STARGATEThe 20th Anniversary
SG-1 Edition
Written by:Nick van Oosten
Based on:"Stargate"
&"Stargate SG-1"
Original story by:Roland Emmerich
&Dean Devlin
"Stargate SG-1" created by:Brad Wright
&Jonathan Glassner
2.Copyright © 1994, 1997, 2014 Metro-Goldwyn-Mayer
The Stargate franchise is owned by Metro-Goldwyn-Mayer.
This screenplay and graphic novel is not endorsed by MGM, nor used forprofit.
It is purely fan-fiction.
3.
To the creators of Stargate who havechanged my life.
To my parents who have put up with meand my obsession.
And to all those people who, like me,are fans to the end.
4.
EXT. DESERT LANDSCAPE, NORTH AFRICA - NIGHT
A large desert landscape, stretching for miles in everydirection. In the middle of it is a large encampment. A bigfire is burning in the center.
SUPERIMPOSE: NORTH AFRICAN DESERT - 8,000 BC
EXT. DESERT LANDSCAPE - CAMP
Surrounding the fire are several villagers, jumping andrunning about, most likely dancing.
Some distance from the fire, ignoring the festivities, is ayoung BOY sitting by himself.
The boy turns his gaze up at the moon. Seeing nothinginteresting, he turns back. Just then, a small blacktriangular shape moves past the moon, blocking out some ofthe light, but not enough to cast a noticeable shadow.
INT./EXT. TENT - LATER THAT NIGHT
The boy is sleeping in his tent, all by himself. Suddenly,a gust of wind picks up, flapping the tent's fabric.
Outside, some of the pottery and other artifacts begin torattle.
Inside the tents, people start to wake up to the noise.They look around nervously, trying to grasp what ishappening.
The boy staggers outside. While others leave their tentsscared and confused, he calmly looks up to the sky andwalks towards a bright light on the other side of thehills.
EXT. DESERT LANDSCAPE
Roaring through the sky, the triangular shape has turnedinto a massive pyramid-shaped spacecraft, rapidlydescending.
The wind is picking up much worse and the rattling isreplaced by violent shaking. All villagers are runningaround scared out of their minds, not knowing what to do.
The boy continues to walk calmly towards the light.
5.around scared out of their minds, not knowing what to do.
The boy continues to walk calmly towards the light.
The wind turns into a storm, ravaging the camp, as thecraft approaches over the hills. The boy walks up the hill,looking into the distance as the craft flies over thedistant hills. Lightning snaps to the ground as it slowsdown.
The boy looks up, staring at the massive craft as itdescends further.
A bright light emerges from the top, descending rapidlytowards the boy. He continues to look up, as if he is insome kind of trance, as the light closes in and illuminateshim.
The boy's eyes widen as the light engulfs him. A brightflash, filling the screen, and...
EXT. THE GREAT PYRAMID - GIZA - SUNSET
The sun is setting behind the Great Pyramid. A car drivespast.
SUPERIMPOSE: GIZA, EGYPT - 1928
INT. CAR
PROFESSOR PAUL LANGFORD and his six-year-old daughterCATHERINE, reading a book, are rattling in the back seat ofa Ford Model T.
EXT. DIG SITE - GIZA
The car screeches to a halt. Professor Langford opens thedoor and jumps out, just as an Arabic interpreter hurriesout of a tent. Catherine also jumps out, following herfather.
ARABIC MANProfessor, Professor!
(beat)We found something beautiful.
The man gestures for the Professor to follow. He beckons toCatherine to stay with him, and they both follow the manover a small hill to a dug out valley.
Over the hill, the Professor and Catherine see a group of
large cover stones laid out on the ground, a center disk
6.Over the hill, the Professor and Catherine see a group of
large cover stones laid out on the ground, a center diskwith a small cartouche in the center, surrounded bythirteen evenly spaced pieces, each with two rows ofhieroglyphics.
Crouched down next to a stone and dusting it off is FOREMANTAYLOR. Professor Langford walks up to him and shakes hishand.
TAYLORDr. Langford, hello.
LANGFORDWhat have we here?
TAYLORCover stones. We found them thismorning.
Langford crouches down to inspect the stones. Catherinewanders off towards a table, filled with artifacts. Shenotices a medallion and picks it up. It shows a largehieroglyphic eye, the Eye of Ra.
LANGFORDIncredible. But why did you movethem?
TAYLORWell, we found something, hiddenunderneath.
TAYLORHidden?
Langford stands back up, looking confused at Taylor. Taylorturns around and beckons for the Professor to follow.
LANGFORDCatherine, come!
Catherine grabs the medallion and runs after her father,who stands waiting for her at the foot of the hill.
The two follow behind Taylor, over the hill. When crossingover the top, they witness a large crowd of workersstraining to lift something out of the sand with dozens ofthick ropes.
They lift a LARGE METAL RING out of the sand. ProfessorLangford and Taylor stare at it.
LANGFORD
What in god's name is that?
7.What in god's name is that?
TAYLORI wish I knew.
Suddenly, one of the workers sees something.
WORKERLook! Look! There's somethingburied underneath!
Several workers run over to the base of the ring. Taylorshouts and runs after them. Both Catherine and theProfessor also follow, but Catherine is pushed back.
LANGFORDCatherine, stay back!
A large group of workers surround the circular stone slabaround which the ring had been laid.
Taylor and the Professor push through the crowd. Catherinesneaks behind them.
Two workers are pulling a large broken piece of stone froma crack in the large circle.
Underneath the crack is a FOSSIL of a JACKAL-HEADEDCREATURE.
