"STARGATE" (1994)

STARGATE

by

DeanDevhn & RolandEmmench

NOTICE. Th1s scnpt anditscontentsareCONFIDENTIAL.[t1snot to be reproduced or Xeroxedwtthoutlheexpressed penmss1on ofLeStudioCanal+(U.S.) and Centropohs FilmsProducuons. Inc.

BYFG PRODUCTIONS. INC. FmalWhite 8/2,4/93 8826 Sunset Blvd. FirstRevrsion9/20193(blue) Los Angeles. CA 90069 SecondRewswn 912.5193(pink) 310/289-7550 ThirdRev1S1on1017193(yellow)

FounhRev1S1on10119/93(green) FifthRev1s10n1113/93(gold) SixthRevtsionI 1115&J1118 /93(salmon1 SeventhRevtslon12116193(grey)

TITLE SEQUENCE

Slowly we ~~avel over ~ougn groves chiselea ~nto oxidized copper. As we ?ULL BACK we see a disk, ~n the center the chiseled EYE OF RA. End title sequence. We DISSOLVE into...

AN ANIMAL'S EYE - PRIMI~:VE SKETCH - E.C.U.

Etcnea on s~one, a JACKAL. Ano~her of a GAZELLE, a spear piercing ~t·s skin. Primitive, yet dramatic triba letchings. The SOUND of ancient CHANTING is HEARD. We REVEAL...

A YOUNG BOY l

Chisels ~~s arc~ork i ntothe stone ROCKFACE at ~he edge of this valley. An old MEDICINE MAN, his face pain~ed with bizarre wnite stripes, CHANTS nearby. The boy abruptly stops his work at the SOUND of distant CRIES. Standing up top he SEES ... r

A group of HUNTERS returning from a kill march towards Y- small campsite. The tribes people rushing to greet them.

Super up: North Africa - 8000 B.C.

3 OMITTED

silhouetted tri~esmen dancing in bizarre anl.ltlalMASKS.Feet STOMPING. The young Boy s~ares ac the fire, SPARKS rising into the air. We PAN UP to a full moon. Suddenly a PYRAMID * shaped SHADOW crosses over the moon, blotting 1t out. *

The young Boy sleeps. Above him hangs an odd carving that slowly begins to RATTLE. The cent ' sfabricbegins to FLAP.

The soy's eyes pop open. Re HEARS the sounds of a quickly brewing storm. Footsteps. People hurrying, calling out to each o~her. Suddenly the tent's encrance flap SAILS OPEN. BRIGHT LIGHT pours in through the entrance.

The Boy exits his tent, staring at the light, intrigued. ~ storm building all around. Unnatural and eerie.

Panicked, the tribesmen run in fear, racing away from the light. Tne Medicine man, on his knees CHANTING.

Shoo~:~g ~raf~ 8/24/93 2.

CONTINUED: 6

~he only one ~ithout fear, ~he boy pushes c~rough t~em, :awards c~e :~ght. ~ents begin to RIP f=om their posts in t~e strong GALE WINDS.

As che f=:g~~ened clan ~ecrea~s, ~he Young Boy moves closer and closer ~o che light, squint:ng througn the blurring sands. A loud ROARING SOUND, building in ferocity.

~hrougn t~e blinding lights, a strange SHAPE inthe sky, growing nearer. Slowly we PUSH into an ex~remeCLOSE UP of the young Boys eyes whicn widen. !f we could onlysee what he sees ...

SMASHBLACK OUT:

FADE !Y:

I OMITTED 7

A glowing orange setting SUN just above the pyramid's peak. A car drives past.

Super up: GIZA, EGYPT - 1928

PROFESSOR :.A.NGFORDandhis nine year old daughter CATHERINE, who reads from a thick text boo~, are RATTLING in the back seat.

The car SCREECHES to a halt. The passenger door opens and Professor Langford JUMPS out. Catherine follows.

As they make their way down the ~avine we slowly reveal the breadth of this work site. Hundreds of Arab men digging away in the sand.

11 FOREMAN TAYLOR 11

Is crouched on the ground dusting off three large TABLETS covered in ancient Egyptian hieroglyphics. Professor Langford walks up behind him, staring in awe.

Behind them, Catherine walks over to a small table, examining several o~her artifacts. She picks up a small GOLDEN SUN DISK; the EYE OF RA emblazoned on a gold disk.

Shooe~ng Ora£~ 8/24/93 3.

11 CONTI~D: 11

W1t~cut answer~ng, ~aylor ~eads Langfcra over ~o a l arge aigq::.gp:c several yaras away. Slowly we TRACK acrossthe sana, over to a group of workers struggling to secure ropes onto something hidden beyona our view. Suddenly t~e ropes grow taut as ~hey begin ~o l~ft.

12 :.ARGEMETALL:C RING 12

over :~enty feet in diameter. The RING is slowly liftedout of the pit revealing its shape and structure. It doesn't seem to belong to ancient Egyp~. And perhaps not even this world.

l3 ANGLE- TAYLOR AND LANGFORD 13

As they stare in wonder. Young Catherine squeezes in between thetwo.

14 THERING 14

as it's lifted upright, suspended above them. An a..~azing sight. Just as it's secured, tne wor~ers start YELLING OUT, qu1ckly backing away from the pit. Taylor yells ouc at them 1nArai:iic,bu~ they scurry away.

Slowly Taylor and Langford approach the pit, looking down into it. They SEE...

15 TWISTED SHAPES 15

of bone and metal, meshed into the solid rock below. A strange metallic jackel shaped helmet looking up at us, crushed into the stone, unearthly and ominous.

We PAN DOWN f=om the skyline to a small park. A grey LIMOUSINE makes its way down a small street.

Super up: LOS ANGELES, PRESENT DAY

Shoot1~g Draft - ~ev1sea 9/25/93 4.

CONTI~UED: 16

The l~~osi~e comes ~o a stop and an ELDERLY WOMAN steps out and maKeS r.erway across the screet. We FOLLOW her as she enters a building marked: ARCHAEOLOGICAL SOCIETY OF AMERICA

Testi~g the micropnone, the M.C. adJusts the feedback as he leans close to address a gathering of distinguished Archaeologists.

M.C. Our next guest speaker today will be an extraordinary young man ...

18 PAPERS 18

Clumsily a stack ?apers are organized atop a man's lap and lifcea as ~~e man accempcs co make his way ouc of hisseat.

M.C . ...Hereceived his MA from the

University of Chicago and has his * Ph.D. from Heidelberg. Many of * you will be familiar with his * seminal articles on comparative * linguistics of the Afro-Asiatic * language group. His new volume on * early Hieroglyphics promises to Decorne the standard work upon the subJect. Ladies and Gentlemen, Janiel ~ackson.

CRASH. The papers TUMBLE to the floor next to the podium. As he leans down to pick them up we SEE for the first time, DANIEL JAC~SON, nervously retrieving his belongings.

19 ANGLE -PROFESSORS 19

An older PROFESSOR in the audience leans over to his companion.

Daniel ove~hears but tries to ignore them.

Shooci~g Draft - ~ev i sed9 / 25/93 4A.

The ~lderly Woman ~alks up the elegant stairs nearing the SOUND of Daniel's voice.

Shooting Draft - revised 12/16/93 5.

20 CONTINUED: 2(

Daniel reads through his notes as he addresses his audience.

An imposing older man, PROFESSOR THOMAS interrupts.

The room ERUPTS in angry dissent.

With surprising speed, Daniel draws a series of hieroglyphics on the black board behind the podium. At the back of the room, the Elderly Woman enters, watching Daniel.

He circles the first symbol {a clear circle with a dot in the middle).

Shooting Draft - revised 12/16/93 SA.

He draws a circle with the center darkened. The Elderly Woman steps further into the room, intrigued.

Shooting Draft - revised 12/16/93 6.

21 CONTINUED: ( 2)

As several people begin to get out of their seats and walks out, another PROFESSOR (#2)jumps to his feet, incensed.

PROFESSOR #2 This is ridiculous. I won't sit and listen to this nonsense.

He stands and exits the auditoriWll. As others in the audience Join him, passing the Elderly Woman as they exit.

There is an awkward silence as Daniel searches for an answer.

A heavy set BEARDED MAN smiles and calls out.

The audience ERUPTS INIAUGHTER, cueing more people to stand.

More laughter. Daniel SEES more people filing out. Quickly he tries to organize his notes but is clearly flustered.

Shoo~ing Draft - revised 12/16/93 6A.

21 CONTINUED: ( 3)

Shooting Draft - revised 12/16/93 7.

21 CONTINUED: (4)

Daniel frantically starts fishing through his documents, looking for a report.

But as Daniel looks up from his material he SEES the last several people left in the room, filing out the back door.

Alone in the room, Daniel stands at the podium. Sadly he slowly closes his text.

His books and papers in one hand, his only bag of luggage in the other, a dejected Daniel steps outside. Just as he moves away from the building CRACK, lighting. A DOWNPOUR of RAIN .

Getting soaked, Daniel looks up to the sky as if to say, "Whatelse can happen?" He steps forward just as a tall, imposing soldier, LT. KAWALSKY blocks his path.

Dr. Jackson?

Before he can answer, another tough looking soldier, LT. FERETTI comes up from behind. Pinned in, Daniel turns to Kawalsky.

someone wants to talk with you.

(CONTINUED}

Shooting Draft - revised 12/16/ 93 7A.

Reluctantly Daniel follows Kawalsky over to the waiting limousine. Kawalsky opens the door for Daniel who crawls inside.

Dripping wet, Daniel climbs into the back of the limousine only to find the Elderly Woman going through a file of papers and photographs. She holds up a photograph from her file.

Shooting Draft 8/ 24/93

25 CONTINUED:

CATHERINE 11' ·lour?aren,:s ? 11' • DANIEL 11'

• CATHERINE • Oh, ~~ght . Your real parencs died 11' in a pLane c=ash back ~n... 73?

As the woman continues to read from her file, Daniel notices the GOLDEN SUN DISK hanging from the woman's neck. We realize sne ~s CATHERINE LANGFORD ,no l onger the childwe met 1.nEgypt.

DANIEL • What ' st~is all about?

DANIEL * I'm gonna go now. •

Daniel moves towards the door.

Daniel freezes, turns back to Catherine, surprised.

Catherine points to Daniel's bags sitting outside i ntne pouring rain.

ShOOt~~g ~ra:~ 8 / 24/93 9.

25 CONTINUED: ( 2) 25

She hanas hun a stuffed envelope.

Suadenly ~he oack door i sopens. Disbelieving th~s en~ire encouncer, Daniel steps out. ~e turns back.

Kawalsky cli::1Csi ~and closesthe aoor behind him.

Standing out ~n the pouring rain, Daniel watches the limo drive off. ae looks back down at the envelope .1.nhishands.

Slowly we TRACK across this small bedroom, over posters and • photographs on the walls. We PAN down to a desk top over to • a photograph of a young teenage BOY. As we slowly move past • i twe find a PISTOL l ayingon the desk. A HAND reacnes ou~ * for ~t, then doesn't take it. •

•

We FOLLOW the hand back to find a man sitting i na chair by * the desk, COLONEL JACK O'NEIL, long hair, six day growth, • intense and troubled eyes . *

A dark sedan with a GOVERNMENT SEAL comes to a stop .1.nfront of a lower middle-class suburban house. Two OFFICERS step • out and march to the front door of the house. *

As they walk, we SEE a black military FOLDER one of them carries. The first Officer knocks on the door. !t opens to * reveal, SARAH, mid-thirties, tense . The pain she carries tarnishes her once beautiful face.

OFFICER tl Mrs. O'Neil?

Shoocing Drai~ 8/ 24 / 93 10.

Sarah disaooears l~Co t~e ~ouse . ~he ~~o Officers excnange a glance ana :ollow her ~~side.

28 :NT. O'NEI~ HOUSE - CONTimJOUS - DAY 28

Immaculacely ~ept, orderea. Sarah ~eves inco the kitchenas t hetwo officers awkwaraly maKe their way inside. •

OFFICER ~l Uh , ~rs. O'Neil ,~s your ~usband ac home?

She answers ==om the kitcnen where she continues her chores.

OFFIC~R i l Do you think we mighc be able to speaK with hJ.m?

Still she continues to clean in the kitchen. Beat...

As they make their way down the hall, they reach a partially * open doorway. Peering in they SEE, a teenage boy's room. * The Officer knocks as they cautiously step inside. *

OFFICER tl Excuse me, Colonel O'Neil? We're from General West ' soffice . * •

O'Neil reaches over and slowly takes the pistol off the desk , * unseen by the approaching Officers. He hides the gun in his • l ap. *

OFFICER tl * Sir? *

Shooting Draft - revised 9/18/93 11.

Sarah carries a box from the kitchen down the hall. She opens a hall closet and places the box inside.

OFFICER #1 (O.S.) • ... please understand,we don't • know if this "threat• even still • exists? •

Sarah turns, moves slightly down the hallway.

Through the cracked open doorway Sarah SEES O'Neil, the two soldiers on either side.

OFFICER #2 rou'l lbe completely reinstated. rlSf ar as yourmedical discharge is concerned ... *

O'NEIL * ( inafog) * Aren't you worried I'm still

..unstable?"

OFFICER #1 You don ' tunderstand. We don't want you inspite of your condition. We want you because of it.

O'Neil is surprised. He SEES Sarah out of the corner of his eye. Off~cer #1 leans over and SHUTS the bedroom door. * Sarah's eyes fill with pain.

The two o=ficers walk back to their car.

OFFICER #2 Guy's a mess. What happened to tum?

OFFICER #1 Kid died. Accidently shot himself.

The get ~~to the car.

OFFICER #2 Jesus.

Shooting Draft - revised 9/18/93 llA.

Quickly we SAIL over the treetops through this dense forest area. At the edge of the treeline we FIND a military Sedan driving up the windy mountain road.

(CONTI~UED)

SUPER UP: CreeK Mountain, Coloraao

The Sedan dr~'lesthrougn the gates. As ic passes we SEE Daniel r~aing ~n the passenger seac.

A group o: MARINES are in the midses of vigorous t=aining. The Sedan dri'lespast and in~o a large Tunnel Entrance.

As Daniel steps out of the Sedan, Lt. Kawalsky comes marching over, graocing Daniel's bags.

Daniel follows Kawalsky into the dark tunnel. They reach a STEEL CAGE and step.inside.

Suddenly with a loud Hydraulic ROAR, the cage quickly DESCENDS ~OWNWARD. We WATCH as the cage DROPS down, deeper and deeper.

Daniel counts the LARGE NUMBERS painted on the shaft walls as they descend. They pass 18, 19, 20 ... so on. Suddenly Dan~el SNEEZES.

The cage comes to an abrupt STOP. The number reads 28. The two and t~e eight are separated as the DOORS OPEN.

several ster~!e hallways lead towards us, active with foo~ traffic.

Shoocing ~=a=~ 8/24/93 13.

Daniel :ollows Kawalsky down t~e main hallway. Walking out of an open o£!ice door ~sMEYERS, a bala~~g middle-aged civilian wno ex~enas nis hana co Daniel as ehey walk.

Daniel ~~rns ~o find BARBARA SHORE, late-chirties, walking up along siae r..:.m.

Kawalsky stops at the end of the hall, opens the door.

Daniel ' seyes widen. A large workroom. The walls are covered with charcoal rubbings and photo enlargements of hieroglyphics. on two large tables are various artifacts.

Meyers moves over to the back wall and pulls down a sheet that was covering ...

44 THE GIZA TABLETS (FROM THE OPENING) 44

Fastened to e~e wall. Daniel is truly amazed, hypnotized. Standing near the cablets, Catherine turns to Daniel. *

Shooting Draft - revisea 9/25/93 14.

She points to a chalk board next to the hieroglyphics that has a loose ~ranslation; YEAR 10 OF KING?, SKY, RA, THE SUN DISK, COFFIN, DOOR TO HEAVEN.

Daniel erases the word TIME on the blackboard and replaces it with the word YEARS. Peeved, Meyers steps forward.

Catherine stops him, watching Daniel, intrigued.

Shore walks up next to Kawalsky, together they watch Daniel work quickly re-working the translation.

Shooti~g o=aft - revised 9/25/93 14A.

44 CONTINUED: ( 2) 44

MEYERS

Daniel steos back from the chalkboara. We SEE he nas nearly comple~ed ~~e translation of the top part of the Tablets.

Shoot~~g Draft - revisea 9/25/93 15.

44 CONTINUED: ( 3) 44

Then Daniel CIRCLES the last word.

There ~s a stunned beat. They can't believe how fast Daniel can work.

0' NEIL(0. S. ) My report says, ten thousand.

The group ~urns to SEE ...

45 COLONEL O'NEIL 45

Dressed in full military attire, his hair cropped tight, the Colonel, in sharp contrast to the man we met before, is now the very ~~age of the spit-n-pol~sh soldier.

Everyone c~rns, surprised at this i ntrusion. Clearly the others in ~he room do not recognize O'Neil. Kawalsky snaps to attention. O'Neil opens the black folder, removes some papers ana ~ands them over to Kawalsky.

CATHERINE * ~awalsky, what is this? You're in * charge here. *

Shockea, Catherine turns to Kawalsky who looks up at the * papers. *

Shoot~ng Draft - revised 9/25/93 15A.

Kawalsk1 snaps to, saluting O ' Neil.Daniel could care less * about ~he changing of the guard and steps forward.

Shooting o=aft - revised 9/25/93 16.

45 CONTINUED: ( 2 ) 45

O'Neil _nte~rupts, stepping bet~een them.

O'Neil tur~s and walks out. The group exchange confused glances.

