jumps -- and vanishes. FX: MORE BEAMS! CLOSER!

REMBRANDT (continuing) *Mallory! Let's go!*
Mallory is rubbing his leg.

MALLORY I don't know if I can jump -- REMBRANDT We're not leaving without you!
Rembrandt pushes him. They leap together. Rembrandt is just a little bit ahead of Mallory. And as Mallory leaps -- A SIZZLNG RED BEAM HITS HIM RIGHT IN THE SMALL OF HIS BACK. FX: RED LIGHTNING CRACKLES ALL OVER HIS BODY as he disappears INTO THE VORTEX.


Same village, SAME ANGLE AS BEFORE, but *not* the same world. The posters are gone. Instead, the town shows the evidence of old battles. Some old rubble lies in the streets, there are scorch marks on the walls. Instead of posters, there is old graffiti: "Death to the BIR-man!" "BIR-men DIE!" Although the red lights are nowhere in evidence, the lighting of the town is still meager. There are no people on the streets.

CAMERA LOWERS to street level, as the SLIDERS COME TUMBLING OUT OF THE VORTEX. Maggie, then Diana, Rembrandt, and finally Mallory -- who collapses in a heap on the ground. RED LIGHTNING STILL SPARKLES ACROSS MALLORY'S BODY -- IT FINALLY FLICKERS OUT. The silders react in alarm and rush to Mallory --

DIANA Mallory!! REMBRANDT I should have just picked him up and carried him. I believed him when he said he could make it --
The timer has fallen from Mallory's hand. Rembrandt scoops it up and looks at it.

DIANA (touching his face) Mallory -- ?
Is Mallory dead? Or just unconscious?




The Sliders have moved Mallory to temporary shelter. Mallory is just coming back to consciousness as Diana slaps his hands.

DIANA Come on, Mallory! Wake up. MAGGIE I'll bet his first words are, "Where am I?" MALLORY (blinking) Who am I -- ?
Maggie shrugs. Close, but no tobacco cylinder.

REMBRANDT Who do you think you are? MALLORY (shakes head, frowns) Somebody named -- Mallory Quinn? I'm not sure --
Maggie and Rembrandt exchange worried glances.

DIANA You took a pretty bad hit. MALLORY (starting to sit up) I'm fine, I -- (something is wrong) -- can't move my legs. *I can't move my legs.*
And the scene continues from there as we saw it...

Until we get to the point where Remmy and Maggie leave out to find a doctor. The original script made us privy to the conversation between Mallory and Diana while the others were gone...

Maggie follows Rembrandt. As they leave:

MALLORY (calling after) That's all right. We'll wait for you. Right here. We won't go anywhere.
His expression shows how angry and frustrated he is. He folds his arms across his chest and *glowers*.


DIANA (after a beat) I hate it when you do that. MALLORY Do what? DIANA That thing you do. (beat) When you get the way you get. MALLORY And I hate it when you treat me like a cripple. I can take care of myself. DIANA I know that. MALLORY Do you? Back there -- on the world of the BIR men, I was handling the situation. I was trying to find out who they were so suspicious of -- and then you butted in. Asking questions. And arguing with the answers. DIANA Mallory! That place was a totalitarian nightmare. Secret police. Spies. Permits. Passes. You needed a passport just to go to the bathroom. They were suspicious of *everybody*. MALLORY See. You just did it again. DIANA No matter what we did there, we would have ended up in trouble, simply because we were outsiders. MALLORY You're still arguing with the answer. DIANA I'm just trying to take care of you -- MALLORY See! *That's my point!* I don't want anyone taking care of me anymore. I want to do it myself. DIANA Well, I'm sorry. Excuse me for caring!

Remmie and Maggie return, pushing a wheelchair. Diana and Mallory are pointedly not talking to each other.

At the end of the scene where the scarred Krislov just stated he has no time for stupidity...Maggie had a comment that was cut...

KRISLOV (muttering) Idiots... MAGGIE (whispering to Diana) Thank you, Mr. Tact... KRISLOV I heard that -- REMBRANDT (mouths the words) Let's go.