TAYLORWhat is that?
LANGFORDLooks like some kind of fossil.
TAYLOROf what?
The shape of the fossil is truly horrific. How can such acreature even exist?
CATHERINEAmazing!
LANGFORDCatherine!
The Professor looks up angrily, seeing his daughter defyinghis express order not to move.
LANGFORDGet back to the car!
CATHERINE
8.CATHERINE
(disappointed)Yes, father.
Catherine walks back to the car disappointed.
INT./EXT. CAR
Catherine is digging through an old book about AncientEgypt. She looks at a page of a jackal-headed deity,ANUBIS, while talking to herself.
CATHERINELook at this, it's the same. Thatfossil is Anubis.
Another car pulls up next to her. An older Arabic man stepsout and walks over to Catherine.
MANGood evening, Miss Langford. Hasanything interesting happenedtoday?
INT. HOTEL - LOS ANGELES - AFTERNOON
We are in the lobby of a hotel. People are walking on thesidewalk outside and a few wandering inside.
SUPERIMPOSE: LOS ANGELES - 1995
An older woman enters the lobby and walks up a short flightof stairs. She wears the Eye of Ra pendant.
Catherine spots a sign that says "Symposium Ancient Egypt--THE OLD KINGS and THE IVth DYNASTY, Alameda Room, 2-4 pm."
INT. HOTEL - ROOM
Inside a large room of the hotel, a group of people areattending a lecture given by DOCTOR DANIEL JACKSON.
Daniel stumbles up to the podium while the audience membersmutter amongst themselves.
DANIELExcuse me-- pardon me--
Daniel steps up to the microphone and looks at his
audience.
9.Daniel steps up to the microphone and looks at his
audience.
DANIELRight.
(points at man)You, sir. What kind of car do youdrive?
PROFESSORMy car? Um... a Ford.
DANIELA model T?
PROFESSOR(chuckles)
I'm not that old. It's an Escort.
DANIELAn Escort. Power steering, fuelinjection. Modern "developments."Ford starts with a model T then"develops" into an Escort.
The audience looks confused.
DANIEL (CONT'D)Why didn't Egyptian culturedevelop? Their sciences, art,mathematics, everything wascomplete from the very beginning.Why? Maybe, Egyptian civilizationwas not a "development" but alegacy.
There is an audible reaction from the audience.
INT. HOTEL - HALLWAY
Catherine walks along a corridor towards an open door.Daniel can be heard talking from inside that room.
DANIEL (O.S.)Every other architectural structureat the time was covered withdetailed hieroglyphics; names,titles of owners, lists ofofferings.
INT. HOTEL - ROOM
Catherine enters the room.
10.Catherine enters the room.
DANIEL (CONT'D)When is the academic communitygoing to accept the fact that thepharaohs of the Fourth Dynasty didnot build the great pyramids.
Now a louder reaction from the audience
DANIEL (CONT'D)Look, look-- inside the pyramid,the greatest structure evererected, there are no writingswhatsoever. And--
An audience member interrupts.
PROFESSOR #2Dr. Jackson, you've left out thefact that Colonel Vyse discoveredquarrymen's inscriptions--
DANIELRight--
PROFESSOR #2 (CONT'D)--of Khufu's name within thepyramid.
DANIELWell, his discovery was a fraud.
PROFESSOR #2I hope you can prove it.
Daniel starts to draw the cartouche for Khufu's name whenhe is interrupted.
PROFESSOR #3Well, who do you think built thepyramids?
Daniel turns to look at the audience.
DANIELI don't have any idea who builtthem--
PROFESSOR #3Men from Atlantis? Or Martiansperhaps.
The entire crowd begins to laugh. They're slowly leaving
11.The entire crowd begins to laugh. They're slowly leavingthe room, continuing to laugh and mutter amongstthemselves.
DANIELThe point is not who built them;the point is when they were built.I mean-- we all know new geologicalevidence dates the Sphinx back to amuch earlier period. And knowingthis, I think, we have to begin toreevaluate everything we've come toaccept about--
Only one man remains in the front row, who stands up.Daniel steps off the podium and continues to talk.
DANIEL (CONT'D)I-I mean, I've been able to show afully developed writing systemwhich appeared in the first twodynasties, you know, almost as ifit was based on an even earlierprototype.
Catherine leaves the room. Daniel overlooks the now emptyroom.
DANIELAny questions?
INT. OUTSIDE DANIEL'S APARTMENT - LATER THAT AFTERNOON
Daniel walks up a flight of stairs while trying to find hiskeys. His coat is dripping from the rain outside.
When he finds his keys, he drops them. As he tries to pickthem back up, Daniel notices that his door is askew.
INT. DANIEL'S APARTMENT
Daniel slowly enters his apartment. He looks around andsuddenly notices a woman sitting in a chair by the window.
CATHERINEWelcome home, Doctor Jackson. Foras long it's still yours.
DANIELHow did you get in here?
Catherine looks up to Daniel. She holds a file in her
12.Catherine looks up to Daniel. She holds a file in herhands.
CATHERINEYour landlord told me you're threemonths behind in your rent, shameon you.
Catherine shakes her head while slightly chuckling.
Daniel puts down his suitcase and removes his coat.
DANIELYou were at the lecture.
Catherine gets up and walks over to a framed picture.
CATHERINEAre those your parents.
DANIELFoster parents.
Daniel looks out the window to see a man in an Air Forceuniform, LIEUTENANT KAWALSKY, leaning against a car.
DANIELWha-what is this all about?
CATHERINEA job.