Catherine ooes running after O'Neil. Meyers and Shore quickly follow behind. Confused, Daniel turns to Kawalsky.

context, a point of reference, * otherwise what the hell am I doing * i.ere? *

Shooting D=aft - revisea9/25/93 17.

45 CONTINUED: ( 3) 45

Kawalsky pauses at the door for a beat.

O'Neil marc~es down t~ehallway. From the rear, Catherine rushes to catch up.

At first he doesn't want to answer. Finally he decides to tell her ~~e truth.

O'Neil tur~s and walks away.

ShOOl:l.ngDra£~ 8/24/93 18 •

•

thru OMITTED thru

55 !NT. LAB - i:>AYSLATER -tHGHT 55

Slowly we TRACK across c~e lab. Within the last several days, ~aniel ~as transformedt~is room from a ste~ile an oraered :aora~ory into atota l ~ess. BooKs, ~ubbi~gs, corn and crump~ea papers litterthe room.

we DOLLY over ~o find avery frustrated Daniel star~~g up at the taDlets, chewing a Snickers Bar, lost in thougn~. Suddenly his ~eaa drops,defea~ed. He gets up and ~alks over to the coffee machine, only to find it EMPTY.

SSA !NT. HALLWAYS - CONTI~UOUS 55A

Daniel exits ~he l ab ,coffeepot in hand and walks down the empl:yhallway. He ~eacnesa small water fountain, a GUARD ~eaa~ng a newspaper sits nearoy.

The Guard goes back to reading his paper. As he flips it up, something on the paper catches Daniel's eye.

SSB DANIEL'S P.O.V. - NEWSPAPER - HOROSCOPE SSB

At the top of the paper we see a HOROSCOPE column. Daniel drops the empty coffee pot into the water fountain and moves closer to the paper, staring at it tranfixed.

Along next to title HOROSCOPE we SEE the star constellation ORION printea in a large photograph. Daniel suddenly RIPS the paper from the Guard's hand and takes off r~nning. The Guard Just s~ares at Daniel, confused.

56 MILITARY LIMOUSINES 56

Sliding to a stop. Dust . Doors opening. Stepping out of the limos we SEE half a DOZEN high ranking military OFFICIALS.

The group of OFFICIALS move towards the tunnel entrance. As they march we see that they surround GENERAL WEST,m id 40's. The group disappears inside.

Kawalsky leads Daniel, who carries a stack of papers, down the hall. Kawalsky stops, opens a door marked BRIEFING ROOM. Daniel enters.

Shooting Draft - revised 11/15/93 19.

The Briefi~g room is packed; O'Neil, Catherine, ~eyers, Shore and all the OFFICIALS we saw entering the compound. At the center of conversation is General West.

Daniel clearly wasn't expecting such an audience.

Surprisea, ~aniel ~urns towards Meyers and Shore.

Catherine ~ods for Daniel to go ahead. Daniel takes his place at t~e head of the long conference table. He unfurls a large celestial map. Daniel circles one of the constellat~ons.

The scient~sts exchange inte~ested looks. Daniel draws the cartouche.

:ind that destination in any three

dimensional space we need six * points to determine an exact

:ocation. *

Daniel dra~s the six points on a pre-drawn compu~er schematic * of a three dimensional space. •

Shooti~g Draft - revised ll/15/93 l9A.

GENERAL WEST

You said you needed seven points?

DANIEL * Six for our destination, but to * chart a course we must have a • point of origin. *

Daniel marks a spot off the chart and draws a line from it to * the chart. •

{CONTINUED)

Shoot1.cqDraft - rev1.sea 9/25/93 20.

Daniel ~ircles a small symbol at the base of the cartouche.

There is a long silence. Daniel waits for a response. It is long in corning.

Catheri~e turns to O'Neil and General.

The General thinks amoment.

Kawalsky walks over to the back wall. He pushes a large BUTTON. Suddenly the whole WALL SLIDES AWAY revealing a huge bay window looking out at a much larger r oom below.

Surprised, Daniel turns. As Danie lwalks over to the window we PUSH IN TO SEE...

Shooting Draft - revised 9/25/93 21.

Througn the window we can see t~e conver~ed missile silo pacKed with high tech equipment. : n tne center of allthis technology sits...

61 THE METALLIC RING 61

This ring, ~he same one founa ~n Egypt over sixty years ago, now seems to be part of one gigantic functioning machine.

This room :Qoks like ·mission conc~ol.' Catherine escorcs Daniel into ~he control booth and leaas ~im to a MONITOR that shows a decail of the symbols written on the star gate.

Daniel stares at the screen, watching the symbols pass as the ring slowly rotates.

DANIEL

Catherine t~rns, signalsfor ~~e StarGate to stop spinning. Daniel walks closer to the monitor.

Lifting a black marker, Danieldraws the symbol he found below the cartouche OVER asymbol on the screen. Clearly this 1s the other representation of the same sign.

Catherine picks up a phone. Above we SEE General West picking up a phone from behind the observation glass. He nods. Catnerine hangs up.

Shoocing Draf~ 8/24/93 22.

Over a Mic, Shore gives instr~ctions co cwo TECHNIC:ANS who ~rogram the =~~g co TURN, aligning the sides. Eacn section stopping ac a part~cular sign, maeching che car~ouche.

Several ARMED GUARDS suddenly surround the star gate, protecting~~, from what, we don't know. As eacn symbol * aligns on tte StarGate, an audible HUM increases in Lntensity. ~he room beg~ns to VIBRATE. Daniel ~s amazed.

A coffee cup ~egins co rattle, coffee swisninq over it's eage. The -~gnts in the room begin to FLICKER as t~e humming amplifies. ~he window pane to the control booth SHAKES, ready to crack.

They turn back towards the StarGate just as the Seventh Symbol is ma~ched up. Everyone in the silo is locked onto the gate, frightened and curious. The gate begins to GLOW in BRILLIANT WHI~E LIGHT.

Across the center of the ring a strange fluid MEMBRANE appears, shi:mlering. Suddenly ~he fluid SPLASHES OUT, into the silo. ~ecnnicians rush away. Just as the l iquidex~ends out into the ~oom, it's quickly SUCKED BACK into the ring.

As the liquid is vacuumed into the ring, it leaves behind a strange undulating TUNNEL OF FLUID AND LIGHT.

Suddenly several computers in the back of the control booth ACTIVATE, lignts flashing, buzzing. Shore examines the readouts.

Technicians =-.ish todealwith all the input. Shore turns around to SEE •..

Shoot~ng Jraf~ 8/24/93 23.

65 MAP ON THE BACK WALL OF T~E CONTROL ROOM 65

A detailea scnematic of the Universe. A small red laser CROSS HAIR beoins ca t=ek across t~e map, leaving Eart~ and ~raveling across the ga~axy, stopping at the far ena of the screen.

TECHNIC:AN #2 It ~as mass. Could be a moon or large asteroid.

The flashing SLUE DOT ~s all the way on the OTHER SIDE of the screen, :ower right corner.

The crew finisnes their last preparations and rushes away from asmall ?ROBE sitting on the ramp.

A COMPUTER COUNTDOWN begins. Suddenly the PROBE STARTS TO MOVE. The PROBE moves tank-like across the ramp heading directly into the center of the RING. As the countdown reaches the end, the PROBE moves INTO THE RING.

There is an audible POWER SURGE as the membrane begins to RIPPLE. BLINDING WHITE LIGHT flashes from the RING, Daniel and the others cover their eyes.

Suddenly ~he probe MELTS into the membrane and is VACUUMED quickly down ~nto the tunnel. The image is startling, no one has ever seen anything like this. With baited breath, the entire crew remains motionless, waiting.

(CONTINUED}

Shoo,:ing Jraf~ 8/24/93 24.

A bank of computers suddenly IGNITES, lights flashing, a buzz of activity.

Technicians race to aid the computers. The others CHEER.

minutes to decode ic. *

Shore adjust the console in front of her.

MEYERS • Increase receiver sensitivity.

More Technicians rush to adjust their equipment.

Suddenly the ring TURNS ON IT'S OWN and SHUTS DOWN.

Meyers checks with several technicians, turns back and smiles.

Shooting Draf~ 8/24/93 25.

65 CONTINUED: ( 2) 65

~he wnole room exolodes with CHEERS. ~he :echnic~ans and crew memoers ~ug each ocher, congratulaci~g one ano~her. Meyers rusnes over ~o Daniel shaking nis hana, enchusias~ically.

Unlike everyone else, Daniel ~emains l~credulous.

Suddenly a group of soldiers move into the control booth, blocking their access to the main computers. As Meyers moves towards the computers, a guard stops him.

~n~ What's going on here?

The phone RINGS. Catherine picks it. Catherine ' sexpression darkens. Slowly we PAN UP to the observacion window. Unheard by us, O'Neil finishes his conversation with Catherine. Slowly the wall LIFTS back up, COVERING the window. Catherine hangs up the phone and curns back to her * cohorts.

Everyone is shocked as the armed guards begin dismantling the equipment and remove several pieces from the compucers. Done, they turn and exit the room.

Shooting Draft - revised 11/15/93 26.

65 CONTINUED: (3 ) 65

Sadly she turns away, trying to hide her disappointment. Daniel can't believe it. He turns and looks at the crestfallen faces around him. With a strange resolve, Daniel storms out.

thru OMITTED thr~

Daniel comes rushing up the hallway, catching up with O'Neil.

people? Is this about

"information?" How do you think * you'll keep this quiet after what * ~e·ve all JUSt witnessed, what * :·ve Just witnessea? I don't know * ~= they've signed something but I've signed nothing. What's to

keep~ from talking?

O'NEIL * Go right ahead.

O'Neil stops, turns and gets in Daniel ' sface.

that bus back home tomorrow and you stop off to pick up a ~amburger, grab the latest tabloid and read the story about the alien baby born with the head of a frog and the body of a man. When you're done, ask yourself if you believe it.

Daniel's stung, realizing. He changes tac~.

O'NEIL

I appreciate that but the decision has been made.

shooting Draft - revised 11/15/93 26A.

68 CONTINUED:

Daniel can tell he's getting the runaround and doesn't like * it. *

Shooting D~aft - revisea 9/25/93 27.

Impassive, O'Neil turns and walks away.

The Colonel stops, dead.

O'Neil and Daniel spin to see General West standing behind them.

The monitor lights up and through stat1c-f1lled video we see the inter~or of some architectural STRUCTURE.

WIDEN TO REVEAL:

Daniel stands in front of the large wall sized monitor at the edge of the room. Behind are the military officials, Kawalsky and O'Neil. The ·imageslowly rotates, panning around the room across stone walls. Soon we pass over another STARGATE, fully powered.

The image FREEZES. Digitally the image is ENHANCED as we artificially ZOOM closer, detailing the ring of the Star Gate. Fascinated, Daniel moves closer.

Shooting Ora£~ - revised ll/15/93 28 •

..

Daniel turns, interrupts.

Everyone's attention turns back to Daniel. Even Kawalsky steps forward. After a long beat.

All eyes turn to General West.

O'Neil stands in the semi-darkened room staring at something intensely. Behind him General West enters.

Shoocing Draft - revised 11/15/93 29.

71A CONTINUED: 71.P.

things. • • GENERAL WEST

That's why I wanted you, Jack. ..

General West moves up next to O'Neil. As he moves up along side we see for the first time what they are staring at •••

71B ROCK FRAGMENT 71E

The same section of rock found at the digging pit in the opening sce~e, BONE and METAL meshed into stone. Frightening and eerie.

The General turns and leaves. O' Neil keeps staring, especially at the piece of metallic Jackal Headdress. Clearly O'Neil is troubled.

72 !NT. HALLWAYS 72

A trunk is CLOSED, sealed. Boxes, equipment and personnel are being shipped out. Among the busy foot ,:raffic we see Meyers anc Shore sadly walking out carrying their suitcases.

Personnel busses are loaded, people stowing their belongings. Trucks packed with boxes of equipment.

Daniel is buttoning the final button on his standard military issue combat uniform. Daniel turns to f i nd Catherine standing i~ the doorway. Catherine walks over to Daniel, taking some~hing out of her pocket.

She opens ~er hand, exposing the SUN DISK necklace.

Lifting the ~ecklace, Catherine puts it on a grateful Daniel.

CATHERI~E 3r~~g ~~ cacK ~o me.

Through the ousy traff~c of peop~e making their way ouc we SEE the silhouetted f~gure of Catherine walking away from us.

O'Neil marches towards the anxious and concerned faces of our away squad; Kawalsky, :ive SOLDIERS (We recognize chese soldiers from Daniel ' sarrival)and Daniel. There ' sa long • tense pause. ~inally...

SNEEZE. Everyone turns down the line lookingat Daniel who * wLpes his nose with a Kleenex.

A buzz with ac~ivity. Technicians making final adjustments. •

We MOVE up from the computer console to a MONITOR where we see a detail of the RING as it begins to TURN. We RACK FOCUS through the glass to the Star Gate. In front of it we SEE a WHEELED VEHIC~E getting packed with equipment.

VlO!O CAMERAS spin from every angle of the silo, focusing on the Star Gate. As we PAN UP from the multitude of cameras we stop at...

watching the activity below, the General sees the away squad, l edby O' Neilas theymarch into the silo.

The squad walks over to the ramp. Four SOLDIERS move over to the wheeled venicle, escorting it as it slowly moves up the ramp. *

With three of ~~e symools alreaay LOCKED !N, the Star Gate • cont~~ues co ~OTATE.

~~e sauad follows the vehicle uc the ramc. ~aniel :ooksup ac ~~e spinr.~~g Star Gate and swallows hara.

aegi~s ~~s turn. We FOLLOW IT as ~t slowly moves intoplace.

:he ~earnstanas below in the now empty silo, prepar~ng:o enter ~~e r~~g. General West ?icks up the mic=opnone.

As the last of the technicians leave, the ENTRANCE COORS to the StarGate room and control booth slowly SHUT and LOCR.

General Wese presses a button and the wall covering SEALS UP over the window. The General turns and exits.

84 THE SEVENTH SIGN 84

locks into place. The MEMBRANE forms over the ring, the TUNNEL appears again.

General West, joined by his men, marched down through the elaborate hallways. Doors SHUTTING and SEALING behind them as they march.

The Vehicle hits the top of the ramp and enters !NTO THE RING. Daniel stares in wonder at the sight. The entire vehicle and ~he men alongside EVAPORATE into the ring ' s center.

The last to leave, General West and his men exit the tunnel entrance and ~wo HUGE CONCRETE DOORS begin to MOVE, closing.

Shooe.~g Drat~ 8/24 / 93 32.

Stoic ,O' Neil~s t~e f ~rst~o mare~ ~~rough after the vehicl e. He s~eps i~to the r~ng.

~awalsky turns back to the Soldier behind him. They exchange apprenensive _oaks. Kawalsky t urns bacK and walks~~. The * So l diercrosseshimself ana seeps 1~siae ,~evealing...

89 ::>ANIEL 89

His heart ~n nis throat, Daniel stares at the ring.

90 :NT. ~t1NNELENTRANCE - GENERAL WEST - SAME 90

Throuan the closing doors we SEE General West looking back JUSt as the two gigantic doors SEAL CLOSED, blackou~.

Daniel shuts nis eyes and steps into che beam.

92 DANIEL 92

Before our eyes we SEE Daniel broken down to the molecular level ...

...he enters another dimension. A fourth dimension...

... traveling over millions of light years outside of our own time continuum •.•

...we then enter a gigantic bl ack space,floating...until a sun-like light RUSHES towards us, engulfing us •..

Slowly out of the bright white light, a face forms. Molecules rush together. It's Daniel, covered with frost, dropping down to his knees, clutching himself in pain.

WIDEN TO REVEAL:

Io a pool of ~ight beneath the Star Gate on the other side (exactly like ehe one on Earth), Daniel is curled up, freezing cold. HANDS reach out for him. Panic~ed, Daniel knocks them away.

Shooting Ora£~ 8/ 24/93 33.

Squinting ttrouqn ~he oright ligh~, Janiel can JUSC make out the snapes of the o~ner ~embers of the squad, scattered around c~e room~~ various states of recovery.

Cougning, squin~~~g ana shaking off ~he cold, ~he team comes together. Sudden~y ~~e Star Gate cegins coTURN on its own. • As it STOPS ~he i~gnt at the ring·s center SHUTS OFF. TOTAL BLACKNESS.

A FLARE ~gni~es. AdJusting to the new light we SEE O'Neil holding :he flare, checKing his men.

Slowly ~~e squaa ~ods. One soldier, LT. FERET~I, shakes it off.

LT. FER£TTI (sarcastic) What a rush.

Daniel lifts himself up, dazed. A second flare is LIT. * Daniel scans the room, spotting the Star Gate. We SEE that • we are in a massive stone surrounding. Behind Daniel the • squad ga~hers equipment. *

One soldier, FREEMAN, attaches a light to a harness mounted VIDEO CAMERA, while BROWN slips on a back pack connected to a receiving DISH for collecting technical data. Brown checks a readout monitor attached to the bacK of his arm.

O' Neilmoves over ~o a doorway leading to a short hallway. He looks down the nallway and turns back to the squad.

Feretti lifts his rifle. He and another Soldier lead Brown through tbe doorway. Kawalsky and another Soldier move across from O'Neil.

Kawalsky nods as O'Neil moves through followed by the soldier. Freeman adjusts his camera harness and follows. Kawalsky ~urns back to Daniel.

Daniel spins, nods and follows.

Shooci~g Drat~ 8/24 / 93 34.

Slowly the squaa makes lt ' sway~hrougn the dark ~allway and across tnis smal l=oom. 3rown cnecks nis reaaouc on the move.

o·~eil and ~~steam move quicKly ~hrougn, :olloweaby Daniel ~ho stops, noticing something. He reaches forwara and grabs F~eeman, ~ur~ing nis ligh~ down to the floor.