And when they first entered the Believers compound? Diana had a missing line...

MAGGIE It looks like the sixties -- (off Rembrandt's look) -- My mother showed me pictures. MALLORY And these people are supposed to fix my legs? DIANA Or your attitude.

And another humorous section was deleted...while Diana and Remmy are talking with the scarred Krislov, they were supposed to be seeming like victims...

KRISLOV The glow is one big mind. It lives in all of them at once. It uses their bodies -- and eventually their brains. DIANA And that's why they all talk like one person -- REMBRANDT -- finishing each other's sentences. KRISLOV (nodding) They don't exist as individuals any more. Just cells in the larger community. REMBRANDT So, if Mallory drinks this stuff, he'll turn into -- DIANA -- one of them. KRISLOV Are you sure you didn't drink?
Remmie and Diana exhange a glance.

REMBRANDT Is there any way to cure this... infection? KRISLOV Not legally.
And from there Krislov goes on to explain about the Dead Man's Light...

Act Two had the most changes...beginning with the conversation between Remmy, Maggie and Diana...

REMBRANDT No. WE need to talk. (without *you*)
Mallory nods. And as he turns away, so do all of the other believers. They smile and depart.

MALLORY I'll wait for you in the tent.
And he leaves too.


Hooboy! What was all *that* about?

REMBRANDT He's turning into one of them. MAGGIE He's a little creepy, isn't he? DIANA But a *nice* creepy, isn't he? (explains) I mean -- he says what he's really feeling. MAGGIE He did that before. Just not as ... politely. DIANA Mallory has always been trying to prove he's just as good as anyone else. Now he's at peace with himself. What's wrong with that? MAGGIE What if it's not Mallory. Maybe it's Quinn trying to come back -- DIANA Quinn is gone! He's off somewhere else -- sliding! You need to let go. MAGGIE I don't let go of my friends that easily --
Before this can go any further --

REMBRANDT Wait a minute. Both of you. Maybe it isn't either of them. DIANA No. That's Mallory. The *real* Mallory. We've just never seen him this happy. Admit it. MAGGIE If I didn't know better, yes, I could almost envy him. Health, Happiness. REMBRANDT (compassionate) And a true spiritual connection to others. DIANA A real sense of community. MAGGIE Peace. Real Peace. DIANA You is tempting. I mean, aren't you curious? Don't you want to know...? MAGGIE But it isn't real. REMBRANDT We have to get out of here. DIANA Huh --? Why? REMBRANDT Because --*this is a slow happy death*. You want comfort? A grave is comfortable. Nobody ever climbs out of one. Life -- *real life* -- is about being *un*comfortable. (intense) Life is about making a difference. If it doesn't make a difference, *why bother*? (resolved) We've got to get him and get out of here. *Now*.

Mallory is sitting cross-legged on the floor in apparent communion with several other believers. They are all linked through the mass-mind of the glow. FX: THEY SIT IN A POOL OF BRIGHTNESS. Mallory openshis eyes as his friends enter. He watches them impassively.

REMBRANDT Can we talk to you alone?
THE BRIGHTNESS FADES OUT. The other believers get up and leave. It's a spooky phenomenon. Mallory remains impassive.

DIANA What were you doing? MALLORY Communing with God. Rembrandt, what's a soul? REMBRANDT (taken aback, but --) Our souls are the core of our being. MALLORY Our souls are tiny pieces of God, aren't they? REMBRANDT Some people believe that. Others think that the soul is a mirror in which we catch the reflection of God -- MALLORY Either way, God's prescence is manifest in each of us, right? REMBRANDT Not everyone finds God easily. MALLORY Because most people don't know where to look. REMBRANDT Do you? MALLORY The connection is eternal and unbreakable. (taps his heart) I felt the hand of God -- here. You don't know what that feels like. REMBRANDT Yes. I do. MALLORY Not like this -- MAGGIE You're arguing with the super- mind, Remmie. You can't win!
Remmie waves her off.

