ACT I
SCENE 1
INT. STARGATE COMMAND, CHEYENNE MOUNTAIN, CO. - PRESENT DAY
Crates and cases are stacked on
carts in front of the Stargate.
Expedition backpacks lean against
the carts or lie in a pile on the
ramp. ATLANTIS EXPEDITION TEAM
(AET) and MARINES enter carrying
more gear.
"STARGATE"
ENSEMBLE
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
Landry and Weir stand out of the
way of traffic.
LANDRY
(to Weir)
Dr. Elizabeth Weir, you have been given
permission to travel through the Stargate to
the Pegasus Galaxy. Destination: Atlantis.
ENSEMBLE
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
McKay strides purposefully
onstage.
MCKAY
Don't touch that! You might contaminate it with
your complete lack of intelligence. Why am I
surrounded by incompetence everywhere I go?
Where is the GAT-PSK? Who labeled these crates?
You there, cavebrow. Come with me. I need some
grunting and carrying done.
McKay hurries off with one of the
Marines.
Sheppard enters and looks around
in anticipation and glee.
SHEPPARD
This is very cool.
ENSEMBLE
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
WHAT WONDERS WILL WE FIND THERE?
WHAT BEAUTY WILL WE BEHOLD?
THE PEGASUS GALAXY AWAITS US
WHERE OUR FUTURES ARE UNTOLD.
THE ANCIENTS BUILT A CITY CALLED ATLANTIS.
A LEGEND OF HUMAN HISTORY
WILL NO LONGER BE A MYSTERY
UPON OUR STEPPING THROUGH THE STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
Weir stands on a crate on the
ramp, as the AET and MARINES
gather around her.
ENSEMBLE (cont'd)
(dropping to a whisper)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
WEIR
Ladies and gentlemen, we are about to embark on
a journey that will take us very far from home,
one that we may never return from again.
ENSEMBLE
(whispering)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
WEIR
Now, all of you have volunteered for this
mission, but I'd like to give you one last
chance to change your minds.
ENSEMBLE
(still whispering)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
Sumner enters with other Marines
and stops in front of Sheppard.
SUMNER
Major Sheppard, I will make this very clear:
you will follow my orders to the letter or I
will shoot you myself. Understood?
SHEPPARD
Yes, sir.
LANDRY
(from offstage)
Dr. Weir, we are dialing the 'gate.
The Stargate lights up and an
Ancient address begins locking
into place.
ENSEMBLE
(whispering, then growing louder)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
AET puts on expedition backpacks.
MARINES check their equipment.
ENSEMBLE (cont'd)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STAR-
The last lock clicks into place
and the whoosh of a wormhole
opening interrupts the chorus.
The orchestra stops. All stare in
awe as the connection is made.
Long silence.
LANDRY
(from offstage)
Dr. Weir, you may proceed when ready.
WEIR
(taking a visibly deep breath)
Atlantis Expedition, here we go.
SUMNER
Lock and load, Marines. Group one, proceed
through the 'gate.
Sumner, Marines, and Weir proceed
up the ramp and step through the
stargate. Sheppard follows
slowly, uncertainly.
ENSEMBLE
(whispering, nervous)
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
Sheppard stops in front of the
stargate, as others pass him,
going through.
FORD
(to Sheppard)
Don't worry, sir. It only hurts for a moment.
SHEPPARD
Really?
Ford, with a whoop, jumps
backwards through the event
horizon.
The remaining AET cross through
the stargate, singing quietly.
ENSEMBLE
STARGATE! STARGATE!
WE'RE GOING THROUGH THE STARGATE! STARGATE!
Sheppard hesitates. The
orchestra fades. Alone on stage,
he looks back around the control
room, squares his shoulders, and
walks through the stargate.
TRANSITION TO:
SCENE 2
INT. ATLANTIS GATEROOM
AET look around in wonder. Lights
come on dimly as people climb the
steps.
In the control room, Grodin,
McKay, and Zelenka uncover Ancient
consoles and hook up laptops.
Weir stands on the balcony
overlooking the Gate Room. The
lights brighten when Sheppard
comes through the stargate.
Sheppard sees Weir and gives her a
crooked smile. The stargate shuts
off.
SUMNER
Marines, you have your instructions. Stay in
radio contact at all times.
Marines, in teams of two, head out
into the corridors branching off
from the Gate Room.