We see a laroe round MEDALLION on the floor. Tilt~ng Freeman's lignt we look up to find a similar obJect on the ceiling above.

Janiel doesn · ~knowwhat to make of it. Annoyed, Freeman shakes h~mself lose from Daniel and moves on.

Two small blue-ish flares ROLL towards us. Together they 1llwninace this GRAND GALLERY (a larger hallway l eading upwards). Below us we see Feretti's face as he peers upwards, eneering with his team.

98 DANIEL 98

at the rear, stares at the surroundings. Somehow it all seems familiar to him.

At the top of the rampway, the hall LEVELS off to a short hallway leading to another chamber. As the ceam arrives, they gather ~ogether awaiting instructions.

100 TEAM'S P.o.v. - DOWNHALLWAY 100

Ahead of them, LIGHT can be SEEN in the next chamber, perhaps leading outside. Brown, Feretti and another soldier move ahead of the rest, heading into the next room.

A much l4rger hallway filled with huge pillars. Feretti peels off to one side, the other soldier taking position across from nim. Brown steps into the room, taking readings.

Silhouetted at the end of the hall, in the next room. Brown ~urns back to us.

Shooting Drai~ 8/24/93 35.

he rest of ~he team moves onward.

:03 :NT.~NTRANCE ~ALL - CONTI~UOUS 103

Cautiously the team makes 1:s way ~hrough this huge room, rotating posi~ions, moving pillar at a tJ.JUe.Again, Brown and Feretti are the first :o reacn the doorway leaaing outside.

ChecKing nis =eadings, Brown ~~rns back and gives t~e okay s1gn. The team follows.

Follow1ng closely behind O'Neil, Daniel slowly makes his way through the doorway out into the bright sunlight. Daniel find himself on a large platform surrounded by SAND DUNES.

Aheadof him he SEES the soldiers who"ve taken defensive positions across the platform and Brown and Freeman who are amazed as they record all they survey.

We see the en~ire team posit~oned across this mammoth struc~ure. O'Ne1l turns to Kawalsky and Feretti.

O'Neil ignores Daniel as he follows Kawalsky and Feretti down the long ramp into the sands.

At the base of the ramp stands two !..AR.GEOBELISKS.Kawalsky and Fere~ti take positions on either side of the OBELISKS. O'Neil and Daniel follow down the ramp and into the sand.

Shooting Jraf~ 8/24/93 36.

Behind t~em, Freeman marches aown with his camera. As ne nears tte oase of tje ramp ne LIFTS his camera to get a better .oo~ at ~he scructure they ' veJUSt left. Slowly he moves away =~om his eyepiece.

climb the aune across from the obelisks. Winded, Daniel reaches ~he top long after O'Neil.

As Daniel catches his breath he turns to see what O'Neil is lookingat. ~aniel ~s stunned, speechless.

:>ANIEL'S? .0.1/.- THE PYRAMID :09 109

Just like the great one of Egypt, only BIGGER and without any decay. Glor~ous and breathtaking.

Looming :use beyond the pyramid we see THREE SUNS in the sky bearingdown on us. Thrilled, exhilarated and frightened, O'Neil and Daniel stands there in total awe. Too overwhelmed to speak. Finally •••

O'Neil snoots him a look. OverJoyed, Daniel Just stares at the horizon, filled with wonder.

Dunes stretching ou~ for as far as the eye can see. The pyramid a small lonely shape in an expansive empty dessert.

Brown rolling 4 small device over the sand collecting samples. In quick cuts we SEE all the men using a variety of equipment to gather data in and around the pyramid.

110 ANGLE - OBEL:SKS llO

Kawalsky anQ ~eretti move over ~o meet O'Neil.

Shooti~c Draft - cevised 10/7 / 93 )7.

1 10 CONTINUED: 110

O'Neil ignores him and moves away. Kawalsky and Feretti exchange confused glances.

l lOA OBELISKS - DANIEL llOA

Daniel is inspecting the Obelisks. O'Neil marches over.

Cautiously, Kawalsky and Feretti walk over.

replica of the great pyramid of Gl.za.

O'Neil steQs close to Daniel.

Shooti~g D~aft - rev1s~d 10/7/93 37A.

llOA CONTINUED: 110A

Shooting Draft - r evised10/7/93 38.

1 10A CONTINUED: ( 2) llOA

Theres a lo ngpause as Daniel decides to ans wer .

Kawalsky s tepsin front of Feretti, interrupting.

Kawalsky SHOVES Daniel, hard.

Kawalsky freezes. There is a lo ng tensemoment as Kawalsky finally eases off.

Shooti~g Orait -revisea 10/7/93 38A.

llOA CONTINUED: { 3) 110A

Reluctantly ~awalsky turnsand leaves, =eretti 1n tow. Daniel stanas up behina O'Neil wno turns back to him.

llOA CONTINUED: (2) l lOA

O'Neil t~rns ana looKS a~ Daniel, cold.

After a pregnant beat, O'Neil turns and walks away.

l ll A HAMMER lll

Slams down against a l argetent SPIKE .

112 gxT. BASE CAMP - LATE AFTERNOON 112

Sweating under :~e i ntensehead, Brown and Freeman unpack some the eauioment . A shircless Feretti ties aown the cover tent; a larger tent shading several smaller tents beneath.

Feretti spots Daniel, below, struggling with a heavy box as he exits the pyramid. Pissed, Feretti takes out his frustration on another tent post, SLAM.

1 13 OMITTED 113

O'Neil moves over to the wheeled vehicle, lifting off the last crate. Ke reaches into his pocket and produces a strange looking TOOL. Kawalsky enters.

Shoocing Draft - revised 9/ 13/ 93 40.

O ' Neil coolypalms t het oo l,h 1d1ng1tand turns around. He nods aproving l yto Kawalsky.

Kawalsky snaps to, and exi t s.Once gone, O'Neil t akesthe tool, placing it i ntot hef loor boardso fthe vehicle. As he maneuvers the tool, a sect i onoft he floorCOMES OFF, revealing a hidden compartment below. O'Nei lreac hes1n and removes two heavy, SOPHISTICATED LOOKING DEVICES.

Placing the Devices on the floor, he adjusts something on them, connecting the t wo pieces together. Joined, he open s a common LID, exposing a smal lbutton.

As he presses it, a square electr i cal"KEY"POPS UP. O'Neil pockets the "KEY" and shuts the lid, locking 1t.

115 BASE CAMP 115

Daniel s t=ugglesup the l as tf ewsteps oft hehil l He DROPS his cargo down, with a THUD. I rritated,Ferect irushes o ver and opens the box ,revea l ingDOZENSOF WEAPON S .Feretti checks the weapons for damage.

Daniel w19es his b rowstaring up a tt hemu lti-s u ns.Oneby * one, Dan i elgoesthroug h themany pockets o f hisvest, * casually tossing aside their contents a sh es earchesfor * something. The last pocket empt i ed,Danielg iv e sup. *

DANIEL * Great. Everyth i ngbu ts unb l ock . *

Feret t1 reolacesa p i stolbackin t heb oxa nd t urnstoward * Daniel ,disgusted. *

(CONT I NUED)

Shooc~~g Drai~ 3/ 24 / 93 41.

Feretti lifts a large auffel ana HEAVES i~ at Daniel, knocKing him over. ~he duffel rolls from his hands and all his BOOKS go ~UMBL:~G DOWN tne other side of the dune.

Ferec~~ smiles ~o 3rown as Daniel reluctantly gets up and climbs down t~edune after his belongings.

:16 LOWER DUNE - CONTI~UOUS 116

Daniel makes ~is way clumsily down the sand, his books are scattered everywhere. As he reaches aver to pick up the empty duffel, he SEES...

117 HOOF PRINTS 117

in the sand. ~eep set prints, ~alking around the next dune. Daniel can · :~elieve i~. Slowly he follows the tracks.

O'Neil arrives carrying the last crate. He looks around, turns to Feretti.

The Soldiers exchange a glance.

Feretti points in ~~e direction Daniel went. O'Neil signals Brown and Kawalsky to follow him.

O'Neil finds the books and bag 'scattered down the sand. Across from it several tracks, the beasts' and Daniel's. O'Neil shoots a disapproving look over to his men.

As Daniel reaches the top of the next dune he sees something. He crouches low, not to be seen.

121 DANIEL'S P.o.v. - MASTADGE 121

Climbing beyond the next dune we SEE a large hairy BEAST. A strange cross between a Mammoth and a Buffalo, (called a MASTADGE). Daniel is awestruck.

Cautiously Daniel makes his way towards it. He notices some~hing on ~he head and neck of the Mas~aage; A HARNESS.

{CONTINUED)

5hoocing ~ra=~ 8 / 24 / 93 42.

:21 :ONTINUED: 121

~e reaches ~~~a nis oocke~ and culls out a SN!CKERS BAR. He ~eels it ana snows~~ to ~he Mastaage.

Nith its great ~ostrils, the Mastadge SNIFFS the air. Slowly :he Mastadge ~oves closer to Daniel. Carefully, ~aniel l ifts • :~e oar, closer ~o che animal ' smouth. We RACK FOCUS TO:

:22 ;..NGLE-O' NE:~, BROWN AND KAWALSKY 122

As they come over the toe of the next dune, spott:~g Daniel. Kawalsky ana Brown l ifttheir weapons.

Janiel turns, sees O'Neil but ignores him. The Mastadge sticks out ~~s MASSIVE TONGUE and LICKS the Snickers Bar. Oaniel, nervous , drops the bar. The Mastadge leansdown and ?icks it up ~ith its teeth. Daniel smiles, reaches out and • PETS the Mastadge. Daniel turns to O'Neil, yells over to him.

LooK, it's got a harness. It's domestica~ed. See?

Daniel lifts one of the reins attached to the harness and shows it to O'Neil. O'Neil signals his men to lower their rifles.

The beast seems to respond. Daniel smiles as he runs his hand over the Mastadge ' shead. But when Daniel ' shand touches the oeasts EARS, it REARS UP, ROARING.

The Mastadge JUMPS UP onto its back legs. His reins gets caught around Daniel's leg. Screaming the Mastadge KICKS and TAKES OFF RONNINGl Daniel gets DRAGGED OFF along with the oeast.

O'Neil and t~e Lieutenants lift their weapons but ~he animal lS too FAST. They watch as Daniel gets DRAGGED up and over ~he next sand dune DISAPPEARING from sight.

Shoocing ~raf~ 8/24/93 43.

Frustracea, ~~ey l ower~heir gur.sand ~ake off after them •

•~GLE - ;:)ANIE:.A.NDMASTADGE 123

Janiel ~s ~RAGGED, screaming as ~e · spulled. ~w1se~ng and oumping. His ~outh filling~it~ sana.

124 iU{GLE- O'NEI:.,KAWALSKY ANO BROWN 124

Huffing and puffing as they climb the top of the next dune. Getting Daniel oack in sight, ~~ey SEE how fast the Mastadge l.S•

~aniel is PUL:::..ZDAWAY fartherandfar~her from O'Neil who cnase from ben~nd. No match :or ~he speeding beast, the aistance oeeween them grows.

126 OMITT!O 126

127 0' NEIL,BROWN ANO KAWALSKY 127

Come running over a dune, guns raised. Suddenly they slow * down as they SEE Daniel, laying in a heap, the Mastadge standing over him. They keep ~heir weapons trained on the • beast as they approach from a distance.

Daniel spits out a mouthful of sand as the Mastadge leans over and begi~s to LICK HIS FACE.

Finally O'Neil and his men arrive, but to Daniel's surprise, O'Neil PASSES right by him, lowering his gun.

Daniel looks up, spits out the sand in his mouth. He stands u~ and he and tne others join O' Neilat a nearby ledge. He finally sees wnat O'Neil sees ...

Thousands of dark skinned PEOPLE populating the dune valleys below. Hwuans, like on Ear~h, seemingly out of place and tJ.Jne.

At the base of huge dunes we see gigantic MINING PITS. * Covered wi~h ~hick DUST, their :aces barely recognizable as * human.

Amazed, ~~ey can·t believe what they·re seeing. O'Neil lifts * a pair of ~inoculars, scanning the area.

Spread ac=oss the sands, we SEE these people involved in back • breaking ~abor. Suddenly a worker ~n the foreground turns and look JIR.ECTLYAT US.

Instantly Kawalsky and Bro~n drop down, guns ready. O'Ne~l, scill scacaing with Daniel, ~owers his glasses :ust as he SEES ...

The workers all start LOOKING UP, spotting them. The news SPREADS and more and more workers put down their tools and turn to t~e hillside. Several of the groups crowd closer, staring up at the strange visitors.

O'Neil moves down the dune towards them. Daniel follows. Kawalsky and Brown, still on the ground, exchange a glance, then rel~ctantly follow.

131 GROUPS OF WORKERS 131

Gathering together, moving closer. As they assemble they grow quie~, reverent. The team caut~ously makes the~r way down the sloping hillside in the tense silence.

All stari~g over at our crew as they arrive just a few yards in front of the assembled crowd.

Daniel has no idea wha~ to do. Slowly he walks over, a forced smile for the crowd. He steps up close to a Ml.JODY WORKER.

Shooting Draft - cevised 9/13/93 45.

The Worker looks athim with curiosity. Daniel opens his mouth about to try and speak when suddenly a FLASH of reflected LIGHT shines off of the Golden Sun Disk around Daniel's neck.

The Worker SEES thisand his eyes widen. He SCREAMS something out, frightening ourcrew and silencing Daniel.

All at once, theentire assembly in a wave-like chain reaction BOWS DOWN,FLAT ON THE FLOOR. *

They take a few steps closer to Daniel.

Daniel turns back to O'Neil, nervous and confused.

Frustrated O'Neil steps forward. He singles out one of the workers, a young boy, SKAARA, sixteen. O'Neil extends his hand. Skaara only looks at it with mounting fright. Frustratea, O' Ne1lGRABS Skaara·s hand, shak1ng 1c.

Skaara SCREAMS OUT in fear and takes off RUNNING. O'Neil turns to Daniel, confused.

O'Neil shoots him a look. Behind them, Brown leans over one of the p1~es of minerals stacked nearby. He lowers a device over it, ~aking readings. Kawalsky·s attention ts diverted to someth~~g far away.

Shooting D=ait - revisea9/25/93 46.

133 DECORATED ~-!_~STADGEANDENTOURAGE 133

An elabora~ely decorated Mastadge with a coverea carriage on top marches througn the gathered worKers, a small entourage surrounaing it . Among them, Skaara, who looKs up to the carriage, 5peak1.ngquickly.

It makes ~~sway througn the crowd over to Daniei and the others. It stops and an elderly man, KASUF, the cribe priest steps down =rom the carriage and KNEELS before Daniel. His head bowea, Kasuf speaks very FAST and with reverence.

Finally, ~nen done, Kasuf STANDS again. This time the ENTIRE CROWD scancs with him, as thougn a prayer nad e~aea . Daniel l ooks at o ·~eil.

Kasuf signals a group of WOMEN who approach carrying large water basins. SARI, twenty, beautiful and painfully shy, steps forward and offers some water to Daniel.

Daniel is stunned, smitten. Slowly he accepts a drink. She humbly bows her head and them moves on to Kawalsky. Kasuf steps forward, again, speaking quickly. Asking a question.

Captivacec ~y Sari, 1t takes Daniel a second to snap out of it. He aoesn't know how to respond. An 1dea hits him and he digs 1.nto~~s pocket and retrieves another SnicKers Bar. Daniel wal~s over to Kasuf, peeling ~he bar.

In a ceremonial gesture, Daniel hands the barove rto Kasuf who reluctantly takes it. Hesitantly, he takes bite. He likes the ~aste and smiles.

Daniel is ~nrilled. He smiles back at h1.rn.

KAWALSKY * What does t hat mean? *

DANIEL * I have no idea. *

Shoot~~g Drat~ - revisea 9/25 / 93 46A.

1 33 CONTINUED: 133

Pleasea at communicating with Daniel, Kasuf waves his arms invit~ngly ~owards the direction from which he came.

Shooti~g Draft - ~evisea 9/25/93 47.

133 CONTINUED: ( 2) 133

Daniel exaggeratedly repeats Kasuf's gesture. Everyone turns * to the Colonel for a decision. He makes none. He JUSt stares at ~he departing Kasuf, considering.

Lookina at the faces of the mud covered workers, O'Neil finally makes a decision.

CUT TO: :t

Ferett: and soldier ~2 are going through supplies as Freeman it comes =unn~ng over. *

FREEMAN * Feretti! I've got O'Neil.

Ferett: grabs the radio.

FERETTI * (into radio) * Yes, Sir ... *

Worried, ~he remaining members of the team huddle close. *

FERETTI * Can you repeat that Sir? * (long pause) * Okay, Sir. Yes, Sir. *

He hangs up, a strange lookk on his face. He turns to the * men. *

Shooting Draft - revised 9/25/93 47A.

FREEMAN * Are they coming back? *

Ferett~ is reluctant to answer. Finally... *

FERETTI * Tnis is not good. I'm telling you * guys, this is not good. *

CUT TO: *

Over the boundless sea of sand dunes we PAN DOWN an endless caravan of workers making their way across the desert. Kasuf suddenly stops and turns to Daniel, pointing off into the distance. As Daniel walks closer he can see ...

The ancient village of the people of this planet. A huge settlement.

The long caravan makes its way down into this valley. The town's people rush over to get a look at the strange guests.

~hoot i ngOra :=-Lcv 1Jca10/7/ 93 48.