DANIEL(chuckling)
What kind of a job?
CATHERINETranslation. Ancient Egyptianhieroglyphics. Interested?
Daniel turns to Catherine.
DANIELSince when is the militaryinterested in ancient Egyptianhieroglyphics?
Now it's Catherine's turn to look up, surprised.
CATHERINEWho said anything about themilitary?
Daniel walks up to her.
13.Daniel walks up to her.
DANIEL(smug)
There's a car parked in front withgovernment plates and an Air Forceofficer leaning against it. And theonly way to get past my landlordwas to flash some fancycredentials.
(beat)So why is the military interestedin ancient Egyptian hieroglyphics.
Catherine smiles, impressed.
CATHERINEI wish I could tell you more, but Ican't.
DANIELWhat makes you think I'd take a jobI don't know anything about?
CATHERINEI don't think you have a choice. Imean, your grants have run out. Andyou've got a big stack of billssitting on your desk.
(beat)Want to prove your theories areright? This is your chance.
Catherine grabs her file and pulls out an envelope. Shehands it out for Daniel to take.
DANIELWhat's this?
CATHERINETravel plans.
Daniel grabs the envelope and looks at it.
Catherine walks out the door.
DANIELI'm not a fan of traveling!
CATHERINE (O.S.)Get over it!
The door closes and Daniel stares at the plane tickets.
EXT. SUBURBAN STREET - MORNING
14.EXT. SUBURBAN STREET - MORNING
A dark sedan with government markings drives along anautumn road down a suburban street.
The car stops in front of a house. Two officers step outand walk up the porch towards the house.
The door is opened by SARA O'NEILL, in the late thirties,wearing a saddened face.
OFFICER #1Mrs. O'Neill?
SARACome on in.
INT. O'NEILL HOUSE
Sara opens the door for the officers to step in.
She walks over into the kitchen. The officers stand in thehallway.
OFFICER #1Uh, Mrs. O'Neill? Is you husband athome?
Sara starts cleaning the dishes.
SARAHe is.
OFFICER #1Do you think we might be able tospeak with him?
Sara looks up from the dishes and stares out the window.
SARAYou can try.
OFFICER #1Where would we find him?
Sara faces down, slightly turning towards the door.
SARAUpstairs, last door on the right.
INT. O'NEILL HOUSE - CHARLIE'S ROOM
We see a man sitting on a bed, staring out the window. Next
15.We see a man sitting on a bed, staring out the window. Nextto the bed is a nightstand covered with toys and a pictureshowing the same man, smiling while holding a kid, his son,CHARLIE O'NEILL.
The man, retired COLONEL JACK O'NEILL, is holding a gun,rubbing his finger against the side. As the doors slidesopen, he turns slightly and quickly hides the gun under thepillow.
OFFICER #1Colonel O'Neill?
Jack doesn't move and continues to stare out the window.
OFFICER #1 (CONT'D)Sir?
Still no reaction.
OFFICER #1 (CONT'D)We're from General West's office.
(beat)We're here to inform you, thatyou've been-- reactivated.
INT. O'NEILL HOUSE - KITCHEN
The officers walk past the kitchen out the door. Sara turnsaround and looks out the front window. Her face saddenseven more as she realizes what will happen.
EXT. STREET
The two officers walk up to the car.
OFFICER #2That guy's a mess. How'd he getlike that?
The officers step into the car.
OFFICER #1His kid died. Accidentally shothimself.
OFFICER #2Jesus.
The car drives off.
INT. O'NEILL HOUSE
16.INT. O'NEILL HOUSE
Sara opens the door to their bedroom. Her face turns ashenwhen she sees a cleanly pressed uniform on the bed, thefolder marked "TOP SECRET" lying beside it.
Pained, Sara shuts her eyes and turns away.
EXT. MOUNTAIN ROAD - DAY
A car drives up a mountain road.
The car approaches a security checkpoint on a road leadingup into a tunnel.
SUPERIMPOSE: CHEYENNE MOUNTAIN COMPLEX, COLORADO
EXT. CHECKPOINT
The car stops at the guard post and one of the guards walksup to it.
Lieutenant Kawalsky rolls down the window to show his andDaniel's credentials.
The guard beckons to open the gate. The car drives off andenters the tunnel.
INT. MOUNTAIN - BASE ENTRANCE
Kawalsky and Daniel walk past another guard post and enteran elevator. Kawalsky presses for level 11.
Daniel sneezes.
KAWALSKYCold?
Daniel pulls out a kleenex and blows his nose.
DANIELAllergies. Always happen when Itravel.
INT. LEVEL 11
The elevator doors open and both men step out. Kawalskywalks over to another checkpoint and Daniel follows.
KAWALSKY
17.KAWALSKY
We need to take another elevatorthe rest of the way.
DANIELHow far does this go?
KAWALSKYPretty far. Sign in here, please.
Kawalsky steps into a second elevator when the doors open.After having signed in, Daniel quickly follows.
Kawalsky pressed the button for level 17 and the doorsclose.
INT. ELEVATOR SHAFT - CONTINUOUS
The elevator car descends rapidly.
INT. LEVEL 17
The doors open and both men step out once more. As Danielfollows Kawalsky, DOCTOR GARY MEYERS approaches him.
MEYERSDr. Jackson? Hi, Dr. Gary Meyers.
DANIELHi. What is this place?
DOCTOR BARBARA SHORE is walking up behind Meyers.
SHORENuclear missile silo. Don't worry,it's been completely converted.Barbara Shore. The Astrophysiciston the team.