MALLORY I know something you don't. The soul is an antenna by which each one of us receives the radiance of heaven. REMBRANDT Is that what you're feeling? MALLORY Wouldn't you like to realize the power and the grace of such a blessing for yourself? REMBRANDT I know the blessings of God. Without the glow. MALLORY Remmie -- here, in this place, we've linked a myriad of separate souls together -- into one greater being -- so that we may serve as a much more powerful antenna, and thereby obtain a far greater and clear communication with God than any individual amoung us can achieve alone. REMBRANDT That's what you feel -- so that's what you *believe*. MALLORY (speaking a himself) I *know* that. And once experienced, the ecstasy of such profound knowledge changes one forever. And you know that. Or you don't know God. REMBRANDT Um... (after a pause) That almost makes sense. MALLORY (very quietly) You have to experience it. MAGGIE Remmie. He's trying to get you to drink -- MALLORY Yes, of course, I am. REMBRANDT He is... tempting me. DIANA Mallory, we have to go. It's time to slide. MALLORY If I slide, it'll break the liinkage. I'll lose my connection with God. I don't want to do that. (to Diana) Stay. Join me. Let me show you the ... joy. (to Maggie) I know you seek the shadow of Quinn inside of me -- if we were linked, even if only for a moment, you'd feel how deeply Quinn's soul is impressed in mine. And you could put your heart at ease. (to Rembrandt) I know you want to go home. But it's not enough to take the body home. You have to send the spirit home as well. REMBRANDT Mallory. We can't. DIANA Please, come with us. MAGGIE Quinn -- ? If I ever meant anything to you --
Mallory hands the timer to Rembrandt.

MALLORY You go on without me.
Rembrandt, Maggie, and Diana exchange a look.

REMBRANDT (hands the timer back) Set the controls for us -- ?
Mallory nods.


A small crowd of believers -- including the ones we have seen before and are most likely to recognize -- come to watch as the Vortex opens. Mallory hands the timer to Rembrandt.

MALLORY You'll be going to a world where you can rest and take your ease, one not too far from here in this cluster of connected worlds. You should be safe. (adds) But I'd rather you stay. Won't you reconsider?
Rembrandt and the other sliders look around. The believers -- as friendly-looking as they are -- seem uncomfortably close to him. Perhaps dangerously so. They seem to be echoing Mallory's emotions.

REMBRANDT We can't stay. You know that. MALLORY (nods) It's your choice.
Mallory goes to each one of them, hugging them in turn.

MALLORY (continuing) I wish you could know what you're giving up. And I wish you could know how much I love you all -- DIANA (close to tears) I love you, Mallory --
She kisses him, then abruptly, she turns and jumps through the Vortex.

MAGGIE I love you, Quinn! Wherever you are!
And she kisses him even more ferociously than Diana. And then she leaps after Diana. Mallory turns to Rembrandt.

MALLORY Remmie -- ? REMBRANDT Mallory... I told you this before. But it bears repeating. (grabbing him) *We're not going without you!*
And as he says the last, he scoops up Mallory in a fireman's carry and runs him toward the Vortex.

They close in on Rembrandt, chasing him. On Rembrandt's shoulder, Mallory starts to FLICKER with HINTS OF GOLD LIGHTNING. THE BELIEVERS come pursuing -- and they start showing SIMILAR FLICKERS. Rembrandt -- carrying Mallory -- LEAPS THROUGH THE VORTEX. A last flicker of GOLD LIGHTNING washes up and down Mallory's body. The believers come charing after -- THE VORTEX SHUTS DOWN -- and ALL THE GOLD FLICKERS DISAPPEAR. The believers suddenly mill about in confusion. Mallory's panic is no longer infecting them. They look at each other, smile, pat each other's shoulders, and return back toward the meadow...


Did you think people were the only ones affected by the water? In this missing Mallory line from the Cafe discussion, you get a glimpse at just how widespread the light had become on the past earth...