J an1elSNEE:2s. Skaara and Nabeh stare at h1m as heBLOWS ~ h1s nose i~co a Kleenex and drops 1t ~n the sana. Nabeh ~ rushes over and p1cks 1t up, e xam1n1ng 1t. Skaara scolds ~ him, slapp1;g the Kleenex out of his hand. *

Janiel's attention, however, 1s on the beautiful Sariwho ~alks across f romhim. Suddenly the Mastadge BUMPS Daniel playfully from behind. Daniel ignores it as he continues to gazes at Sar~ The Mastadge does it again. Skaara,who holds the re~ns of the Mastadge, giggles at Daniel'splight.

Scolded, the Mastadge NUZZLES the back of Daniel's neck ~rying co r.a~eup. Daniel takes out the remainder of his last Snickers Bar and feeds it to the Mastadge wno nappily chews 1t.

Skaara, pul:s the Mastadge away from Daniel Joining several other young SHEPHERD BOYSwho corral the Mastadges. The Mastadge WH:NES a cry of protest as he gets pullea away from Daniel.

Passing through the enormous gates to the village, Daniel and the team are amazed at what they see. Hundreds of people cram into t~ese narrow streets to get a look at the visitors.

As they reacn the end of the street, they reach an elevated PLATFORM. ~asuf gives a signal and a curtain falls, revealing ...

140 A GOLDEN S~~ DISK 140

This Gold ~ISK with the EYE OF RA, hangs above the ~latform. Daniel 1s ~otally astonished.

Shooting D~at t- c ev1sca10/7/93 48A.

140 CONTINUED.

Shooti~g Jraf~ 8 / 24/93 49.

O'Neil graos ~ne Sun Disk hanging from Oan~el · sneck and holds ic up, accusingly. Suddeniy we HEAR the ecnoing SOUND of a HORN. Janiel looks up to SEE...

::.41 A LOOKOUT 141

Up top of :he village a young LOOKOUT, lifts a small HORN, and again sounds an ALARM that reverberates througn the streets.

ANGLE - STREET 142

React~~g ~o ~~e SOUND, che people quickly oegin close the city down, windows ac the cops of the ouildings are SHUT, one after the other.

Before Brown can finish, the two huge entrance doors at the end of the s~reet begin TO CLOSE. Suddenly Brown's radio SQUELCHES ON. Brown lifts it to his ear, listening.

A huge SANO STORM blasts around the men who try to pack what they can as t~ey retreat from base ca.mp.

O'Neil takes che radio, presses it to his ear.

Shoocing Draf~ 8/ 24 / 93 so.

Through a wall of wnite sand, s napes appear, rushi~g towards us. As we DOLLY BACK, ~e SEE t~at ~~e team has reacned the safety of the pyramid ent~ance.

F'ERET':'I ( intoradio) Do you copy? Do you copy?

But only LOUD STATIC can be heard. Feretti turns to the nervous faces of the other soldiers.

Frustrated, O'Neil gives up, shuts the radio off.

Quickly O'Neil leads the team through the crowds, down the streets.

As the team moves down the street people REACH OUT, trying to STOP THEM. Knocked.aside, the soldiers push on.

Two Young Villagers LOCK the doors with a crossbar. O'Neil moves to the door, Kawalsky and Brown behind.

Kawalsky REACHES for the crossbar. One of the Young Men GRASS his wrist. In lightning speed, Kawalsky TWISTS the Young Man's arm behind his back and SLAMS him into the door.

Kasuf and the Elders push through the crowd. As the crowd closes in on them, O'Neil aims his pistol high and FIRES. The crowd quickly retreats.

Silence! Skaara and the Shepherd boys stare, AMAZED. Kawalsky and Brown lift their weapons, ready for a fight. The crowd remains silent, frightened they've upset the Gods. A standoff.

Suddenly O'Neil feels a TUG at his shirt; Skaara. O'Neil SPINS towards him. Skaara moves to a ladder, he motions for O'Neil to follow him.

Shooc~ng Dra=~ 8/24 / 93 51.

:i.47 CONTINUED: 147

O'Neil looks ~o Daniel ~ho can only shrug. O'Neil :allows Skaara.

ANGLE - TOP CF THE NAGADAGATE - CONTINUOUS 148

o·Nei~ :ollows Skaara to the ~op of ~he gate.

:49 O·NEI:.'SP •0.V. - SAND STORM 149

A WAL~ OF SAND quickly moving towards the town.

Daniel moves over to the two soldiers, forcing them to lower their guns.

1.50 EXT. ?YRAMIO - SAND STORM - NIGHT 150

~he sand stor:u has hit full force. We can barely makeout the en~rance to the pyramid through the murky sky. As we PAN UP we SEE •••

Just as we saw in the opening, a pyramid shaped SHADOW is east across the moon, blotting it out.

Feretti cranks the radio; the storm raging outside.

Feretti shuts off the radio and places his helmet over it.

Shooting Dra~~ 8/24/93 52 •

•

There is a silent moment. Suddenly they all hear the SOUND of RATTLING METAL. They turn and SEE Feretti helmet SHAKING against the radio. Slowly Freeman removes the helmet, the radio jostling underneath. Suddenly the FLARE BOXES begin to SHAKE. Soon, all their equipment begins to RATTLE.

Suddenly the E~TIRE ROOM begins ~o r~mble. An eerie, ~nnatural HUM begins to grow in volume. The men exchange worried glances.

The ROAR intensifying. Above the intense storm we SEE some kind of alien OBJECT. BRIGHT LIGHTS darting off i tssides as it growa near.

As the cloudy sand is BLOWN away, we can clearly see it's a pyramid shaped SPACE CRAFT. Landing ARMS extending as it LOWERS itself down over the TOP OF THE PYRAMID.

The room is now SHAKING violenely. Frightened, themen grab their weapons. Quickly they group cogeeher.

The ARMS of ~~e craft LOCK into place as the craft FITS itself oneo tbe peak of the pyramid.

From the IMPACT, the Soldiers are KNOCKED off their feet.

Once in place, the craft begins to OPEN, UNFOLDING and exposingthe ~echnical details of the craft.

With the Star Gate seen in the background, we can SEE a cage MATERIALIZE around the MEDALLION on the floor. From the cieling,a RING begins to descend.

Shooting Draf~ 8/24/93 53.

Their guns pointed in every direct:on, :he men are huddled cogether, ready :or a fight.

Moving swiftly down the dark corridors of the interior of the pyramid, we MOVE towards the unsuspecting soldiers. As we NEAR, one of ~he Soldiers SPOTS us, lifting his weapon. Quickly che others SPIN, taking aim.

Sut we keep coming. They FIRE, but NOTHING CAN STOP US. We move direc~ly into Freeman's SCREAMING FACE. Suddenly we FLASH CUT onco•..

Like what we saw pressed in stone earlier, A Jackal headed creature, in our face.

162 A BURST OF FLAME 162

ignites in a FIREBALL. The SOUNDS of CHEERS followed by percussion instrumen~s, prJ.1U1t~vemusic.

WIDEN TO REVEAL:

A group of WOMEN carrying trays of food pass. As we TRACK with them we SEE the entire town has come out for a CELEBRATION. We FOLLOW the women through the crowds over to the platform where Daniel and the team sit with the town Elders.

As the food arrives we SEE Sari, among the women, serving the people on the platform.

Shooeing Drait 8/ 24 / 93 54.

;ust ~hen a ~RAY ~s lowered before Daniel.

.64 A DESERT REPTILE 164

A cooked beaseie even Ethiopians wouldn't eat. Daniel looks like he ' sgoing to be sick.

Daniel looks at O'Neil, ~orried. Kasuf and t he Elders turns, waiting for ~=em to star~.

Reluctantly Kawalsky leans over and takes a fleshy piece of slimymea~. He takes a deep breath, shuts his eyes, and eats i t. Everyone stares at him. Finally after a long pause •..

1 65 SARI 165

kneels dovn next to Daniel, offering some bread. For the first time he sees her with her hair down, looking all the more lovely . He just stares at her for a l ongawkward beat. sari won •elook direc~ly at him. Daniel is completely enamored.

Daniel just smiles stupidly at Sari. The Elders and Kasuf turn, no~icing the interaction. They discuss it with i nterese.

Nervous and embarrassed, Sari hands him the bowl and retreats. The spell broken, Daniel turns back to O'Neil.

Shooc~~g Drai~ 8/24/93 55.

155 CONTI!WED: 165

O'NEI~ (re: aboveaisK ) You said tha~~as an Egype~an symool.

~aniel stand, ~alks before the cown Elders. With everyone's attent~on l oc~ed on Daniel, ~e Kneels down in front of the Elders ana begins to draw ~n ~he sand.

The Elders lean forward to get a look. Daniel shows them a qu.c~ly drawn hieroglyphic symool. Instantly the Elders REACT, turning to each other, speaking quickly, obv~ously upset.

worried he ' sdone the wrong thing. Daniel . trieswriting something else. The moment the drawing can be seen, the Elders instantly RETREAT.

The crowd begins to MURMUR. The Elders clearly distraught. As Daniel tries to write something completely different, Kasuf rushes over and WIPES OUT the drawings in the sand.

Kasuf turns and conunandsthe crowds to disperse. As the people begin to leave, a group of ELDERLY WOMEN push their way over to Daniel, surrounding him placing a shawl over his shoulders. They giggle as they slowly pull a surprised Daniel away.

The crowd laughs as they depart, moving to shelter. The only one not l augn~ngis Sari ~ho watches Daniel pass. Daniel yells back to O'Neil.

Shooting Dra£~ 8/24/93 56.

165 CONTINUED: (2 ) 165

~he women begin to toss strange POWDER over Daniel ' sheaaas • they en~er a ouilding aown ~he street. •

FERETTI - CLOSE 166

Unconscious and badly beaten. We FOLLOW him as he ' sDRAGGED • across a smooth floor. As he twtscs and turns, his eyes * begin to flut~er open. Suddenly he ' sDROPPED. Slowly his • gaze moves upwards. We follow his gaze over to.. . •

:. 67 ~HE SAR.COPHAGUS 161

As i~ begins ~o peel open ,REVEALING the SHAPE of a human * laying insiae. Slowly the shape sits up revealing; RA. StJN

~- A Golden living version of the mask of Tutankhamun, • part humanoid, part other worldly.

Feretti squints, trying to understand when suddenly SMASH, • the butt end of a WEAPON, knocks him out. •

The sand stor:n continues to surround the village.

Seated on a s~ool in the middle of the room, Daniel is beset by the Elderly town's women who fuss over him with wash cloths and com.bs.

The Elderly women retreat, bowing and giggling as they exit. Daniel breaths a sigh of relief. Suddenly he HEARS some WHISPER.ING.

The curtains rustle, then oart. Sari steps through dressed 1n a CEREMONIAL ROBE. She.walks into the chamber ~owards Daniel.

Shoocing Draft - ~evised 9 / 25/93 57.

170 CONTINUED~ 170

Nervous, Daniel gets to his feet, his heart in his throat. As sne makes her way closer to Danie l ,she untiesher robe lett~~g it ?ALL to the floor, revea l ingherbeautiful NAKED BODY.

Daniel rusnes over, picking up her robe. He wraps it back arouna her, covering her. She doesn't understana. She looks at him, scared she's displeased him.

Real~zing sne can ' t~nderstand,Daniel gently t urnsher back towaras tte entrance, tenaerly escorting ner. At che curtain he t~rns to her.

Her eyes fill with tears. Daniel opens the curtains for her to leave, =evealing ...

171 THE TOWN'S ELDERS 171

All gathered just outside his chamber, crowding thebridge between the buildings. Kasuf looks over at Sari,sees her t earsand speaks angrily to her. Sari is frightenedand in trouble. Janiel, realizing this, suddenly SMILES andWAVES to the cro~d.

Daniel waves and bows as he escorts Sari BACK into his chamber. Quickly he SHUTS the curtains behind him. Now Sari is totally confused. Again she starts to disrobe.

Daniel mo~~ons for her to sit down on the sleeping mat. She does. He crosses the room and sits down a safe distance away.

Shooti~g Draft - revised 9/25/93 58.

There is a long emoarrassing pause as the two sit ~nawkward silence.

Brown and Kawalsky sit next to the radio. Brown readJusts the dials. Kawalsky stares at O'Neil who stands at the window on ~he other side of the room.

BROWN * And that's alright with you?

Kawalsky just turns and stares at O'Neil. *

O'Neil sta~ds by the window, watching the storm. Skaara enters from behind, watching him. O'Neil pul l souta pack of cigarettes, lights one. As the lighter ignites, Skaara Jumps back, friq~tened. O'Neil spins, sees Skaara·s reaction.

O'Neil tosses the lighter to Skaara. He lights it over and over agair.. Skaara picks up O'Neil ' scigarettesand takes out out. He lights it, mimicking O'Neil.

O'Neil cas~s a sidelong glance at the boy. He sits down and leans his nead back against the wall. Skaara does the same thing. o·~eil flicks the ash of his cigarette. Skaara copies his every move.

Skaara ana O'Neil sit there for a moment. Skaara·s starting to feel pretty confident by this point. O'Neil sees this, He takes a deep drag off his cigarette and audibly INHALES, deeply, exnaling a cloud of smoke.

Shooti~g D~aft - revised 9/25/93 58A.

17 3 CONTINUED: 173

Feeling cocKy, Skaara imitatesO'Neil. The the minute the smoke r eacneshis l ungs,his eyes go wide, then fill with tears. He starts COUGHING his guts up.

O'Neil ~urns away. Spotting O' Neil's holstered pistol laying on the mat~=ess, Skaara moves towards it. Just as he reaches for it...

Shooting Orai~ 8/24 / 93 59.

O'Neil rios ~~e piste~ away =~om Skaara and SLAPS Skaara's hana, ~ara. Skaara qu~ckly ~e~reacs. Kawalsky ana Brown are surprised by O' Neils over reaction.

Neither has moved.

Sari points to herself, repeats Daniel.

sari gets it. Slowly sari points to herself.

There is another awkward pause.

She doesn ' tunderstand. Daniel kneels down and DRAWS a pyramid in the sand covered floor. Again, Sari only stares at it. Daniel grows frustrated and walks to the window. Sari keeps staring at the drawing. She reaches over and draws someehi~g over it.

Slowly Daniel turns back, curious to see Sari augmenting the drawing. He moves close to see she ' sdrawn a circ l eand a line above the pyramid; the same symbol Daniel discovered on the tablets.

She looks bac~ up at hun.

Shooti~g D=aft - revised 9/25/93 60.

thru OMITTED thru

A torch inner hand, Sari leads Daniel over to the end of a small street at the side of the village.

Behind a stairwell, she shows Daniel a large boulder l eaning against the wall. She tries to PUSH IT. Daniel nelps her and together they move it way from the wall revealing a small TUNNEL.

Sari points down the stairs. Daniel takes the torch and walks down, Sari following. At the bottom of the stairs they reach a di=t covered WALL. The SYMBOL for Earth engraved in its center.

Astonishec, Daniel runs h1s fingers arouna t~e surrounding wall. Rea~izing it's a door, Daniel is able to dig into the door, giving him something to grip. He PULLS with all his might. Slc~ly the door MOVES.

Behind the door we find the long narrow ancient catacombs, obviously ouilt centuries ago. Daniel holds his torch up to the walls =evealing...

181 HIEROGLYPHICS AND DRAWINGS 181

Covering every bit this narrow passage way.

As we move down the wall we see ... thenow familiar symbol for Earth... thenANIMAL HEADED warriors {Anubis, Korus, Thoth) ...takingchildren ...families ripped apart.

Daniel anc Sari l ean close.The images disturbing, harsh. They move ~he torch down t he wall.

The next drawings depict ... slavesherded together ... the warriors orutalizing them ... shepherding them across the desert over to ... THESTARGATE.

Alongside ~hese pictures, Daniel SEES the first of some hieroglypnic symbols.

Shoot~~g o~aft - revisea 9/25/93 60A.

Shooting Ocaft - r evis ed10/7/93 61..

182 CONTINUED: ( 2 ) 182

Quickly Daniel rushes over to a symbol representing the * Egyptian word for God. ...

DANIEL * NetJer? •

Sari wrinkles her brow, she doesn't understand. Daniel tries another pronunciation.

SARI * (correcting) * Natay? * ... DANIEL Natay! Yes! Teach me to speak. * Teach ... um... Sebaa?. *

SARI * Saahbuy. *

Daniel smiles. Sarireturns it.

The l ast of thesand storm settling,the night is soon over.

O'Neil stands over Brownwho works the radio.

Shooe~ng Ora£~ 8/24/93 52.

:<AWALSKY (0. S . ) Colonel!

O'Neil walks out of ~~e room, onto the bricge.

:as O'NE:r:.·s?.O.V. - KAWALSKY :::NSTREET 185

Kawalsky comes rushingdown the screet.

Kawalsky holds up Daniel's Jacket.

:.86 MASTADGE CORRAL 186

Skaara snows ~he ocher shepnera boys his lighter. They all stare at it fascinated. One boy, older and slower than the * rest, NABEH, keeps trying to touch the flame. Skaara turns, * looking down che streec he SEES O'Neil meeting up with Kawalsky.

187 SKA.ARA'Sp.o.v. - KAWALSKY AND O'NEIL 187

O'Neil takes Daniel's Jacket from him. Kawalsky salutes as he takes off. Skaara watching from tne corral, practices a salute. 3ust then O'Neil turns, spots him and marches over.

Of course they can't understand a word. O'Neil holds up Daniel's jac~et.

They don't get it at all. Instead they suddenly all begin to SALUTE. O'Neil is not good at this and he knows it.