TRANSITION TO:
INT. ATLANTIS, CORRIDORS
The orchestra plays. Marines fan
out, exploring Atlantis. Lights
rise as they enter each of the
three corridors, taking in the
panelled doors, light fixtures,
and designs on the ceiling.
Marines 1 and 2 near bubbling
water containers attached to the
walls that burble audibly when
they pass.
"I'VE GOT A FEELING"
MARINE 1
I'VE GOT A FEELING,
A CREEPY FEELING
THAT SOMETHING BAD WILL HAPPEN ALL WITHIN THE HOUR.
Lorne and Ford poke their heads
into a lab on the second tier.
Racks of glass vials sit beside
unidentifiable Ancient technology.
LORNE
I'VE GOT A FEELING
THAT WE'RE ALL DREAMING
AND WE'LL WAKE UP KNOWING NO ONE SHOT J.R.
FORD
Who?
Marines 3 and 4 walk along a
catwalk on the third tier, passing
by strange, glowing chambers
hanging on the wall.
MARINE 4
I'VE GOT A FEELING
THAT THERE'LL BE MONSTERS
LIKE THE ORI, GADMEER, GOA'ULD, OANNES, REOLE, RE'TU,
REPLICATORS,
SERRAKIN, SPIRITS, UNAS, ALEBRAN, ASGARD, AND WHATEVER TENET
AND JUP ARE.
INT. ATLANTIS, HANGAR
The dimly lit room is swathed with
stairways. Bays line the walls,
each harboring a spaceship.
Marines 5 and 6 enter, happy as
kids on Christmas Day.
MARINE 5
I'VE GOT A FEELING.
MARINE 6
THAT WE'VE HIT THE JACKPOT.
They high five.
INT. ATLANTIS, GATEROOM.
As Sheppard climbs the steps, each
stair brightens. He notices,
gazing at everything in wonder.
He enters the CONTROL ROOM. A
console comes to life when he
touches it.
SHEPPARD
(head tilted as if listening)
I'VE GOT A FEELING
MCKAY
(snapping fingers)
You, person who needs a brush - watch what you
touch with that super-gene of yours. We don't
know what any of this stuff does and I'd prefer
not to die within the first few minutes of my
being in another galaxy.
SHEPPARD
Sorry.
MCKAY
Don't be sorry; just don't put your hands on
anything. Now, come over here and touch this
for me.
INT. ATLANTIS, CORRIDORS
Marines 7 and 8 pass open labs
with AET chattering giddily
inside, opening crates and setting
up equipment, as the Ancient
technology hums and glows.
MARINE 7
I'VE GOT A FEELING
THERE COULD BE MONKEYS.
Marine 8 gives Marine 7 a
disbelieving look.
MARINE 8
I'VE GOT A FEELING-
MARINE 7
MONKEYS AREN'T CUTE LIKE EVERYBODY SAYS.
THEY GOT THOSE EVIL SMILES AND THROW POOP AT YOUR HEAD.
AND WHAT'S WITH THE CYMBALS? WHY DO THEY NEED A BAND FOR,
ANYWAYS?
MONKEYS. I'M TELLING YOU, THERE COULD BE MONKEYS.
Marine 7 shrugs at Marine 8's
continued stare.
MARINE 7 (cont'd)
OR MAYBE BEACH BABES.
INT. ATLANTIS, ANOTHER CORRIDOR
Sumner and Bates find a large,
clear glass window. Outside, the
city of Atlantis sprawls, under
hundreds of feet of water.
BATES
I GOT A FEELING WE SHOULD FIGURE THIS FAST
BECAUSE IT COULD GET SERIOUS
IF WATER BREACHES THE GLASS.
INT. ATLANTIS, CONTROL ROOM
Sheppard sits out of the way on
the steps leading up to the
hangar, as Zelenka and McKay argue
with each other while working at
different consoles. Weir speaks
with Grodin at another console.
Screens with Ancient text
scrolling across them hang on the
walls and from the ceiling in the
middle of the room.
Sheppard puts his hand on the
wall. The light pulses brightly
beneath his palm.
SHEPPARD
I'VE GOT A FEELING... I'M HOME.
Claxon Alarm Sounds. Red lights
flash. People in control room
look up sharply. McKay rounds on
Sheppard.
MCKAY
What did I tell you about the touching?!
Sheppard holds up his hands.
SHEPPARD
I didn't do anything.
McKay continues to stare
accusingly.
Sheppard smiles.