DANIELHello.
SHOREHi.
Kawalsky walks up to a closed double door. He turns andsmiles at Daniel before opening it.
KAWALSKYThis is where you'll be working.
INT. LAB
18.INT. LAB
As Daniel walks inside, his eyes widen. Meyers and Shorewalk past him.
At the far end of the wall, towering two stories high arethe cover stones from 1928. In front of it, several tableshave photos and artifacts displayed on them and variouscomputers line the wall showing additional pictures.
Catherine walks up to Daniel, greeting him.
CATHERINEDr. Jackson. Glad you decided tojoin us.
DANIELHello, hi. This is-- this isincredible. Where did you findthis?
Catherine follows Daniel's gaze.
CATHERINEGiza plateau, 1928.
DANIELI've never seen anything like it.
CATHERINE(chuckles)
Of course you haven't. No-one has.
Meyers turns to Daniel. He point at the various lines ofhieroglyphics shown on the stones.
MEYERSNow, there's two lines ofhieroglyphs. The inner track hasthe familiar figures--
Daniel follows Meyers' directions. He looks at the stones,fascinated.
MEYERS (CONT'D)--but the outer track is like thecartouche in the center. It hasmarkings unlike we've ever seenbefore.
CATHERINEWe've attempted to find references,but so far without luck.
Daniel walks up to the stones, looking interested at the
19.Daniel walks up to the stones, looking interested at theouter track.
DANIELThose aren't hieroglyphics. Mightbe some form of hieratic orcuneiform, maybe.
Daniel notices a blackboard with the inner trackhieroglyphs drawn on it, and a partial translation. Hewalks over.
DANIELWell, the translation of the innertrack is all wrong. Must've usedBudge. Why do they keep reprintinghis books?
He starts to erase some words.
MEYERS.Ex-excuse me, wha-what are youdoing? We've used every knowntechnique.
Daniel turns around, while pointing at a glyph.
DANIELThat's a curious word to use, eh,"qebeh"?
(beat)Then an adverbial "sedjem-en-ef"with a cleft subject, "sealed andburied"--
Daniel writes the new words, while the three doctors lookat him interested. Meyers however, looks confused anddisappointed.
DANIEL (CONT'D)--Not coffins.
And he strikes out the words. Daniel replaces them with--
DANIEL (CONT'D)"For all time". Who the helltranslated this?
Both Catherine and Shore look at Meyers.
MEYERSUh, I-I did.
DANIEL
20.DANIEL
Well, this should read: "A millionyears into the sky is Ra, sun god,sealed and buried for all time."It's not "door to heaven."
Daniel scratches out the words and starts writing new onesbelow it.
DANIEL (CONT'D)"His--"
(beat)"STARGATE."
The scientists and Kawalsky all look startled and amazed atwhat Daniel had just done. And that fast.
Daniel turns around, wanting proper answers.
DANIELOkay, so, why is the militaryinterested in five thousand yearold Egyptian tablets?
JACK (O.S.)My report says ten thousand.
The group turns to see Colonel Jack O'Neill, who has justwalked in, carrying a file and wearing his clean uniformand military style hair.
Kawalsky stands to attention.
KAWALSKYAfternoon, Colonel.
Catherine walks up to Jack.
CATHERINEUm, do I know you?
JACKColonel Jack O'Neill from GeneralWest's officer. I'll be taking overfrom now on.
Daniel turns to Shore, confused.
DANIEL(whispers)
Ten thousand? That's ludicrous.Egyptian culture didn't even existuntil--
SHORE
21.SHORE
We know, but the sonic and carbontests are conclusive.
DANIELBut these are cover stones. Wasthere a tomb underneath?
SHORENo. But we found something a lotmore interesting--
Jack then interrupts them by loudly closing the fileKawalsky has just signed.
JACKExcuse me. This information hasbecome classified.
(turns to Kawalsky)From now on, no information is tobe passed on to non-militarypersonnel without my expresspermission.
KAWALSKYYes, sir.
Meyers turns to Catherine.
MEYERSCatherine, what's going on here?
CATHERINEI'm not sure.
Daniel, angry, breaks in.
DANIELThis is crazy. Then what the hellam I doing here?
JACKYou're a translator. So translate.
Jack turns back to Kawalsky
JACK (CONT'D)I want all information not directlyrelated to these tablets removedand brought to my office.
KAWALSKYYes, sir.
Jack turns around and prepares to walk off.
22.Jack turns around and prepares to walk off.
KAWALSKYUh, your office, sir?
JACK(without turning)
And I'll need an office.
KAWALSKYYes, sir.
The group looks after Jack, still confused and angry.
MEYERSWho is this guy?
CATHERINEI'll handle this.
Catherine walks off, after Jack.
INT. CORRIDOR OUTSIDE LAB
Catherine hurries after Jack.
CATHERINEColonel O'Neill, just a minute.
Jack turns to face Catherine.
CATHERINE (CONT'D)I think you owe me an explanation.I was told I had complete autonomy.
JACKPlans change.
CATHERINEWhy?
JACKYou're acting too casual aboutthis. You've even brought inanother civilian.
CATHERINEJackson was approved.
(beat)Wait, this has nothing to do withJackson, does it? What's this allabout? Why did they bring you on
the project?
23.about? Why did they bring you on
the project?
Jack cautiously looks around, then turns back to Catherine.
JACKI'm here in case you succeed.
He then turns around and walks off, leaving Catherinealone. She looks down, then smiles.
INT. LAB - TWO WEEKS LATER
Sitting tired on a scaffolding built for him, Daniellistens at a recording he made.