O'Neil forms circles with his hands and holds them over his eyes imitating GLASSES. The boys copy his movement, holding their cupped hands over their eyes. They all giggle.

Adding the final touch, O'Neil SNEEZES. Suddenly Skaara REALIZES. Re runs over to O'Neil and SNATCHES the jacke~ away from hJ.JD.He rushes off with it across tbe corral.

(CON'rINUED)

Shoocing ocart - r ev1sca10/7/93 63.

Skaaca ho lds1t up to the nose Dan1.el'sMastadge. Suddenly the Mastadge REARS UP, ROARING . Quickly Skaara ope ns the corral gate and the Mastadge RACES out . Com1. ng arou nd the corner, Kawalsky and Brown have to LEAP out of the way as the Mastadge charges pas t .

188 BLACK SCREEN 168

A flickerina light of a torch. We s ee printed ona wall the draw1.ngsof: ..aYOUNG BOY, bathed in 11.ghtfroma pyramid above him... theboy adorned in P HARAOHSCLOTHING ,che animal headed warr~ors bowing to him.. .

WIDEN TO REVEAL:

Daniel moves the torch slowly over the wall. To our surprise he says something to Sari in her language. She responds 1.n kind.

Daniel SPINS, his torchilluminating O'NEIL who stands before him, Skaara at his side. Startled, Daniel has to catchhis breath.

Behind him we SEE Kawalsky and Brown, fascinateaby what the y see. O'Neil seems to take an 1.nterestin the drawings. He sees something and moves close t o it. He grabs Dani.el, pulling him towards 1.t .

Shooting Draft - revised 12/16/93 63A.

189 CONTINUED: 18~

Like a kid in the candy store, Daniel walks up to another set * of drawings and hieroglyphs depicting a boy becoming a • pharaoh. *

Shooting Draft - revised 12/16/9 3 64.

189 CONTINUED: (2) 18 1

He points to the drawings of the boy becoming a God. Daniel points to a series of drawings of Ra, ruling his people. Slowly we PUSH IN close as we study O'Neil's intense curiosity.

O'Neil stares, lost in thought.

At the end of the corridor, Kawalsky steps out, holding a flash light.

190 OMITTED l9C

191 ALTAR 191

Enshrined in sacred writings, this whole section is dedicated to a single cartouche at the wall's center, half buried in the sand. We recognize this cartouche as similar to the one we saw on the tablets.

Shooting D=aft - =evised 9/25/93 64A.

As Daniel's hand moves down the six main SYMBOLS, we discover the last piece of the cartouche has BROKEN OFF.

Shoo~ing ~ra=~ 8 / 24 / 93 65 .

Frantically ~aniel digs i~ the air~ looking for something. sari, no1:.unae~s1:.andi~g,~ol ds~ ~ ecorcn.

DANIE!.(Con't.'d ) I ~~~~k I go~:~!

ne pulls a piece of fractured wall out of thedirt. It FITS ~nperfectly with t he cartouche ,but the piece i sWORNCLEAR. ~he SYMBOL :s GONE.

Janiel and ~~e so l diers areSTUNNED. Their hopes of returning home, dashed. O' Neilgets a determined l ookin his eye. He tur=s, ~aking his way out.

O'Neil doesn·~ even l ookback.

Sand pours through as the front gates to Nagada open. O'Neil leads our team as they march out through the gates. At the back of the pack ,Daniel trails behind, looking back over his shoulder at Sari who stands back at the gate .

:.9 3 ANGLE - TEAM - SAND DUNES - SAME 193

O' Neilmarches ahead. There's something differen~ about him now. An adamant look in his eye.

Surprised Kawalsky looks over at Brown who can only shrug. Behind them Daniel looks back at Sari.

As we PULL BACK away from her. Sadly, she watches him depart:.

Shooei~g Draf~ 8/24/93 66.

Silhouected against the r~sing sun we see the lonely lmage of the team walk~ng across t~ecunes. Daniel catches up. Kawalsky tur~s, spo~~ing something.

:QWALSKY'S ?.o.v. - SKAARA AND BOYS 196

Skaara and ~~e shepherd boys come rushing up over the dune. Playfully wanting to Join upwith them.

O'Neil oresses onward as Dan~el tells them leave, but they :ollow regarc~ess.

O'Neil STOPS, draws his pistol and FIRES towards the Boys, his bullets RIPPING into tne sand in front of ~hem.

The Boys jump back, tumbling down the sand. Quickly they retreat behi~a a dune. O'Neil sl.l11plyturnsand marches on. Even Kawalsky and Brown are shocked. As the team disappears over the nex~ dune •..

197 SKAARA 197

pokes his head back up from behind the last dune. Nabeh turns to Skaara, trying to understand. Hurt and betrayed, Skaara sadly watches the team walk away.

Several yards ahead of the team, O'Neil climbs a STEEP DUNE. Suddenly he DROPS to his knees.

199 O'NElL'S P.o.v. - PYRAMID 199

As Daniel clears the top of the dune we REVEAL the Pyram~d with the SPACE CRAFT perched on top.

Shooting Draft - revised 9/13/93 67.

200 PYRAMID SPACE CRAFT 200

For the first time we can clearly see the breadth of this amazing vessel. Unfolded, the craft nearly covers the entire pyramid it sits on. The rest of the team crawls up and stares in awe.

There's a long pause. O'Neil lifts a small pair of binoculars and SEES the half buried base camp, destroyed and abandoned. Suddenly O'Neil SNAPS a clip into his rifle.

Before he can finish O'Neil suddenly TAKES OFF, scurrying * down the dunes, making his way to the pyramid entrance. *

Kawalskyshoots a look over at Daniel and agrees. He throws his rifleto Daniel,drawing his pistol.

Nervously, 3rown nods. KawalskyTAKES OFF.

O'Neil has ~aken a position behind one of the obelisks. He way clear, O'Neil moves up the entrance ramp.

Climbing u9 behind another dune, they spy down the hill at O'Neil as ~e moves towards the entrance.

O'Neil takes cover next to the entrance door. The rest of the squad ~ush up from behind.

S hoo r. 1ngDrai t-r evis e d10 /7/93 68.

2 03 CONTINUE D: 203

O ' Neils tares ath imfo rabeat. Finall y. . . "'

O'Neil darts inside. Daniel doe s n·tknow what to do.

Daniel follows O'Neil.

Column by column, O'Neil makes his way down the large entrance hall. Clumsily Daniel hauls the rifle behind. As they enter they SEE Feretti's radio, the helmet, assorted equipment. Daniel s wallows hard.

Behind them,Kawalsky and Brown creep down the opposite row of columns, weapons ready. Just as they pass we see a SHADOW move across the wall behind them.

The Shephera boys sneak up the side of the structure. Skaara creeps up a dune over to a small window, Nabeh trailing the group.

206 DANIEL ANO O'NEIL 206

pressed a gainsta column. O'Neil leans forward, c hoosinghis path. Daniel looks back, something MOVES. He l eans the opposite direction just in time to SEE...

20 7 SHADOW 207

A huge s hado w ,humanform but withea HAWK - LIKEHEAD .Daniel reacts ,turn sto O 'Ne i lbutO'Nei lis~ONE. Scared ,Daniel grips the rif letight.

2 08 BROWN 208

Brown s teps outfrom behind a column when WHACK, s omething hits h ima cross thehead, SPINNING HIM.

( CONTINUED)

Shooting Dcaft - cevised 10/7/93 68A.

As he recovers BLAST, d strange POWER BURST hlS shoulde~, SLAMMING HIM against the post .

Shoocing ~rai~ 8/24/93 69.

Peering i~ chrough a winaow we SEE Skaara straining to see l.nside.

210 SKAARA'S ?. 0.·;.-BROWN 210

Wri~~ing ~~ pain, Brown screams as Horus SLAMS the rear of his weapon inco him. Skaara·seyes go wide with fear as he recreacs ~o tell the others.

211 O'NEIL 211

Spins, sees something and LEAPS out of the way as a POWER BURST EXPLODES into the column behind him.

Kawalsky .:tJMPSoutFIRING. Out of nowhere his weapon is SMASHED, <nocKed out of his nand. He spins, his eyes w~den as ne SEES ...

212 HORUS 212

Body of a man, the head, a metallic textured sculpture of a RAWK. He SWINGS his weapon at Kawalsky who grabs hold with all his strengch. Kawalsky grapples with Horus who TWISTS his weapon free, then SMASHES it into Kawalsky's chest.

Holding his rifle tentatively, Daniel steps out from behind a column JUSt in time to SEE...

Kawalsky SAILS across the hallway, SLAMMING into a column, collapsing in a heap. Just then Daniel SEES Horus crossing the hallway, ~oving in on Kawalsky.

Daniel is in ~otal shock, his eyes wide with fear. Standing out there. he's a sitting duck. Suddenly a HAND reaches for him and GRABS HIM, yanking him back to safety.

213 O'NEIL 213

Holds Daniel ~ight against the wall, leaning close to his face.

O'Neil maKes a DASH for the door leading to the StarGate. Daniel gathers his strength and follows, attempting to cover the rear as ~e runs.

A FLARE :~mcles cowaras us, O'Neil rushing up from behind. :n the =~~cKeri~g :~gnt we see Daniel, stumoling after O'Neil crying to keep his r~fle pointed to the rear.

:~T. STARGATE ROOM - ~OMENTS LATER 215

The darkness LS broken with another FLARE as it rolls towards us. O'Neil =ushes through the medallion room straigh~ over co the wneeled venicle standing next to the StarGate. Daniel races i~, ~oving over ~owards O'Neil.

O'Neil S?!NS, al.lUShis pistol at Daniel.

Daniel reluctantly moves over towards the medallion, aiming his gun into the Grand Gallery. O'Neil retrieves the electric KEY from his pocket. Ke turns a dial and a RED LIGHT begins to FLASH.

O'Neil takes out the tool and opens the secret compartment of the vehicle only to find it EMPTY. Pissed.and scared, Daniel * turns back to O'Neil.

Suddenly steping out of the darkness we SEE two HORUS' appearing in the doorway. Steping between them we see ANUBIS, his weapon aimed.

O'Neil slowly lifts his arms in surrender. Daniel SPINS, his rifle sha~ing in nervous hands.

Shoocing Draf~ 6/ 24 / 93 71.

Anubis steps ~nto t hef:ickering i i ghco f the flare.Forche first ~ime we can SEE che details of this strange creature. Behind him we SEE Horus coming ~p from che grand gallery.

Stepping c lose,Anucis r ~nsh~s palm ceneach hisweaoon and ~he barreL SNAPS OPEN ready to f~=e . Janiel l owersnis rifle.

216 rNT. SPACE CRAFT - MEDALLION ROOM -CONTINUOUS 216

Like the medallion below, a laser ~races the f l oor .Once surrounding t~e medal l i on,theRING l iftsup, l eavingSHAPES whicn form in it · swake. Soon we SEE it'sO'Neil, Daniel, Horus and Anuois.

217 tNT. RA ' STHRONECRAMBER - CONTINUOUS 217

Horus ana Anuois l eaaDaniel ana O'Neil ~~to the room . A • l oud SOUND is heara. •

Slowly the top of the pyramid begins to OPEN UP, the planet's three suns behind it. The paneling slides back revealing the palace beneath.

They march down the center of this beauti!ul palace room. Light begins to STREAM IN from the openings above. They reach the far wall of the room and Horus THROWS Daniel to the floor. O'Neil SPINS, ready to fignt.

Reluctantly O'Neil turns and bows down to bis knees. Daniel looks up from the ground and sees a THRONE, above it A GOLDEN SUN DISK, with the EYE OF RA.

From all around SUNLIGHT pours in, bathing Daniel and O'Neil in bright light. As the light reaches the SUN DISK, the doors in front of them SLIDE OPEN revealing another room.

Standing in front of a large set of stairs l eading toa platform, we SEE a dozen human CHILDREN, ranging from 9 to 17 years of age, elaborately dresses, huddled together, blocking our view. Slowly they peel away from the center revealing •..

220 PHARAOH KING RA 220

Adorned with jewels and headdress like an ancien~ Pharaoh. •

Shooti~g Draft - revised 9/25/93 72.

Daniel and O'Neil look up at the strange creature before them. Ra cakes his place on the throne and examines them from his perch. Turning away, Ra lifts his hand, pointing to Anubis

221 ANUBIS 221

touches a switch on the collar of his outfit and suddenly the Jackal head MORPHS 1nto the cold but handsome face of a HUMAN. Ra turns towards Horus, who also begins to CHANGE SHAPE. His Hawk mask peeling back to reveal the MAN underneath.

O'Neil and Daniel can't believe their own eyes. Daniel nervously looks up towards Ra. After a long beat Ra gives a nod to the children.

TWO young SOYS walk up from behind Ra carrying a tray. O'Neil's DEVICE, stolen from the wheeled vehicle, lays dismantled on the tray. The children place it 1n front of Daniel and O'Neil

Daniel stares at it confused. O'Neil stares at Ra defiantly. Daniel notices the English words and numbers printed around the device. He turns to O'Neil, bewildered.

O'Neil continues yo glare at Ra. Daniel begins to panic, his mind racing. Daniel looks back to Ra who stares down at them, cold. Turning back to the device, Daniel s tarts to realize wnat he's looking at.

Suddenly Ra leans forward. As we PUSH !N we SEE ...

Ra's entire shape begins to MORPH, his golden skinPEELS AWAY as his headdress RETRACTS behind his head, revealinga BEAUTIFUL YOUNG MAN/CHILD, RA. Though ten thousand years old, he looks barely older then when we saw him 1n the film's opening.

As Ra is unveiled, Horus and Anubis BOW their heads. O'Neil seizes the opportunity. He POPS UP, throwing a shoulder into Anubis' chest, wresting hisweapon from him. He SLAMS Anubis with the butt end, KNOCKING him to the floor.

Shooting oraf~ 8/24/93 73.

ana SNAPS ~~e ~eapon OPEN ana :IRES ac Horus, cacc~~~g him in ~~e snoulder, SPINNING HIM to che floor.

J ~eil ~URNS, quickly takingaim ac Ra. Jusc as he · sabout • ~o fire the c~~ldren RUSHover and surround Ra, covering hl.lll as HUMAN SHIELDS. O'Neil would have to fire througn the c~ildren to n~t Ra. O'Neil can ' tbringhimself ~o do i;.

Horus grabs h~s weapon, spins. Daniel steps between :hem, screaming out ~o them in the~r language. But, too la~e, Horus FIRES. The blast RIPS INTO DANIEL. KILLING HIM.

O'Neil SPINS but before he can reach Daniel, Anubis SMASHES ~im from behi~a. O'Neil hits the floor, writhing~~ intense ?ain.

~a steps down :rom his chrone. He walks towaras Anubis, retrieving his fallen weapon. For a momen~ we thi~~ he may kill hl.l11.Instead he THROWS the weapon at him.

Ra walks over ~o Daniel, staring down at his lifeless body when something catches his eye. Ra kneels down, reaches over and touches the SUN DISK around Daniel's neck.

Ranging from Daniel's neck, Ra fingers the golden sun disk with the EYE OF RA.

DISSOLVE ~O:

Slowly Daniel's Mastadge appears behind a dune anaHOWLS, a single beautiful noee of pain.

Buried into the sand, an exposed tent flap is PULLED aside and the Shepherd boys SEE Daniel's Mastadge appearing behind them.

They turn back, digging for more treasure. Skaara uncovers one of the soldier's HELMETS. Nabeh fights to see as Skaara * showsit to t~e other boys. Just then a LOUD HUM is HEARD. ?he Boys look up to SEE...

The glider bay OPENS and two winged GLIDERS shoot out into thesky followed by a larger CHARIOT glider.

Shoocing Jra=~ 8/24/93 74.

The Boys JUCi :or cover. Seeing Nabeh has not moved, Skaara * pulls hi~ ao~n ~naer che cenc as c~e cwo Gliders SAIL pasc, * disappear~ng :=om view.

228 - SAME 228

A square HOLE in che ceiling OPENS as the bars that cover it recede. Jnconscious, O'Neil · sbodyDROPS through, landing wLch a SP!.ASH~nto the shallow muddy water of this cell.

The cold water reviving him, O'Neil BOLTS up awakened. Suddenly ~wo arms GRAB HIM. Still in shock, O'Neil tries to shake free. :inally he realizes it's Kawalsky holding him.

AdJustir.g~o ~~e dark room O'Neil SEES, Feretti and Freeman SHIVERING at ~~e back of the room. Between them two BODIES float face down in the murky waters.

The Shepnera ~oys return from the pyramid, the Mas~adge w4th them, pac~ages strapped to its sides. Suddenly a SOUND is heard. ~he ooys STOP as they SEE...

230 TWO WINGED GL!DERS 230

Reading r~ght ae them, dart~ng out from over the dunes as they escort ~~e chario~ glider.

Sailingovernead we see the small group of boys staring up at us,astoundea a~ what they see. Just as they pass overhead they get a mere glimpse at ANUBIS as he peers down at them.

Once gone, t~e boys race to the top of the dune to see where the Gliders have just left; Nagada,a blac~ plume of smoke rising from t~e center of the town.

The boys approach the front gates, entering the town slowly.

Shooting Drafc 8/24/93 75.

233 SHEPHERD BOYS' ?.o.v. - DECIMATED STREET - SAME 233

People c::y1ng,comforting one another. Charred bu1ldinqs, a small ~lame oe1ng excinguished. Wounded people gett~ng tenaed ~o. ~isery.

7he boys ~ove slowly aown ~he center of t~e street, ~ear and anger~~ ~~eir eyes. Skaara sees Sari crying at che side of the street. He rushes to her .