McKay's eyes widen and he turns
abruptly back to his laptop.
SUMNER
(over radio)
Dr. Weir, I think you should come and see this.
WEIR
I'm on my way.
INT. ATLANTIS, CORRIDORS
Sumner, Bates, McKay, and Weir
stand in front of the window.
Outside, a large air bubble erupts
from the far side of the city.
MCKAY
Oh, that's not good.
WEIR
What is it?
MCKAY
Only thousands of tons of water breaking
through the shield and flooding the city. I'd
hoped this wouldn't be a problem.
SUMNER
You knew about this, McKay?
MCKAY
I knew it was a possibility, along with
hundreds of other possibilities of things that
could go wrong the moment we set foot into a
ten thousand-year-old city.
WEIR
Can we stop it?
MCKAY
No. Maybe. We've hooked up the naqadah
generators, but we're most likely still
draining power from the ZedPM just by being
here, turning on the lights. The ZedPM is like
a battery and only has a limited supply of
power before it goes dead.
Outside the window, another giant
air bubble erupts from another
portion of the city.
MCKAY (cont'd)
And it looks like we've reached that limit.
SUMNER
(into radio)
Marines, fall back to the Gate Room
immediately. We may have to evacuate the city.
WEIR
Evacuate? And go where?
BATES
(to McKay)
We know for a fact there isn't enough juice to
get back to earth?
MCKAY
Yes. And even if there were, if I rerouted the
power directly to the stargate, the shield
would collapse before we could make a
connection.
SUMNER
What about somewhere in this galaxy?
MCKAY
That should be relatively easy. Two of the
naqahdah generators are enough to get the
stargate online.
SUMNER
Do it.
McKay nods and hurries off.
WEIR
Grodin has found a list of 'gate addresses in
the Ancient database. I'll have him pull
several that are habitable.
SUMNER
Bates, Lorne, and I will lead three separate
teams. The sooner we find somewhere, the
better.
TRANSITION TO:
SCENE 3
EXT. ATHOS - DAY
People in handmade clothing dance
between the fire pits and the
tents, sharing food with those
seated on blankets. Children
chase each other with peals of
laughter.
"PRAYER OF THE ATHOSIANS"
ATHOSIAN WOMAN 1
WHEN THE SUN IS LOW ON THE HORIZON
AND THE HUNTERS RETURNED FOR THE DAY.
WHEN OUR PEOPLE ALL HAVE GATHERED,
WE TURN OUR HEARTS AND PRAY.
Walking through a forest, Sumner,
Sheppard, Ford, and several
Marines find a village comprised
of hand-woven tents and open fire
pits near a small lake. In the
distance, a collection of old
buildings can be seen.
ATHOSIAN CHORUS
THIS IS THE PRAYER OF THE ATHOSIAN PEOPLE!
THE PRAYER OF ATHOSIANS!
THE ATHOSIANS! ATHOSIANS!
HARMONY AND UNDERSTANDING,
EMPATHY AND LOVE SURROUND US.
WORKING HARD TO BRING OUR VISION:
PEACE AND HOPE WITH TRADING PARTNERS.
TRUST THAT LIFE WILL NOT BE HARDER
FOR ATHOSIANS!
ATHOSIANS!
ATHOSIAN WOMAN 1
WHEN THE SUN IS LOW ON THE HORIZON
AND THE HUNTERS RETURNED FOR THE DAY.
WHEN OUR PEOPLE ALL HAVE GATHERED,
WE TURN OUR HEARTS AND PRAY.
ATHOSIAN CHORUS
THIS IS THE PRAYER OF THE ATHOSIAN PEOPLE!
THE PRAYER OF ATHOSIANS!
THE ATHOSIANS!
ATHOSIANS!
A few Athosians notice the SGA
Team. The song fades as, one by
one, the remaining Athosians spot
them. They watch the SGA Team
warily, as the team enters the
village. One darts into a tent
and returns with a woman who steps
in front of the SGA Team, blocking
their path.
TEYLA
I am Teyla Emmagan, leader of the Athosians.
Have you come to trade?
SUMNER
Actually, ma'am, we're here to check out this
planet as a potential evac site. What's the
weather like here? Are there abundant fresh
food and water sources?
Teyla appears taken aback.
Sheppard steps forward, a friendly
grin on his face.
SHEPPARD
What the Colonel means to say is: hello, Teyla.