SUPERIMPOSE: TWO WEEKS LATER
DANIEL (V.O.)Completed search of cuneiform andother pre-dynastic hieroglyphics.No matches whatsoever.
The table in front of the stones is a mess. Books,pictures, paper, candy wrappers and a coffee mug are spreadacross it. The dictaphone lies somewhere among the mess.
DANIEL (V.O.)I've exhausted all referencematerial in comparing the symbolson the cartouche to any knownwriting samples. Still nosimilarities--
Daniel steps down the scaffolding and grabs the dictaphone.
DANIEL (V.O.)I'm never gonna be paid.
He shuts off the recording just as Kawalsky walks in with atray carrying food.
KAWALSKYI thought you might be hungry.
Daniel doesn't react.
KAWALSKY (CONT'D)C'mon, it's good food. I've evenbrought you a newspaper.
DANIEL
No thanks. I've got work to do.
24.No thanks. I've got work to do.
Kawalsky walks over and puts down the tray and newspaper.
KAWALSKYYou know, you've been working yourass off here. Why don't you takesome rest.
DANIELI'm not hungry.
KAWALSKYOkay, fine by me.
Kawalsky prepares to walk out of the lab, just as Daniel'sgaze is fixed on the front page of the newspaper.
His eyes widen as he notices the large photo of aconstellation, ORION.
DANIELWait!
Kawalsky stops in his tracks and turns around.
Daniel grabs a marker and starts filling in the shape ofthe constellation.
When he's done, he jumps up the scaffolding and holds thepage next to the lowest symbol in the cartouche, theymatch.
DANIELOrion.
Daniel turns to Kawalsky, who eagerly awaits anexplanation.
DANIELThat symbol matches theconstellation of Orion!
We see the entire cartouche with the six glyphs. Each onerepresenting a star constellation.
EXT. MOUNTAIN ENTRANCE - MORNING
A row of cars enters the tunnel.
Several high-ranking officials step out of the cars.
INT. BRIEFING ROOM - CONTINUOUS
25.INT. BRIEFING ROOM - CONTINUOUS
Kawalsky leads Daniel down a spiral staircase into thebriefing room on level 27. A blast door blocks the view outof a window.
A group of officers and the three scientists sit around amahogany conference table in the center of the room.GENERAL W.O. WEST enters the room from his adjacent office.
Kawalsky leads Daniel to a chair.
KAWALSKY(grabs chair)
Right here.
CATHERINEDr. Jackson, I'd like you to meetGeneral West.
West walks up to Daniel and shakes his hand.
DANIELHuh. Oh, right. General. A pleasureto meet you.
West returns to his seat.
WESTSo you think you've solved in twoweeks what they couldn't solve in,I don't know how many years. I'manxious to hear what you've got.
Daniel looks at the three scientists confused.
DANIELHow long?
Then turns back to West, who looks impatient.
WESTAnytime.
Daniel puts down some papers, but doesn't sit.
DANIELAll right. Um. We're obviouslylooking at a picture of the coverstones.
He turns to a whiteboard that has a sketched picture of thecover stones taped on. He points at the outer track.
DANIEL (CONT'D)
26.DANIEL (CONT'D)
Now, the symbols on the outertrack, which were believed to bewords to be translated, are not,actually.
Daniel turns back to the table, unrolling a large poster.
DANIEL (CONT'D)They are, in fact, starconstellations.
The poster shows almost all known constellations. Thirty-eight of them are circled. They match the symbols on thecover stones.
DANIEL (CONT'D)Now, to find a location within anythree-dimensional space, you needseven points. Six to outline adestination.
Daniel turns back to the board and draws a cube with sixpoints inside. He then draws three lines between thesepoints that intersect in the middle.
WESTYou said you needed seven points.
DANIELWell, no, six to find adestination. But to chart a course,you'd need a point of origin.
Daniel draws a point on the other side of the board andthen a line between it and the intersection.
MEYERSExcept, there's only six symbols inthe cartouche.
DANIELThe seventh symbol isn't actuallyinside the cartouche. It'sunderneath it.
Daniel circles a symbol below the cartouche.
DANIEL (CONT'D)It's represented by a pyramid withtwo funny little figures and a linecoming out the top. It mayrepresent the pyramid pointing at
the sun but--
27.represent the pyramid pointing at
the sun but--
CATHERINEHe did it.
MEYERSNo! That symbol isn't anywhere onthe device.
Daniel looks around confused.
DANIELUh, what device?
Catherine turns to West, then to O'Neill.
CATHERINEYou'll have to tell him now. He'sthe only one who can identify it.
West looks at O'Neill, who shrugs.
DANIELWill someone please tell me what isgoing on?
WESTShow him.
Kawalsky walks up to the window and presses a button. Theblast door suddenly rises up.
Catherine and Shore squeeze hands, anxiously.
Daniel turns and looks out the window. He sees a large two-story room, the converted missile silo. It's filled withequipment, but he only has eyes for something else. At thefar end of the room, standing over six meters tall is theSTARGATE. It's mounted between four buttresses, attached toa ramp that leads up to it. Several technicians are workingnear the gate.
Catherine stands next to Daniel.
DANIELWhat is that?
CATHERINEIt's your Stargate.
Daniel keeps looking at it, awed. Catherine turns away.
WEST
(to Catherine)
28.(to Catherine)
Take Jackson downstairs. Let's seeif he can find this "point oforigin."
CATHERINECome, Jackson.
INT. CONTROL ROOM - CONTINUOUS
The four scientists walk down a staircase at the back ofthe briefing room, down into the control room.