As Skaara approaches, Sari lifts her head and we SEE a CUT above her eye, blood dripping down her face. Skaara looks ac her, want~~g to underscand. Sari only looks up. Skaara follows her gaze to SEE ...

Strappea ~o che Sun Disk we SEE Kasuf suspendea above, bea~en, barely conscious. We PUSH into Skaara·s troubled face, tears and anger well in his eyes.

Silene and still, the sarcophagus s~ts at the back of the room. Slowly we MOVE closer eo it Just as ~ts sides beg~n to retract, exposing a FIGURE covered in wet cloth lay~ng moeionless.

As the sarcophagus completes this process the f~gure suddenly SITS UP, franeically GASPING for air. Coughing, the figure rips off the wee cloth, revealing...

237 DANIEL 237

Reborn. Daniel struggles to regain normal breathing. Finally he calms down and looks around to see where he is.

Daniel scans the quiet, eerie room. He's startled as he SEES a young seven year old BOY standing in the doorway. Emotionless and completely still, the Boy stares at Daniel.

Slowly Daniel gets to his feet, attempting to regain his balance. once up, the Boy turns and walks out of the room. Daniel is unsure if he should follow.

Several yards ahead of him, the Boy leads Daniel down this ~mmense and imgosing hallway. Daniel follows, disorieneed, b~s eyes scanning the room. He sees a CAT crosa his path.

(CONTINTJ!D)

Shoot~ng Draf~ 8/24/93 76.

surprised, Janiel continues down and he sees ANOTHER cat, perched on a short flight of stairs. Still walking forward, Daniel turns oack towards the Boy, only to find he·s GONE.

Janiel :ooks aheaa and sees another doorway. Assuming the Boy ~enc ~hrough, ~anie lcauc~ously approacnes.

Slowly Daniel en~ers . He pushes his way througn thin silk veils ~hich hang down from the ceiling. Daniel moves through them until he SEES•..

Ra sics in his ornate sunken bath. Daniel watches him for a long beat. Sensing his presence, Ra ignores Daniel, signals co the cnila=en wno come, carrying his l ong robe.

Holding it before him, Ra walks out of the bath, into his robe, passing Daniel.

Ra stops and turns towards him. A subtle smilecrosses Ra's * lips. Ke then turns away and exits the room. Reluctantly, Daniel follows.

Ra leads Daniel across the room past a long marbletable. On which are the recovered belongings of the soldiers displayed; guns, booKa, radio and the dismantled bomb. Ra turnsback to Daniel, studies his reaction for a long beat. Finally •••

Realizing the implication, Daniel gees nervous.

(CONTINO!D)

Shooting Draft - revised 9/25/93 77.

Off Daniel's frightened expression ,Ra smiles as he walks away. Moving over to a sitting area, Ra is met by the children who bring his clothing over to him and start to dress him. Daniel moves over towards him.

Ra finishes dressing and turns back towards Daniel.

RA * (subtitled) * Then Iwill have to destroy you * and all who have seen you.

Ra moves dangerously close, examining him. He runs his finger across Daniel's face, down to the SUN DISK around his neck. Gently he fingers the disk.

ShontLng Draft - cev1scd 10/7/ 93 78.

2 42 CONTINUED: ( 2) 242

With a violent TUG, Ra RIPS the sundisk off Daniel's neck.

Sari sits under the torch light, sadly reading the * hieroglyphs. Creeping in behind her, Skaara, Nabeh andsome * of the other Shepherd boys enter. *

Skaara puts his hand on Sari's shoulder. Sari turns,sees him and the others behind her. Slowly she stands, her expression different, determined.

Walking past the hieroglyphs, Sari reads to them the history of their people. The Boys listen, fascinated as they learn the truth about themselves.

Sari ends the story at a drawing of Anubis and Ra. SheSLAMS her fist into the drawing.

We MOVE through darkness towards long hanging fabric. Aswe PUSH through the fabric into BRIGHT LIGHT we see THOUSANDSOF PEOPLE gathered before us. The SOUND of beating DRUMS.

WIDEN TO REVEAL:

O'Neil and the other prisoners are PUSHED out onto the platform, led by HORUSdown to the center of the ramp.

Using hisweapon as a staff,Horus KNOCKS the soldiers down to their knees. He leavesthem there as he marches back up to the top of the ramp, joinedby another Hours (#2).

Moving through the densecrowd, s training to see ifDani.elis on the ramp. Unable to spothim, she's crestfallen. The DRUMS increase in volume andtempo.

Shooting Draft - revisea 10/7/93 78A.

247 DANIEL AND ANUBIS 247

With his mask 1n place, Anubis steps through the hanging fabric, Daniel close to his side. O'Ne1l looks up, completely shocked to discover Daniel alive.

Daniel avoids eye contact with the soldiers as Anubis leads him next to the empty throne.

Sari SEES Daniel. Her expression brightens. She pushes through the crowd to get nearer to the platform.

Leaving Daniel's side, Anubis steps to the center of the platform, raising his arms. The DRUMS are SILENCED. The entire crowd BOWS DOWN. We see a very bruised Kasuf, helped by the town Elders to his knees 1n prayer.

Anubis looks over to Daniel who reluctantly bows down before the throne. The entire assembly bows and a dozen CHILDREN rush out from behind the fabric, grabbing onto poles, connected to the bottom of the material.

Shooting Draf~ 8/ 24 / 93 79.

The Children peel off to tne sides, LIFTING the fabr~c.

As it PARTS we SEE the go l denimage of RA, SON GOO as he • slowly steps out intothe l ignt,his i llusion/masK:~ place - • gold skin, elaborate heaadress, e~c. •

Ra cakes his place on the throne. Once seated, the crowd stands, silently. Anubis stands and offers his weapon to the ?haraoh. Ra accepts it. He curns and offers it to Daniel.

Anubis puts h1s hand roughly on Daniel's shoulder . Daniel, knowing what :s expected of him, i storn. Slowly he stands and accepts the weapon from Ra . Weapon in hand, Daniel turns towards the ramp.

Slowly Daniel walks past the two guaras at the too of the ramp, making nis way towards O'Neil and the rest of the soldiers. O'Neil looks up at Daniel as a traitor, contempt 1.nhis eye.

Daniel is torn. Desperately he wants a way out of it. As he walks he SEES, Sari in the crowd.

Daniel stops a few feet in front of O•Neil who only stares at him, harshly. Daniel turns, looks back to Ra who stares at him emotionlessly. He see Anubis waiting next to Ra, the two Horus· guards at the top of the ramp. Suddenly .. .

249 A FLASH OF LIGHT 249

catches Daniel's eye. Me looks down into the crowd and SEES • • •

Moving near Sari below, next to the ramp. He holds O'Neil's lighter, reflec~ing sunlight off of it at Daniel to get bis attention. That accomplished, Skaara peels back part of his clothing exposing •.•

251 ONE OP THE SOLDIER ' S RIFLES 251

Retrieved from the base camp, Skaara holds the guns close to his chest. Skaara gives Daniel a nod. Daniel looks down to the other side of the ramp and sees Nabeh and another boy, * waiting.

Daniel turns back to O'Neil as he lifts the weapon, COCKING it, ready to FIRE. Suddenly Daniel SPINS, and FIRES tne weapon at the top of the ramp.

Shooting Jraf~ 8 / 24 / 93 80.

A huge C~-r.JNKo ft~eramp EXPLODES before the cwo guards, b l ocKing~~e~= v iewo fJaniel.

Suddenly Skaara DRAWS :~e r~fle and begins FIRING INTO THE AIR. Qu~=~ ~1 we SEE ,Shepnera boys, scattered everywnere, drawing ~eapons ana F:RING.

The crowa panics, ~o one knows whicn way to run. Panaemon~um.

Seizing ~~e opport~nity ,~aniel and O' NeilJUMP off the ramo in one a~=ec~~on, as c ~eother soldiers LEAP off :he other· side.

on the opposi~e side, O' Neiland Daniel rushover toSari and Skaara. They both toss SHAWLS over them, disguising tbem. Quickly ~~ey PUSH ~~em ~nto the crowd.

Kawalsky and Feretti turn back towards Freeman ' sbody when the shepaerd boys RUSH over to them, tossing CLOTH over tbe soldiers. Quickly they rush them into the mayhem of the crowd.

Signals co t~e Gliders.

253 GLIDERS 253

The Gliders ~IVE down over t he crowd, searching.

254 GLIDERS' p.o.v. - CROWD 254

Quickly we SAIL overhead, staring down as everyone races away indifferent direc~ions. Disguised, the soldiers can't be seenwithin the mob.

Ra stands, furious. Anubis moves close but Ra shoves him aside as he storms through the hanging fabric ,back into the pyramid.

Skaara and sari leadDaniel and O'Neil over to a group of NINE MASTADGES . Kawalsky and Feretti arrive, led by other shepherds. Skaara ousnes Daniel and O'Neil over to Daniel's Maatadge as Kawalsky and Feretti are pushed over to another Mastadge.

Shooe~~g Drat~ 8 / 24 / 93

Quickly Skaara shows O' Neil how co ge~ lnto the saadle. Sar. shows Daniel :he s ame on t heother s~ae.

,aniel :urns co thank Sari ;ust as Skaara and ~he snepherds F!RE :~eir q-~nsagain, che entire group of Mastaages STAMPEDE ~-

Raci~g over ~he dune , the nine Mas~adqe KICK UP sand as they GALLOP en mass. Skaara runs up to t~e top of the aune beh~nd them. He turns back to see...

257 THE GLIDERS 257

Soaring c l oser,giving chase ,the Gliders head off ~nto t~e desert:.

In a mad tanerum, Ra storms through his palace, furious. He RIPS the hanging fabrics as he marches into his private chamcer.

The Gliders near the group of running Mastadges. Suddenly the pack SEPARATES in groups of threes. O'Neil and Daniel in one group, Kawalsky and Feretti in another.

Holding on for dear l ife ,O'Neil tightlygrips the harness. He looks bacg and sees the Gliders, speeding towards them. O'Neil slaps at the side of the Mastadge.

Barely holding on, Daniel PULLS himself up and GRABS onto the Mastadge ' sEAR. The Mastadge suddenly KICKS UP speed, racing • at full gallop. Taking cue, the other two rush to keep up. •

Though the Mastadges have picked up speed, he's no match for the Gliderswho narrow the gap. The Gliders FIRE a power burst at the Hastadges.

Missing, ~he power burst EXPLODES into the sand, a few feet in front of ~he Hastadges. Startled, the Mastadges REAR UP and SEPARATE, taking off in different directions.

Shooting Drat~ 8/24 / 93 82.

For a moment, the gliders don ' tknowwhic~ Mastadge to :ollow. They picK one and go after ~t.

He l ookscac~, seeing the Gliders approacn. He looks ahead.

261 GLIDERS 261

Racing ~owarcs us. As t~ey look down, they see Daniel's Mastadge aheaa of them, disappearing over the dune.

The Gliders SWOOP DOWN but JUSt as t~~y clear the sand hill, they find the Haseadge on the other - .de,but O'Neil and Daniel are GONE!

The Gliders circle the area, but O'Neil and Daniel are nowhere to be seen. The gliders circle one more time. Spotting the two other Mastadges a few dunes away, the Gliders turn away and give chase.

t.hru OMITTED thru

Just as the gliders pass overhead, disappearing over the dune, O'Ne~l · sand Daniel's heads POP OUT of the sand.

Quickly O'Neil climbs the dune, watching the Gliders depart as Daniel spits out sand, climbing after him.

Good question. As we pull back we SEE that Daniel and O'Neil are stucK ou~ in ehe middle of nowhere. Nothing but sand for as far as the eye can see.

ClJTTO:

Shooting Draft - revised 12/16/93 83.

The two winged gliders sail towards the glider bay openings in the pyramid.

The two Horus pilots (#1 and #2) march down the hall. As they pass a hanging tapestry, we SEE their silhouetted bird images MORPH down to their normal selves.

Ra sits, seething with humiliation and anger. Anguished, Ra sits privately when he 1 ssuddenly TUGGED by a YOUNG BOY (10 years old) who tries to get his attention.

Furious at the invasion, Ra SPINS and GLARES at the boy, his eyes filled with rage. Terrified, the boy recoils. Ra stops himself just as he looks up and SEES •••

Two Horus who enter and kneel. Ra stops, calms himself.

Neither wants to answer. Finally •••

HORUS ~2 (subtitled) They vanished.

Ra slowly leans forward. Unseen by him, the rest of the children arrive at a near doorway and watch. Anubis steps before the Horus gaurds, furious.

HORUS #1 (subtitled) They're in the sands. surely the sandstorms will kill them.

Shooting Draft - revised 12/16/93 84.

Ra boils, barely containing in his anger. He stands and walks over a box of jewelry. Hiding it from the others, Ra takes out a GOLDEN RING AND DISK; the ring fitting over his finger, the attached disk hid in the palm of his hand.

Turning back Ra moves slowly towards Horus #2, motioning with his other hand for Horus #2 to stand. He does, sensing something is not right.

Slowly Horus #1backs away. The children at the doorway exchange nervous glances.

Horus #2 starts to get nervous, looking around the room. He looks back to Ra who only smiles, reassuringly; everything•s alright. Horus #2seems to calm down.

Ra lifts his hand as though to gently embrace his face when suddenly he OPENS his palm exposing the DISK. Horus #2 1 s eyes go wide with fear but before he can react•. •

The disk ACTIVATES. Horus #2 1S THROWN, SLAMMING backwards * into the wall. Ra moves in for the kill, placing his hand * onto Horus #l'shead. Suddenly Horus begins to SHAKE * VIOLENTLY, his features begin to DISTORT. He SCREAMS OUT IN * PAIN. Ra watches this torture emotionlessly, waiting * patiently for his victim to expire. He does. ,

268A OMITTED 268)

O'Neil and Daniel are fighting their way through the thick whirling sands, holding onto the side of the Mastadge. Daniel suddenly drops to his knees.

The Mastadge turns back and ROARS OUT. O'Neil lifts his arm holding it over his eyes. He, too, drops down. The harsh winds quickly begin to bury the men in sand.

Suddenly ~e SEE several SHAPES approaching. The figures GRAB onto O'Neil, who squints up to SEE ••.

Skaara and two other boys carry O'Neil and Daniel away.

Shoocing D~aft - cevised 9/ 25/93 85.

Through the mouth of a large cave ' veSEEs everalFIGURES coming towaras us. Helping them ou to fthe storm we SEE Skaara and ~~o boys bringing Daniei and O'Neil inside.

Once withi~ the protecc1ve walls, O'Neil looks up and SEES, Nabeh and ~~e rest of Shepherd Boys wearing the army fatigues, helmets and guns they retrieved from the base camp. Leaning against the wall, t heweapon Ra gave Daniel.

At the bacK of the cave he SEES Ferecti, getting some aid to a wound. Kawalsky turns, sees O'Nei land rushes over to him.

Sari walks ~n from the opposite side, looking : orJaniel. Daniel beg~~s to cougn, on l ysemi-conscious as he·shelped i nside. Sari runs over ~o him. Realizing 1~ ·s~e~,Daniel smiles.

O'Neil marches over to Nabeh and grabs the rifle from his hand.

Daniel looks up, his head clearing.

KAWALSKY * ~here ' snowhere forthem to go. * Besides, we could sure use the * help, Sir. *

O'Neil spi~s back to Kawalsky, suddenly furious.

Shooting Draft - revised 12/16/93 86.

Kawalsky doesn't understand. There is a long pause asO'Neil looks at Kawalsky sadly. Finally he turns and walks away.

What's he talking about, Colonel?

O'Neil doesn't answer. Finally..•

O'Neil stands, considering his options. Sari and the Shepherd boys stare at the argument, confused.

Hold it. Back it up. Bomb? Why wasn't I told?!

Shooting Draft - revised 12/16/93 86A.

271 CONTINUED: ( 2)

Shooting Draft - revised 12/16/93 87.

0 1 Neilmarches out into another part of the cave. Feretti, who's been silent •••

I knew it. A suicide mission.

Staring off, O'Neil stands alone in the middle of this cave. Across from him we can see the storm raging outside.

O'Neil doesn't answer, keeping his back to Daniel who stands at the back of the cave.

O'Neil stares off with the same distant look he had on when we first saw him.

Daniel is stunned at the revelation. He wants to say something when Skaara appears carrying a bowl of foOd for O'Neil.

O'Neil doesn't even look at him. He just walks away, over to the edge of the cave, staring out into the night. Skaara, afraid he said something wrong turns to Daniel.

Shooting Draft - rev1sec10/7/93 87A.

Daniel can· ~ face himand walk sout. Skaa~a consiaers a ~ second, sni=fs at the food tomake sure it ' sokay,thenwalks over to O'Neil.

Shooting D=aft - cevi sea9/25/93 88.

273 ANGLE - o•~~EIL 273

O'Neil sits at ~he edge of the cave, his mind a million light years away. Skaara walks up along side him.

Still O'Nei: ignores him. Slowly Skaara slides the plate of food in front of O'Neil' s face,as you would do to a reluctant c~ild. Skaara looks at him and imitates Daniel ' s * •chickenbalk." *

O'NEIL * Chicken, right.

uncomfortaole, O'Neil reluccantly takes the bowl from Skaara who promp~:y sits down next to him. O'Neil begins to eat as Skaarasmi:es proudly.

Daniel slowly walks back inside, t roubled. He turns a corner of the cave where Kawalsky and Feretti are conferring with each other. But as Daniel nears, they give him the "cold shoulder."

Daniel enters. He sees several of the Shepherd boys surroundir.gSari who prepares food for them. As sari stokes the flames ~elow her cooking pot, Daniel walks up and serves some food ~o one of the waiting shepherd boys.