REMBRANDT Don't think I wasn't tempted to join you. I was. MALLORY You should have. (beat) I was learning how to look out through the eyes of everyone in the group -- even the birds and the animals who were blessed. Everything. I was going to achieve a congruence between the little self and the big Self. REMBRANDT But it was time to go.
The rest of that conversation is as we saw it...

Until we get to the part where Mallory suggest they break up...

MALLORY But maybe we shouldn't slide together anymore... MAGGIE You can't mean that! DIANA Mallory! No! REMBRANDT If that's what you want -- (beat) I'm ready to go home. Any time.
REMBRANDT (continuing) We have to trust each other. If we can't do that...well, then we shouldn't be together. (beat) Don't you agree? Mallory doesn't answer.

REMBRANDT (continuing) It's your call, Mallory.
Mallory reaches for his water glass, it slips out of his fingers, and he douses his own lap.

MALLORY Damn! I gotta dry off --
He exits quickly.


Diana and Maggie are aghast.

DIANA What are you saying? MAGGIE You can't mean it, Remmie! REMBRANDT Yes, I do mean it!
Remmie gets up and follows Mallory. The women follow him.


As they enter, CAMERA FOLLOWS their peripatetic conversation back and forth:

REMBRANDT Either he gets over it, or -- DIANA Or what? MAGGIE We can't just quit --
In B.G., through an open door, we see Mallory filling a fresh water pitcher. Does he add something to it...?

REMBRANDT Why not? REMBRANDT (continuing) We're falling apart here. You tell me, how do we put it back together? MAGGIE I don't know -- DIANA (flustered) *You* shouldn't have let him drink -- MAGGIE Do you think *you* could have stopped him? He wanted his legs back. DIANA Well, then maybe we should have left him there. I don't know. REMBRANDT But we didn't leave him. MAGGIE Because you were so sure he wasn't talking to God. What if he was? REMBRANDT I don't know. (beat) So there it is. None of us knows. (adds) But either we find a way to put ourselves back together or we can't go on. (realizing how true this is) Maybe we should just go home.
Mallory, dressed now, comes out of the bathroom with a full pitcher of water. He fills a glass and takes a drink. Casually, he notices the and fills the water glasses for them on a table in the F.G.

MALLORY (ironic) Here, I offer you water. May you never thirst.

Did you find it odd that Diana would just stand there and let Jill drink the water without knocking it out of her hand? Well, in the original script...Diana was not present. Originally, she does not find Mallory and Jill until after Jill has drank...and that's when the dialogue from Diana was to take place.

And did you wonder how the light was built? Originally, Diana was supposed to be back with Remmy and Maggie when they talked with Krislov about the light. The following lines take place after Krislov hands them the book (the episode cuts to another scene at that point)...

REMBRANDT Can you duplicate it?
He gives Remmie a look. Is a bear Catholic?

KRISLOV I'll need a --
He continues grabbing tools and supplies off shelves --

KRISLOV (continuing) -- and one of these --
He opens drawers and pulls things out. Batteries, chips, wires...

DIANA -- and this and this --
He stops to think. Looks around.

KRISLOV (points) And that...
REMBRANDT AND MAGGIE exchange a glance.

KRISLOV (continuing) Give me an hour, maybe two, and I'll give you deadman's light.
This should please the other two. But Rembrandt looks even more worried than before.

DIANA *What?!* MAGGIE Remmie..? REMBRANDT We just reinvented the BIR-men.
And on that terrifying realization, we:


And at the beginning of Act Four, Remmy had a missing line of irony...

KRISLOV Doesn't matter. The shut-down signal is contagious through the entire system. Even a partial exposure will cure. REMBRANDT I never had to "cure" someone of God before...

And once the Sliders were captured by Mallory, Maggie had a missing line...

MALLORY No matter. We'll renew them. The blessing is infinite. DIANA And what about us? MAGGIE Are you going to force us to drink? The real Quinn would never do that. MALLORY I'm not Quinn. (beat) But no, I won't force you to drink. Blessings are freely given. REMBRANDT Like this morning -- ?

Sliders DoC : Lost and Found : S5 : New Gods for Old Script Outtakes