MEYERSMonitors up.
JENNYMonitors are up.
MEYERSMitch, you wanna bring up thedetails on the center monitor,please.
MITCH, a technician, enters a few commands and a monitorflashes on, showing a close-up of the top "chevron".
MITCH(entering commands)
Details-- on.
The gate begins to spin, causing each symbol to move pastthe camera.
Daniel stands in front of the screen, looking intently atthe symbols, until he sees something.
DANIELHold it! Wait.
He looks around for a pen.
DANIEL (CONT'D)Does anybody have a pen?
(grabs pen from Mitch)Ah, thanks.
Daniel starts to draw something on the screen.
MITCHHey, hey, hey, don't!
Mitch stops when they notice what Daniel is drawing.
29.Mitch stops when they notice what Daniel is drawing.
DANIELTwo people, praying beside apyramid, with the sun directlyabove it.
Daniel draws two figures beside the pyramid, then a lineand a circle above it. Though the symbol is identical, thecover stone shows a stylized version.
Catherine smiles.
MEYERSHe's right. It was in front of usthe whole time.
Catherine grabs a phone to call West.
CATHERINEGeneral West. Jackson hasidentified the seventh symbol.
INT. BRIEFING ROOM - CONTINUOUS
West holds the phone, looking at Jack who stands besidehim. Jack nods.
WESTOkay, go ahead.
INT. CONTROL ROOM - CONTINUOUS
Various technicians start pressing buttons and switches.
JENNYProgramming seventh symbol into thecomputer.
The ring starts to spin. The ramp begins to vibrateheavily, which can even be felt in the control room.
A monitor shows a diagram of the gate with six boxes. Thefirst symbol appears.
INT. GATE ROOM / CONTROL ROOM - CONTINUOUS
The ring stops.
JENNY
Chevron one is holding.
30.Chevron one is holding.
Then the top "chevron" opens, lights up, closes and shutsoff.
JENNY (CONT'D)Chevron one is locked.
MITCH (O.S.)Power output at 23 percent.
The second symbol appears.
JENNYChevron two is holding.
Then locks. The gate begins to spin again.
JENNYChevron two is locked.
MITCH (O.S.)Holding at 35 percent.
A readout of the power output shows a line graduallyrising. The gate continues to increase power usage.
TECH #2All right, we've got a ConditionRed at the gate. Evacuate allpersonnel.
Then the ring stops again.
JENNY (V.O.)(intercom)
Chevron three is holding.
The third chevron, on the lower right of the gate, lightsup.
JENNY (CONT'D)Chevron three is locked.
Daniel and Catherine look at the gate.
DANIELThis was under the cover stones?
CATHERINEYes, my father found it, in 1928.It's made of a mineral unlike anyfound on Earth.
JENNY (O.S.)
31.JENNY (O.S.)
Chevron four is holding.
The fourth symbol appears on the screen, and moves to thefourth slot.
JENNY (O.S.)Chevron four is locked.
CATHERINEWe suspected it had to be some sortof transportation device. Even with"Door to Heaven" it was prettyclear.
The fifth symbol locks.
JENNY (O.S.)Chevron five is holding.
The center right chevron lights up, and the top chevroncloses again.
JENNY (O.S.)Chevron five is locked.
Suddenly, the vibrations increase in strength.
MITCH (O.S.)79 percent.
The technicians continue to type. More and more equipmentbegins to shake and rattle as the ring spins.
The sixth symbol, Orion, appears on screen. The people havea hard time speaking over the noise.
JENNY(shouting)
Chevron six is holding!(chevron locks)
Chevron six is locked!
Catherine shouts over the noise.
CATHERINE(shouting)
This is as far as we've ever beenable to get!
The shaking and rattling reaches a terrible point. Coffeemugs fall on the floor, shattering. The ramp moves fromside to side and smaller equipment start vibrating on the
tables.
32.side to side and smaller equipment start vibrating on the
tables.
The seventh symbol, the pyramid, appears on screen. Aseventh box appears. At the same time, other monitors showa critical level of power output.
MITCH (O.S.)We have to override! Power levelsare going into the red!
The same symbol spins to the top chevron, which opens andlights up.
JENNY (O.S.)Chevron seven--!
Then the chevron locks and stays on.
JENNY (CONT'D)Chevron seven-- is locked!
Then, a sudden tremor hits. A loud noise emanates from thegate, followed by a bright flash as a surge of energy isreleased on the inside of the gate.
The surge collapses into a plane. A bright ball of energysuddenly blasts forward out of the plane. The people in thecontrol room jerk back and squint as a bright light fillsthe room.
The ball of energy retracts back into the plane whichtransforms into a shimmering water-like surface, completewith ripples.
Mitch drops the pencil he's been holding in his mouth. Allthe others stare at the gate with amazement. Even Jack andWest show a startled look.
INT. BRIEFING ROOM - CONTINUOUS
One of the officers grabs the phone.
OFFICER #1(over intercom)
Send in the probe.
INT. GATE ROOM - CONTINUOUS
One of the blast doors to the side of the gate room slidesopen. A small cart carrying a probe is steered into theroom and set up in front of the ramp. A group of soldiers
swarm in from both sides, aiming their rifles at the gate.
33.room and set up in front of the ramp. A group of soldiers
swarm in from both sides, aiming their rifles at the gate.
INT. CONTROL ROOM - CONTINUOUS
Meyers grabs the ringing phone to answer, still startled.
MEYERSYes, sir.
OFFICER #1Record all information from theStargate.