The boy s~a=es at Daniel, shocked, then starts to giggle. Even Sar~ :ooks up, surprised.

Even Sari suppresses a laugh, turning away from him.

Sari takes ~he serving bowl from him and walks over to Kawalsky a~d Feretti, feedingthem. The boys continue to chuckle a~ Qaniel's expense. Daniel turns to Nabeh.

This Just:~aKes them :augn more. Finally Naben answers.

Daniel :s completely taken off guard.

Sari walks oack over and Daniel turns to her.

Sudden~y =~lled with emoarrassment, Sari hurries away. Again the boys t~tter with laughter. Daniel walks over to Sari at the back of the cave.

Again, Sari is ashamed. She won't look Daniel in the eye. Skaara enters, sees the boys giggling, peering around the corner of the cave, spying on Daniel and Sari.

276 SKAARA'S P.O. V.- DANIEL ANO SARI 276

Very close together, Daniel reaches over, touching Sari's shoulder. Skaara, seeing this, turns and SHOOS the boys away, giving Daniel and Sari some privacy. Nabeh doesn't * move. Skaara drags him away by the ear. *

277 DANIEL & SARI 277

Still avoiding his eyes, sari finally speaks to Daniel.

Shooci~g Draft 8 / 24 / 93 90.

Sari tur~s away, asna.mea. Janiel realizes she ' sreferring co • wnen she was brougnt ~o h imin Nagaaa. ~e slowly turns her • bac~ towaras nim. Gently he l eans close andkisses her.

His eyes :lu~tering open, Daniel wakes to see sari curled up along side of hJ.IU. He turns, only to fi~d, Nabeh sleeping behind h~m.

As Daniel sits up he finds, all the shepnerd boys have caken sleeping positions all around him and Sari. Daniel shakes his head in disbelief. Suddenly something catches his eye near the front of the cave.

Skaara sits by a dying fire, working on some drawings he scratches into the wall. Cur~ous, Daniel stands and starts to walk over to him.

Imitating the drawings seen earlier in the catacombs, Skaara chalks up ~he wall of the cave with primitive sketches. Pleased, Daniel smiles.

A simple set of drawings detailing the rescue in front of the pyramid. We see figures of the boys fir~ng their guns and the soldiers in front of the pyramid, t he three suns surrounding ~t.

Suddenly Daniel's expression changes. Slowly he gets up and moves closer to the sketches.

we slowly PUSH IN to the drawing of the team before the pyramid, ZOOMING IN to the top pare of the drawing; the pyramid with three suns, one above , theother two on each side.

Quickly Daniel moves close to the drawing. He takes the burnt charcoal from Skaara and traces over the sketch. As he did in the silo when detailing the symbol for Earth, he ou~lines a symbol over the drawing of the pyramid and suns.

Shooting Draft - revised 12/16/93 91.

Daniel spins to find Kawalsky approaching, wiping the sleep from his eyes.

several decorated Mastadges are lined up at the rim of the mining pit. A single winged glider hovering above.

Peering through some rocks a distance away, the boys see the caravan being put together. Skaara nods to Nebeh. cautiously they sneak away.

284 OMI'ITED

Shooting Draft - revised 12/16/93 92.

A caravan of four Mastadges have been assembled at the top of j the dune next to a nearby mining pit. An obelisk marks the spot.

workers climb the ladders burdened with heavy bags of quartz. Horus (#1) stands watch over them as they make their way up the dune.

one WORKER falls to his knees from heat exhaustion. Horus turns and SCREAMS at the worker to continue. The Worker tries to get to his feet but can•t. Again, he collapses.

Barking out coD1JDands,Horus marches over to the worker and KICKS him, savagely. He tries to stand but Horus KICl<Shim again. As he moves in for the kill, the worker suddenly pulls off his hood, revealing ••.

287 O'NEIL 287

Before Horus can lift his weapon, he comes face to face with the nasty end of the weapon Ra gave Daniel. O'Neil COCKS it OPEN, ready to fire.

Instantaneously all the surrounding workers whip out WEAPONS, aimed right at Horus.

Shooting D=aft - revised 9/25/93 93.

They POP t~eir hoods off, revealing Sari, the soldiers and shepherd boys.

All arouna the workers STOP and turn, shocked. Kasuf, overseeing ~he caravan, looks over, horrified. He SCREAMS OUT. The Workers all begin to move closer, surround the team.

Slowly the workers close infrom all sides as Kasuf continues to yell. The Shepherds and Soldiers begin t o get nervous.

O'Neil cocks his weapon and FIRES, blowing Horus backward. The crowd and Kasuf are shocked. Kasuf suddenly drops to his knees praying for forgiveness. Quickly the workers follow his lead,~owing down.

O'Neil leads the team through the bowing workers up the hil l to take over the caravan. Lagging behind, Daniel stands there concerned. Slowly he walks over to the fallen Horus, lifting h~m up to a sitting position.

Daniel turns and touches the button on Horus· collar, the Hawk illusion VANISHES. Look up ,the workers are STUNNED. Slowly they all begin to stand, their belief shattered.

Kasuf YEL~S out to them, harshly, desperately trying to keep the faith. But all are disillusioned. Daniel l iftsHorus· fallen weapon and holds it up.

Shooting Draft - revised 9/25/93 93A.

DANIEL

(subtitled)

Take a good look. •

Slowly Daniel starts to walk away. Horus ·eyes flutter open.

Seeing Daniel retreat, Horus grabs a smaller weapon from his .. leg holster, and quickly takes aim. ..

Shooting Draft - revised 9/25/93 94.

289 CONTINUED: ( 2 ) 289

Seeing this, Sari screams.

Daniel spir.s back Just i ntime to see Horus LIFTING the weapon, reaoy to fire. Without time to think, Daniel lifts the staff weapon and FIRES.

Horus is BLOWN BACK, off his feet. He SLAMS back down, into the sand, dead. Kasuf and the workers stare in disbelief. Slowly they inch their way towards Horus.

Daniel stands there, frozen. He's never killed a man before and can't believe he Just has. Slowly O'Neil walks over to Daniel, easing the weapon away from him.

Taking the weapon, O'Neil slowly turns Daniel back and escorts him up the hill towards the caravan. Kasuf tries to * stop Sari, but she won"t listen. She tells Kasuf she must * go. She breaks free and joins the others. *

Stone cold dead, a trickle of blood runs out his mouth. The Workers stare down at him, completely shocked.

Kasuf turns Just in time to watch the caravan disappear over the dunes.

Looking out over the desert, Ra scans the horizon. Gently he strokes a ~lack cat curled over his arm.

Climbing over the dunes we SEE the caravan making itsway towards the pyramid.

Ra turns back from the window and signals two Horus· who move over to a :arge silver platter. On the platter we SEE some of the soldier's weapons, books, equipment and especially, the disassembled NUCLEAR DEVICE.

Shooc~ng Drai~ 8/24 / 93 95.

They lift ~~e platter and Ra wa~ches t~em leave the room.

~~e ~~o Horus ~arch over ~o the medall~on carrying che silver pla~~er, the circ~~ar door sliding shu~ benind them.

The caravan makes ics way over the last dune heaai~g towards ~he en~rance co the 9yramid. The team walks with hooas covering their heads, identities hidden.

We HEAR the medallion ignite, its lights floaaing ~~e room. ~he sound disappears as t~e two Horus guards mare~ over co the StarGate, placing the platter down in front of it.

They turn and march towards the pyramid entrance.

The first cart arrives at the base of the ramp and Skaara unties Daniel's Mastadge, pulling it aside.

Skaara waves the cart ahead. The cart is PULLED up the stair by its SIX workers.

As the cart slowly crawls up the ramp, the two Horus guards appear at the entrance door, waiting.

Separated from Daniel, the Mastadge below MOANS, :ugging at its restraints try~ng to follow the cart. Skaara struggles to calm the ani?nal.

Frightened of being given away, none of the workers react to the Mastadge. Keads bowed, they continue to PUSH the cart. A second cart :ollowa the first up the stairs.

Towering above them, Ra stands out on his balcony, looking down at the carts below.

Horus i3 glances down at Skaara, suspicious. The first cart reaches the top of the stairs. Suddenly Horus BARKS out a command, stopping the cart.

Skaara looks up worriedly. The Maatadge MOANING.

Shooting Draft - revised 12/16/93 96.

Horus walks slowly around the first cart, all the workers keeping their heads powed. Finally, he waves it through.

300 SKAAR.A 300

breaths a sigh of relief and looks over to Kawalsky and Feretti who peer out from beneath their hoods. But when the cart disappears through the door the Mastadge HOWLS.

Horus #3 shoots a look back down at the Mastadge. The first cart clears the doorway and enters the pyramid when suddenly Horus signals his guards who FOLLOW IT inside.

:302 EXT. PYRAMID ENTRANCE - SAME 302

Kawalsky pulls back his hood, staring up at the silent doorway above, unable to see inside. Skaara and Feretti walk up along side of him, nervous and anxious.

The two Horus guards surround the cart. A third Horus (#4) enters from behind.

Horus #3 BARKS out a command but no one moves. Horus j2 walks over to the workers. Is it Daniel? He PULLSdown the first hood revealing a frightened SHEPHERD BOY.

Horus #2 THROWS him to the floor as he moves closer to the next worker.

Horus 13, weapon trained, eyes the lot with suspicion as his partner nears the next in line. Just as he reaches up to grab the hood...

BURSTING OUT OF THE QUARTZ PILE, Daniel and O'Neil LIFTOUT their WEAPONS and FIRE. At the same moment, the rest of the shepherd boys GRAB WEAPONS and FIRE.

The bullets KNOCK Horus #2 BACKWARDS, but it's O'Neil's POWER BURST from the alien weapon that BU>WS Horus #2 to PIECES.

Shooting Draft - revised 12/16/93 97.

Quickly the remaining Horus' fall back, taking disappearing behind two of the columns. O'Neil moves towards of the pillars as he screams back to Daniel.

Daniel and sari duck behind one of the columns as the shepherd boys retreat to saftey behind them.

At the sound of the gunfire Kawalsky et all CHARGE up the ramp, the entrance door CLOSING in front of them. Kawalsky realizes that he won't make it in time. He reaches over and takes the army helmet off of Nabeh's head and TOSSES IT.

The helmet SLIDES under the doorway just as the door SLAMS down on top of it. Though slightly crushed, the helmet holds the door a few inches from the ground.

Feretti runs back down. With the butt end of his weapon, he SMASHES IT against the side of the cart, splintering it. All the boys grab hunks of wood.

Daniel stays close to Sari, holding his weapon, waiting, listening. Where are the Horus guards? Impatiently he LEANS out to look over to O'Neil.

307 DANIEL'S P.o.v. - COLUMN 307

O'Neil is gone! Quickly Daniel spins, looking for asign of the Colonel. But there is none to be found. A SHADOW moves across the hallway.

Quickly Daniel retreats, pulling sari around the side of the column, attempting to hide. A cat and mouse game begins with the Horus guards. Where are they?

Shooc i ng) raft-~evi sea:O;L S /93 97A.

3 07 CONT INUED: 307

As Sari f alls,Danie lspins and FIRES, the guard retreating . Daniel reaches down cradling Sari. She stares up at Daniel, the life slowly l eavinghe reyes.

( CONTINUED)

Shooting Draft - revised ii/iB/93 98.

Feretti HAMMERS the last plank of wood under the door. We now SEE that they have managed to jam eight thick logs of wood under the door, going across the aottom of the doorway.

on three! One, two •••THREE.

At once they all LIFT, levering the door slowly upwards. As it pulls up, Skaara drops to his knees, weapon in hand and begins to crawl under the door. Nabeh follows Skaara•s lead.

(struggling under the weight) No! Not yet!

Daniel and Sari crouch low, moving through the columns, * alert. Behind them, a SOUND. Daniel SPINS. ·Ashe moves * slowly around the corner he SEES... *

Skaara crawling under the door. Skaara spots two of the * shepherd boys nearby and WHISPERS to them. They SPIN, see • him and rush for the door. Skaara grabs their hands and • pulls them under. •

Daniel spots another Shepherd boy and STAGE WHISPERS to'him • to run for the door. The Shepherd boy turns~and rushes for * the door. *

Panicked, sari WAVES Daniel back. Just as he arrives, she * YANKS him back against the column as a Horus SHADDOW PASSES. * Daniel gives a thankful nod to Sari as they make a move for * the next column down. *

Shooting Oratt - revised ll/18/93 98A.

The last of the boys crawl outside. Skaara turns and heads back inside. •

Wait!

FERETrI I can't held it any longer!

JOSB INT. ENTRANCE HALL - SAME 3088

Daniel and Sari are slowly making their way towards the exit • leading to the Grand Gallery. TRAVELING FAST we suddenly * RUSH towards Daniel and Sari's back in a quick P.O.V. They • don't see us coming. Just as we're on top of them, Daniel * SPINS to SEE... *

HORUS lifti.~g his weapon ready to tire. EXPLOSION! The * Horus is RNOCKED clear away. As he !alls we RACK FOCUS back * to reveal... · •

O'NEIL, several columns away, his weapon smoking. Daniel is • about to thank hi.lllwhen O'Neil silences him with a gesture; • don't give us away. •

Suddenly they HEAR Skaara YELLING at them, pointing at an

approaching Horus. O'Neil turns and sees Skaara reappe~ring + under the door.

O'NEIL

No! Stay back! •

The Horus turns from O'Neil and FIRES into the doorway, * SPLINTERING THE SUPPORT BEAMS. O'Neil FIRES at the Horus but * the door cc~es CRASHING DOWN, seemingly on top of Skaara. • Thinking Skaara has been killed, O'Neil continues to FIRE at • the last Horus guard, killing him. •

Pulled just in the nick of time, Skaara stares wide eyed at the door, Kawalsky and Feretti holding his ankles, obviously having just pulled him out by the feet.

Close one, kid.

Suddenly a loud ROAR of engines are heard approaching. Skaara 1ooks up and SEES two GLIDERS sailing around from behind the pyramid. One of them FIRES. A chunk of wall EXPLODES.

FERETrI Great. Now what?

Shooting Draft - revised 12/16/93 99.

308C 302 thru OMITTED thr 309 3C

Ra sits with one of the small children playing a strange, chess-like game made of small pyramids and obelisks. Anubis escorts two Horus guards as they enter. Ra nods to them.

The guards move over to the silver tray, lift it and take it from the room. Anul:>isstands guard over Rawho turns back to his game. The small boy playing with him turns away watching the other children moving close to a window, watching the activities below.

Annoyed, Ra turns to see what the child is looking at. He, too , sees the children gathering at the window. He turns back to the hoy who is no longer paying any attention to the game.

FUr10us, Ra SMASHES the board game, sending the pieces FLYING. The boy retracts with fear. Ra turns to Anubis.

Anubis bows and exits.

O'Neil checks to see if the Horus guard is alive. Convinced he's not, O'Neil takes off for the grand gallery. Daniel and sari follow quickly behind .

Just as they leave, the first Horus who got shot, stirs, slowly regaining consciousness.

JllA INT. RA'S SPACECRAFT - SAME 3111

Anubis finishes putting his claws on the fingers of one hand, turns and starts walking towards the medallion.

O'Neil enters and heads straight for the tray on the floor by the StarGate. Quickly he starts to assemble the bomb.

Daniel walks in from behind and SEES O'Neil working on the bomb and steps closer to him.

Shooting Draft - revised 11/18/93 99A.

O'Neil pulls the key out and places it in the bomb.

He locks it in place and a light on the boml:Iturns on reading ARMED. A counter turns on READING 1:00.

Daniel turns to sari standing behind him.. Suddenly a Horus appears at the top of the grand gallery. He lifts his weapon and FIRES.

Just as Sari turns to see him she's HIT. Daniel's eyes go wide as he lifts his weapon and FIRES, cutting the Horus down. The Horus guards TUMBLES down the rampway landing in a heap.

O'Neil moves towards Daniel who's already at Sari's side. Daniel craddles her lifeless body in his arms. Daniel can't believe she's dead.

O'Neil wants to say something, but there is nothing that can ~e said. Suddenly the medallion begins to ACTIVATE. Daniel rushes over to it, laying Sari down in the center of the medallion.

O'Neil turns back to the bomb which now READS 6:32 and counting down. Behind him Daniel and Sari VANISH. As O'Neil turns back to tell Daniel he has no time, SMASH, he's hit.

Shooting Draft - revised ll/18/93 100.

312 CONTINUED: ( 2) 312

O'Neil's head SNAPS BACK as we reveal ANUBIS, weapon in his • hand. Anubis hits him again with the butt end o~ his weapon, * and takes aim to fire. •

Realizing, O'Neil RUSHES Anubis, knocking the barrel away just as it FIRES. The two men grappling for control.

An EXPLOSION rips up the sand as the four Gliders STRAFE from above. The Shepherd boys rush for cover all over the front of the entrance, separated.

Racing down the ramp another EXPLOSION HITS, ripping up the stairs injuring one of the shepherd boys. Skaara FIRES his rifle at the passing Gliders as he reaches the sand.

At the side of the platform, Kawalsky and Feretti take cover at the side of the closed door.

Kawalslcygrabs Feretti tight, holding him close.

~

- PUll it together soldier. I need you!

Kawalsky doesn't know. He turns and sees two of the Shepherd boys staring at him for guidance. Kawalsky thinks hard. He SEES one of the carts standing between the obelisks. Suddenly KawalslcyTAKES OFF RUNNING.

~OOA.

But KawalsKy keeps going. Two GLIDERS BANK, s pottinghim. As Kawals~y runs down the ramp, ~he Gliders DIVE snooting at him, ripp~~g up t herampway. Kawalsky, nearly hit, keeps going.