A computer screen switches to show a status screen of theprobe.
JENNYClear silo for approach.
TECH #1Clear silo!
The guards leave the gate room.
Daniel and Catherine overlook the probe being steered ontothe ramp.
DANIELWhat're they doing?
CATHERINEThey're sending a probe through.
DANIELWhy? I mean, how?
SHOREWe think it generates some kind ofartificial wormhole. We can't becertain, but I've worked with avery smart astrophysicist at thePentagon who seems certain.
The probe slowly drives up the ramp, approaching the "eventhorizon". Its arm slowly lowers as it rolls up and stops.
The crowd in the control room look anxious at the probe.
The probe extends its arm forward, slowly passing the eventhorizon. Then suddenly it is pulled into the gate anddisappears.
The computer screen shows the probe dematerializing.
34.The computer screen shows the probe dematerializing.Another screen then shows a tracking icon moving across astar map.
SHOREIt's guiding itself, can youbelieve that?
Then the tracker stops and locks.
SHOREThe thing has locked itself onto--something.
DANIELWhat?
JENNYWe're receiving probe telemetry. Ifwe analyze it, we may find outwhere it is. But it hasrematerialized somewhere aconsiderable distance from Earth.
DANIELAnother planet perhaps?
Suddenly the gate begins to flutter. Readouts on screendisplay power levels dropping.
MITCHPower levels are dropping!
JENNYWe're losing the signal!
Then the gate shuts down.
INT. BRIEFING ROOM - LATER
West, Jack, Daniel and a few other people are conferring inthe briefing room.
A projector screen shows stuttering images of a room, thenthe Stargate.
WESTThese are the images the probe sendback to us. Freeze and enhance.
One of the techs works at the computer and modifies theimages to make the gate clearer.
The resulting image shows the same symbols as on Earth's
35.The resulting image shows the same symbols as on Earth'sgate, but slightly different. There seems to be noindication of a device to activate the gate, or a cartouchewith seven symbols.
DANIELThe symbols are pretty much thesame as on our gate.
WESTThis project is for naught withouta reconnaissance mission. But withthis information, I don't see howthat's possible.
OFFICERYou'd need to decipher the correctcombination to return to Earth. Butwe also don't know how to activatethe gate.
DANIELWell, I could do that.
Both West and Jack look at Daniel, one more enthusiasticthan the other. Kawalsky looks over to see the expressionon Jack's face.
WESTAre you sure?
Daniel looks over at the screen.
DANIELDefinitely.
West looks at Jack, who has a face that says "NO".
WEST(facing Daniel)
You're on the team.
Jack turns and walks away.
JACKAw, for cryin' out loud! He's fullof crap.
Kawalsky grins.
INT. CORRIDOR
Jack exits the elevator and walks up to a guard post. He
36.Jack exits the elevator and walks up to a guard post. Hesigns and the guard presses a button to raise a blast door.
As Jack enters the room, he notices the fossil of thejackal-headed men.
West walks up behind him.
JACKYou understand this complicatesthings.
WESTThat's why I wanted you Jack. We'veopened a doorway to a world we knownothing about.
JACKWhy me?
WESTMaybe I knew what it was youneeded.
INT. DANIEL'S QUARTERS - LATER
As Daniel is packing his suitcase, Catherine walks in.
CATHERINEI see you're packing.
DANIELOh, hi. You're leaving too?
CATHERINEYes. I'm afraid the military has noneed for us any longer.
DANIELThat's not fair. After what you'veall done.
CATHERINEIt doesn't matter. You're going andthat's enough. Here, I've gotsomething for you.
Catherine picks the Eye of Ra out of her pocket and holdsit out for Daniel.
DANIELNo, I--
CATHERINE
37.CATHERINE
Yes, take it. I found it with theStargate when I was a child. It hasbrought me luck. You can bring itback to me.
Daniel grabs the pendant and smiles.
INT. CONTROL ROOM - LATER
Mitch and Jenny have begun reconfiguring the dialingcomputer to boost power reserves.
JENNYBack up storage, reserve power--on.
MITCHAll right, lets see if we can boostthe power.
In the gate room, personnel are loading up a FRED withequipment and supplies.
INT. CORRIDOR - CONTINUOUS
Jack approaches his team who are lined up.
KAWALSKYTen-hut!
The squad stands at attention as Jack inspects them. Helooks at his watch.
JACKIf anyone has anything left to say,now's the time to say it.
Daniel sneezes. Everyone turns to look at him.
Suddenly, the room begins to tremble.
INT. CONTROL ROOM - CONTINUOUS
Jenny and Mitch are working the computer. The rest of thescientists are standing behind them.
JENNY(over intercom)
Chevron seven-- locked!
Once again, the Stargate activates with a ball of energy
38.Once again, the Stargate activates with a ball of energyblasting out of the event horizon and then settles back.
INT. GATE ROOM - CONTINUOUS
Jack walks into the gate room, followed by the rest of theteam with Daniel behind. Each of them looks at theshimmering surface of the gate for the first time, notknowing what will happen when they step through.
Jack looks up to the briefing room, where West is standing.He nods and keeps looking at them.
JENNY(intercom)
Vector tracking set. Allconnections are stable.
WEST(intercom)
Good luck, gentlemen. We'll bewaiting.
Jack and the rest of the team salute and walk up the ramp.
Once on the ramp, Jack signals one of the men to steer theFRED into the event horizon. Jack walks up behind it as itvanishes.
Jack waves his weapon through the puddle, creating wildripples. A moment later, he steps through.
The crowd in the control room look in awe.
Jack is closely followed by two others, BROWN and FREEMAN,then a third, FERRETTI. Then, only Daniel is left.
As the crowd in the control room looks at Daniel, he slowlystretches his arms out and touches the event horizon. As itripples, he pulls his hands back out. Then, he closes hiseyes and slowly steps in.
Daniel passes the event horizon, causing his entire body todematerialize into tiny particles, following a wormhole,and exiting at the other end.
INT. STRUCTURE
Daniel is violently thrown out of the Stargate and onto thefloor. Jack grabs him to make him stop rolling.
JACK
39.JACK
Jackson! It's all right. It's over.(to Brown)
Stay with him.
Jack walks away as Brown steps over.
BROWNJackson, listen to me. Just keepmoving. It wears off in a minute.
Ferretti stands looking at the gate.
FERRETTIWhat a rush.
JACK (O.S.)Prepare to move out.
The shimmering light of the event horizon is the only lightsource in the chamber. The team pulls out theirflashlights, just as the gate shuts down, leaving the roomin total darkness.
The team, one by one, ignite their torches.
JACKThree teams. Go.
The men move out. They throw the flares around the chamber,broadly illuminating it. Daniel follows behind.
He and Freeman both look up at a large ring embedded intothe ceiling, then move on into an illuminated antechamber.
KAWALSKYTeam two, move out.
The team walks into a second room, almost identical to thegateroom, but is fully illuminated by sunlight coming infrom small windows.
REILLYClear. No contact.
The soldiers continue to move slowly through the room in anorganized pattern.
JACKKeep moving. Check corners.
Jack walks through a short corridor and approaches a largeentrance. He looks outside and puts on his sunglasses.
Brown measures with his equipment.
40.Brown measures with his equipment.
BROWN(to Jack)
Conditions are similar to inside.
JACKI wanna take a look around.Kawalsky, Ferretti?
FERRETTILet's Rock'n'Roll.
Kawalsky and Ferretti move forward, covering the entrance.Jack follows with the rest behind.
EXT. DESERT - DAY
As the team exits the structure, they walk down a largeramp. There are two obelisks at the base. The structurethey just left looks like a large temple. All around themare sand dunes stretching beyond the horizon.
Kawalsky and Ferretti sprint to the base of the ramp,followed by Jack and Daniel.
They both continue to walk up a sand dune to take in theirsurroundings, but when Jack turns to look back, he jolts.Daniel notices and also turns, awestruck by the sight.
A large PYRAMID with THREE MOONS behind it. Jack looks atDaniel for an answer. Daniel smiles.
DANIELI knew it.
EXT. PYRAMID - LATER
The team has set up several pieces of equipment. Jack walksup to Kawalsky.
JACKReport.
KAWALSKYA quarter mile perimeter survey isjust about complete, sir.
Daniel walks around outside the pyramid, still awed by itspresence.
JACK
41.JACK
Wrap this up. Get everyone backinside.
KAWALSKYYes, sir.
JACKI want all of you back through theStargate within the hour.
KAWALSKYAll of us? What about you, Colonel?
(beat)Sir?
Jack ignores him and turns to Daniel who walks down theramp.
JACKJackson, get the Stargate working.
FERRETTI(low to Kawalsky)
What's that all about.
KAWALSKY(low)
I dunno, Ferretti.
DANIELI-I'm gonna need more time. Therehas to be more structures aroundhere, or some other traces ofcivilization.
(beat)I need to look around more.
Jack starts to pack up some equipment.
JACKNot now, Jackson. Just get backinside and dial Earth.
DANIELWell, it's not that easy. Thispyramid is identical to the greatpyramid of Giza. We won't find anyhieroglyphs or carved relief here.I mean, we really need to lookaround more.
Ferretti and Kawalsky have joined Jack to see what the fuzz
is all about. Jack starts to get a little irritated.
42.Ferretti and Kawalsky have joined Jack to see what the fuzz
is all about. Jack starts to get a little irritated.
JACKYour job here is to dial theStargate. Can you do that or not?
Daniel tries to give his answer as positive as he can, butfails. He shrugs.
DANIELI-I can't.
The three look confused and irritated.
JACK(threateningly)
You can't, or you won't?
DANIELThe symbols on the Stargate are thesame as on Earth's, but I-I need anorder of alignment, an address. AndI need the point of origin. And away to dial it.
FERRETTI(irritated)
Isn't the point of origin "unique",like on Earth?
DANIELThat may be. But this gate couldwork differently, I have to besure.
(beat)The coordinates where marked ontablets back on Earth. There mustbe something like that here. We-wejust have to find it.
Daniel looks down, almost knowing what will come next, thenlooks back up. Kawalsky loses his nerve.
KAWALSKYFind it!? Whaddya mean, find it!?You never said anything aboutfinding anything!
Daniel takes a step back, trying to calm everyone down.
DANIELWell, I-I assumed the tablets wouldbe here, I-I mean right here.
JACK
43.JACK
(more irritated)You assumed!?
Kawalsky now really loses it.
KAWALSKY(infuriated)
You're a lying son of a bitch!(pushes Daniel)
You said you could make it work!You didn't say a word about findinganything.
Jack steps between Kawalsky and Daniel, trying to coolthings down.
JACKKawalsky, enough.
Daniel staggers to his feet. The others are looking over tosee what is going on.
JACKSet up camp here. Organize oursupplies.
KAWALSKYBut Colonel--
JACKYou've got your orders. Look's likewe're gonna stay here a while.
TO BE CONTINUEDIN PART TWO