Feretti sees Kawalsky heading towards one of the fallen carts. Taking cue, Feretti RUNS out after him.

Heroically, Kawalsky LIFTS up the re-enforced bottom of the cart, dragging it back towards another cart, the sand EXPLODING around him.

(CONTINUED}

Shooting Draft - revised 12/16/93 101.

314 CONTINUED: ( 2) 31

Skaara rushes over to help. Kawalsky and Feretti turn over the carts, making a small fortress between the obelisks. Skaara WAVES for the other to come and take cover.

The other boys DASH out from their positions, racing for the cover of the toppled carts, POWER BURSTS blasting all over.

Skaara screams out for Nabeh, who stands alone, too frightened to move. Skaara screams out again. Finally Nabeh RUNS, full speed. Just before he gets there, BLAST, he's knocked off his feet, laying sprawled out over the sand.

Devastated, Skaara stares at his fallen friend. Kawalsky SEES this and eases Skaara back down below the safety of the barricade.

The children scurry to pick up the fallen pieces of Ra's 7 board game. They bring the pieces back, setting them down > carefully on the board. Impatient, Ra stands and moves over 1 to a doorway. He SEES... •

"

;

Daniel carries Sari through the palace. ;

Seeing them, a small amused smile crosses Ra's lips. He turns and moves to his jewelry box which slowly opens. Ra grabs his power disk, placing it over his hand. •

..

The children react with fear, thinking one of them might be • killed. Ra shoots a glance at them and exits. Immediately • the children turn and RUSH to the window. *

Carrying Sari, Daniel walks into the sarcophagus room. He lays sari's lifeless body down in the open sarcophagus. As he steps back the sarcophagus slowly CLOSES around her. overcome with emotion, Daniel moves back, waiting, helpless.

O'Neil and Anubis are locked together, struggling for control over the weapon. Anubis shakes O'Neil free. He lifts the weapon and takes aim. Again, O'Neil rushes back, just in time, KNOCKING the weapon upward as it DISCHARGES.

O'Neil makes a move, twisting under Anubis, grabbing his wrist and wrenching his arm back. O'Neil steps under his arm, wrapping himself behind Anubis.

101A.

With his free arm he LOCKS Anubis into a choke hold.

Anubis SLAMS BACKWARDS, crushing O'Neil between his back and the wall. Desperately, O'Neil grabs for the button on Anubis• collar. SMASH, again Anubis SLAMS back.

Finally O'Neil's hand takes hold of the button. He presses and the Anubis helmet DISAPPEARS. Anubis grabs onto o•Neil's shoulder TOSSING him down to the floor, HARD.

But as O'Neil hits, he SCISSOR KICKS Anubis' legs out from under him.

Snooti~g Draft - revised 11/15/93 l02.

•

The four gliders are circling above, BOMBARDING the barricade below. The Shepherd Boys are ducked down as Kawalsky turns to Feretti.

Just tnen one of the GLIDERS swoops down from over the entrance, straight towards him. Kawalsky points to the glider. The Snepnerd boys understand and they all lift their weapons at the same time.

As the Glider DIVES DOWN, Kawalsky, Feretti, Skaara and the boys all STAND and OPEN FIRE.

ANGLE - GLIDER 317C

A BARRAGE of bullets SLAM into the glider. It SWERVES wi l dly,itswing SMASHING into the top of the obelisk. The gl ider SPINS out of control, disappearing over the dune.

In a gigantic FIREBALL, the glider EXPLODES as it crashes behind the dune. The shepherd boys CHEERt

~

Through the doorway, we SEE Daniel steopingbackwards. In the foreground we SEE Ra step into view. Surprised to see Daniel, Ra watches Daniel for a moment, fascinated.

Shooting oraf~ - revised 11/15/93 103.

Daniel waits, helpless as Ra enters. Slowly Ra encircles him, studying him. Daniel tries to keep his distance as Ra moves around him. Suddenly Ra stops, a puzzled look on his face.

Slowly Ra turns away from Daniel, looking over at his sarcophagus. When he looks back and sees the frightened look on Daniel's face, he realizes he's hit it. Slowly he moves towards the sarcophagus.

Daniel RUNS towards him to stop him. He LUNGES at Ra, but Ra SPINS, lifting his hand towards Daniel. The power of Ra's hand sends Daniel FLYING BACKWARDS, SLAMMING him against a pillar. Daniel slides to the floor. Ra looks bac~ to Daniel and smiles, superior and unstoppable.

As Daniel tries to recover he SEES, Ra running his hand over the sarcophagus .

The sarcophagus slowly OPENS revealing Sari. Ra turns back to Daniel, surprised and intrigued.

As Ra moves back towards Daniel we SEE Sari·s eyes flutter open. Not ye~ fully healed, yet life restored.

Breaking free from Anubis, O'Neil LEAPS for the alien weapon. * He grabs it and spins back, but just as he does Anubis is * RIGHT ON TOP OF HIM, grabbing the end of the weapon and * SNAPPING IT'OFF. *

While staring at it in shock, Anubis wrestles the·rest of the * weapon from O'Neil. Using it as a staff , he SMASHES O'Neil * to the side of the head. *

O' NeilSLIDES over the floor. Looking up he SEES the bomb * counter READING 3:51 and counting down. *

103A.

321 OMITI'ED 321

Shooting Draft - revised 11/18/93 104.

Daniel is backing away as Ra keeps moving towards him, unrelenting. •

Ra gives Daniel a condescending glare as he slowly lifts his hand towards Daniel's head.

From over the dunes another GLIDER dives down towards us. Again, Kawalsky leads the shepherds who POP UP from behind the barricades and OPEN FIRE at the Glider.

The Glider SWERVES violently, just missing the obelisks. But as it BANXS UPWARDS, it sails directly into THE SPACE SHIP PYRAMID, EXPLODING on impact.

Just as Ra is about to torture Daniel, BANG, the explosion fro1nthe Gl.iderROCKS THE ROOM. Ra STUimLES backwards, SHOCKED. Ra recovers and quickly makes his way over to the window to see what is happening.

Seizing his opportunity, Daniel leaps to his feet. He races to Sari's side, thrilled to see she's alive, albeit barely. He lifts her out of the sarcophagus and rush~s out of the room.

Seething with anger, Ra SPINS back towards the escaping Daniel. Slowly he moves after him.

The number of shepherd boys are dwindling from the intense BOMBING from the remaining two Gliders. As another Glider makes a PASS, again Kawalsky leads the boys to FIRE.

Suddenly, Skaara runs out of ammunition. Quickly, weapons begin to CLICK, empty all around him.

Slowly Kawalsky and Feretti run out of ammunition as well. The Glider passes over and BLASTS into the barricade.

Shooting Draft - revised ll/15/93 105.

Several other shepherd boys are injured.

325 THE GLIDERS 325

break formation, banking away from the fortification. At first they're hopeful that the battle is over. They are quickly deflated when they SEE ••

Not too far away, the Gliders LAND on the dunes.

Anubis SWINGS the weapon like a staff, O'Neil grabs for and • LIFTS the silver platter, using it as a SHIELD. O'Neil ~ * FLINGS the tray at Anubis and CHARGES, SLAMMING him against * the wall. Locked in mor~al combat, the two warriors • struggle. •

The gliders have landed on the top of the dunes. One of the Guards, YELLS OUT, commanding a surrender.

Slowly some of the shepherd boys climb out from behind the toppled carts, throwing their weapons aside. Skaara tries to stop them as they leave.

Even Feretti bows his head in defeat as Kawalsky chucks his weapon away i~ frustration.

Sari in his arms, Daniel rushes across the room over to the medallion. Frightened, Daniel searches for someway to turn it on. As Daniel looks up he SEES ...

329 RA 329

Marching straight towards Daniel and Sari. Coming closer, closer •••

Shooting Draft - revised ll/15/93 106.

O'Neil and Anubis continue to struggle. Anubis with.the * upper hand gets on top of O'Neil, pummeling him ~ith savage blows to ehe head. O'Neil, pinned.

Ra bas reached Daniel and Sari. Slowly he LIFTS his hand, exposing the device to Daniel. He moves his hand close to Daniel's b.ead.

Behind him we SEE the children arrive, watching helplessly.

Anubis swings, his razor sharp claws ready to slice. O'Neil grabs one of Daniel's books, using it as a shield. Anubis• claws RIP into the book, getting CAUGHT. Taking advantage, O'Neil twists the book, jacking Anubis' arm back.

O'Neil SWINGS with his free hand and SMASHES Anubis in the * face, again and again. Suddenly he MONKEY FLI~S Anubis OVER * his head, sending him sprawling. Anubis rolls to a stop at the edge of ~he Medallion, his KEAO landing ONTO THE MEDALLION'S SURFACE.

O'Neil LEAPS on top of him, pinning him down. Anubis grabs for his weapon. O'Neil SLAMS Anubis' arm back to the floor.

As Anubis' wrist device hits the floor, the medallion suddenly ACTIVATES, the laser beginning to form the cylinder. O'Neil is shocked. Realizing, he holds Anubis down.

Ra lifts his hand above Daniel. His head begins to DISTORT, particles SHIFTING. Daniel who SCREAMS OUT in agony. Suddenly the LASER begins to form the cylinder around the medallion.

Through his pain, Daniel SEES this and GRABS RA'S WRIST. With every bit of strength Daniel can gather, he holds tight through his torture. The laser encircles the medallion, sealing.

Unable to pull free, RA'S HAND CAUGHT IN THE CYLINDER. His eyes go wide with panic. Just before the cylinder seals, Daniel REACHES up and RIPS the GOLDEN SUN DISK off Ra's neck.

106A.

333 CONTINUED:

Suddenly the SEAM ACTIVATES. Ra SCREAMS OUT as his hand is SEVERED in the SEAM.

O'Neil's eyes go wide as he SEES•.. The cylinder SEALS OP, SEVERING ANUBIS' HEAD.

Shooting Draft - revised ll/15/93 107.

O'Neil jumps back away from the headless body.

Daniel looks up at the shocked Ra as he, Sari and RA'S HAND are BEAMED downward. Just as they disappear, the HEAD OF ANUBIS, arrives in their place. Ra can't believe his eyes.

Clutching his severed wrist, Ra SCREAMS OUT in cerrible pain and frustration. He turns towards the children, yelling at them to come. Frightened, they back away from him.

Furious, Ra STORMS past them, clutching at his wrist.

O'Neil looks over to see the unconscious Daniel and Sari laying on the Medallion. Quickly he TURNS and looks over at * the bomk). •

•

It READS 2;2s and counting. *

•

O'Neil GRABS for the key and PULLS IT OUT. But before he can * breatn a sigh of relief, he SEES the counter CONTINUES to • count down - 2:13 AND COUNTING. •

O•NEIL What the hell?

As the two guards approach, weapons aimed, Skaara turns to Kawalsky for help. Kawalsky knows all is lost and raises his hands in surrender. Feretti does the same. The boys, reluctantly follow their lead.

Slowly they come out from behind their barricade, surrendering.

Just as they are about to reach the Guards the SOUNDS of DRUMS begin to beat off in the distance. The Guards FREEZE. The Shepherd boys look around, frightened.

Like the drums at the assembly, the SOUND builds in tempo and volume as they appear to approach.

As they reach a fever pitch, the SOUND STOPS. Suddenly a LONE CRY is heard off in the distance.

The Guards look around when Kasuf APPEARS at the toe of the dunes. He lifts his arms and SCREAMS OUT a COMMAND: Suddenly •.•

107A.

339 TBOOSANOS OF PEOPLE 339

Appearing at the top of every dune. The Guards turn Just as Kasuf SCREAMS OUT a BATTLE CRY. •

Rushing over the dunes, from every direction, all the workers and townspeople run towards the guards, SCREAMING OUT.

Shooting Draft - revised 11/15/93 108.

340 KASUP' 340

Leads the CHARGE. With primitive TOOLS, MINING EQUIPMENT and make-snift weapons, the people ATTACK.

The Guards FIRE, killing several but they are TOTALLY OUT NtJMl3EREO.Before they can escape they are OVER RUN, MOBBED.

Shivering with PAIN, Ra moves to his garcophagus. Suddenly the SOUND of THOUSANDS OF VOICES draws his attention. He moves over to a window behind the sarcophagus and SEES•••

His guards overrun, a riotous mob outside. Stunned, Ra can't believe what he's seeing. Furious he makes his way over to the many PEDESTALS. Frantically he lays his one hand over many of them in a specific sequence.

Suddenly the entire CRAFT begins to RUMBLE, coming to life.

In the center of the chaos, Skaara stops, listening. Soon the RUMBLE grows LOUD. Slowly everyone STOPS, turning towards the pyramid.

Kawalsky and Feretti, also freeze, looking upwards. Astonished they hold back their triumph as they SEE ...

The craft begins to FOLD UP, preparing for launch, BLASTS of AIR shooting from the sides.

Daniel is unconscious, Sari is not much better. As she cradles him in her ar1t1stheroom suddenly begins to SHAKE. O'Neil frantically continues his futile attempt to • disassemble tne bomb. •

Ra's Space Craft begins to LIFT OFF. The HARSH WINDS BLOWING. Slowly the CRAFT leaves the pyramid, sailing upwards into the sky.

Seeing the craft retreating, they CHEER, the harsh winds kicking up the sand.

Shooting Draft - revised 11/18/93 109.

Daniel begins to wake in the violent shaking of the room. Through his haziness he sos O'Neil by the bomb.• Misunderstanding, Daniel thinks he's turning it on.

With all his energy, Daniel pulls himself up, moving closer to O'Neil.

Seething, O'Neil turns to Caniel.

They both turn back to the bomb, the counter READING 0;18 and COUNTING. O'Neil and Daniel exchange a desperate glance. Suddenly they both seem to get an idea.

His wrist wrapped in his robe, Ra has finished the take off sequence. His eyes filled with tears of hWDiliation, Ra YELLS out to the children but they do not come. Frustrated, Ra moves to the edge of the doorway and CALLS OUT to the children.

He turns and SEES the children have gathered onto the medallion, huddled close, fear in their eyes. Angrily, Ra yells over to them.

Suddenly the medallion ACTIVATES, the children begin to disappear.

109A.

349 CONTnmED: 349

Ra SCREAMS OUT with anger and betrayal. The children vanish. In their place Ra SEES•••

350 THE NUCLEAR DEVICE 350

Sitting on top of the medallion is THE NUCLEAR DEVICE.

The digital clock on its side reads: 6••• 5 •••4

Ra's eyes go wide.

Daniel, otNeil and Sari emerge from the pyramid. Daniel LOOKS UP to the sky just as the craft DISAPPEARS, out of the stratosphere.

Shooting Draft - revised 9/13/93 110.

The shepherd boys all stare upwards. At the point of disappearance, the craft is replaced with a BRILLIANT FLASH OF WHITE LIGHT. Suddenly the sky IGNITES with COLORS.

The ROAR of a NUCLEAR EXPLOSION.

From the top of the stairs they watch the most amazing light show ever.

O'Neil and Daniel share a smile. Through the doorway behind them we SEE Ra's "children" squinting as they walk out into the daylight.

As he pushes his way through the cheering crowd over to * NEBEH, laying in the sand. Skaara kneels down next to him as * two others a~e already tieing up his wounds. *

Nebeh's eyes squint open. !nJured but still alive, he smiles * at Skaara. Skaara smiles back as the others load him onto a * make-shift l itter. *

..

Skaara rushes over and Joins the rest of the shepherd boys as they walk up to O'Neil. Kawalsky and Feretti walking up * behind them. Skaara stops before him. O'Neil turns to him, waiti.ng.

He lifts his hand SALUTING O ' Neil.Slowly O'Nei lbegins to smile.

One by one,the rest of the shepherd boys SALUTE.

O'Neilstands to attention. Finally he proudly lifts his hand and returns the gesture. Kawalsky and Feretti share a smile.

Below them THOUSANDSOF PEOPLE surround the base of the ramp.

ll0A.

Daniel, O'Neil, Sari. Skaara and Kasuf turn towards the masses below. Skaara grabs Oan~el's hand and LIFTS HIS FIST inco the air.

356 A n!OUSAND FISTS JS

All ac once a THOUSANDS FISTS are RAISED with a loud CHEBR, THE BATI'LE CRY repeated. Daniel is overwhelmed with emotion.

Shooting Draf~ 8/24/93

357 THE MASTADGE

Pushing through the crowd, the Mastadge ROARS OUT to Daniel. Daniel laughs, turns ~o Sari and HUGS HER TIGHT.

358 WIDER SHOT OF SURROUNDING AREA

All the shepnerd boys, ~heir arms l~fted above their heads. The CHEER CONTINUES as we pull back Wider and wider.

358A

Just as the last symbol moves into place, the ring IGNITING.

WIDEN TO REVEAL:

Fereeti, Kawalsky and O'Neil prepare to enter the gate. Skaara and Daniel move close. O' Neilholds his hana out for Skaara. Skaara stares at the hand for a beat. Slowly he reaches out and shakes hands with O'Neil.

Daniel smiles as Kawalsky laughs.

Daniel nods. O'Neil moves over to Daniel, shakes his hand. There's an awkward pause.

Daniel reaches over and hands something to O'Neil. He looks down and sees the GOLDEN SUN DISK in his hand.

Shooting oraf~ 8/24/93 112.

O'Neil turns and joins his men as the STEP THROUGH THE GATE, disappearing. Skaara waving good-bye as they go.

The last of ~he three suns SET as Daniel and Sari lead a caravan away :rom the pyramid over the dune. The Mascadge HOWLS out his beautiful CRY.

FADE TO BLACK:

END PART ONE