I'm Major John Sheppard. This is Colonel
Sumner, Lieutenant Ford. We're having a bit of
a... plumbing problem back home and need to
find a safe place to dry out for a while.
TEYLA
Athos is as safe as any other world from the
wraith.
SHEPPARD
I'm sorry, the wraith?
TEYLA
You do not know of the wraith?
SHEPPARD
We're a little new in town. Haven't had a
chance to meet all the neighbors yet.
SUMNER
Major, I'll leave this to you. We're going to
go check out the old buildings on the rise.
TEYLA
The Ancient city is in ruins and uninhabitable.
SUMNER
Thank you for the information, ma'am, but I
think we'll check it out for ourselves.
Sumner and Lorne exit, along with
most of the Marines. Ford
remains. Sheppard gives Teyla
another friendly smile.
SHEPPARD
So, how about those wraith? I hear they're
having a rebuilding year.
Ford muffles a laugh.
EXT. ATHOSIAN CATACOMB - DAY
Carrying a torch, Teyla leads
Sheppard beneath the ground, into
INT. ATHOSIAN CATACOMB
The walls are crudely cut, brown
stone, covered with faded
pictographs.
TEYLA
These walls have preserved Athosian history
through the centuries. It is a testament to my
people that, though the wraith have culled us
time and again, we have still survived.
SHEPPARD
Explain to me about this culling thing. It
doesn't sound too pleasant.
TEYLA
I assure you, Major, it is not.
Teyla holds her torch in front of
a series of stones that depict a
culling.
TEYLA (cont'd)
The wraith are much more advanced than any race
I have encountered. They attack worlds with a
human population, nearly wiping them to
extinction over and over again.
Sheppard examines the etched
stones.
SHEPPARD
It looks like the wraith are catching the
people in nets, or something.
TEYLA
It is some sort of energy beam. I saw my
father taken with my own eyes when I was very
young.
Teyla shines the light on the next
stone.
TEYLA (cont'd)
And this is what becomes of them.
The stone shows a monstrous
creature devouring a person, with
a pile of bodies at its feet.
Sheppard whistles under his
breath.
SHEPPARD
How often do the wraith attack?
TEYLA
It depends. A few worlds are culled every
twenty to thirty years. Others flourish for
centuries before the wraith return. It is said
that the wraith sleep for long periods of time
in order for the worlds to repopulate.
SHEPPARD
Giving them a bigger food supply.
A low vibrating fills the chamber,
growing steadily louder.
SHEPPARD (cont'd)
What's that?
TEYLA
I do not know.
SUMNER
(over radio)
Sheppard, what's your location?
SHEPPARD
I'm in a cave-thing with Teyla.
SUMNER
(over radio)
Get back to the 'gate, a-sap. The settlement
is under attack.
EXT. ATHOS - DUSK
Athosians scream and run into the
woods. Wraith darts zip overhead.
Steady beams of light shoot from
the bottom of darts, catching
people in its path. The people
vanish.
The orchestra plays...
"NOTHING MORE THAN FOOD"
WRAITH 1
FOOD!
Wraith 1's dart nets two people.
WRAITH 2
FOOD!
Wraith 2 smiles shark-like in the
cockpit of his dart.
WRAITH 3
MORE FOOD!
Wraith 3 and Wraith 4's darts
cross paths, netting five people.
WRAITH CHORUS
FOOD, FOOD, YOU'RE NOTHING MORE THAN FOOD.
YOU'RE GOOD TO EAT
A TASTY TREAT
YOU'RE NOTHING MORE THAN FOOD, THAN FOOD.
Marines fire ineffectually at the
wraith darts. Athosians continue
screaming and running. Sumner
shouts directions from the
Athosian camp. A wraith dart
snares him and several Marines.
WRAITH CHORUS (cont'd)
THERE'S NO HOPE TO SAVE
YOUR PUNY HUMAN RACE
GIVE UP RIGHT NOW
AND BECOME OUR CHOW
YOU'RE NOTHING MORE THAN FOOD, THAN FOOD.
YES, NOTHING MORE THAN FOOD.
Sheppard and Teyla run back to the
camp. A wraith dart flies
overhead and Teyla shoves
Sheppard. Sheppard falls out of
the way, but Teyla is netted by
the wraith.
WRAITH CHORUS (cont'd)
RUN ALL YOU WANT, WANT, WANT
TRY AND ESCAPE IF YOU CAN
BUT LIKELY YOU WILL END UP IN OUR POT
OR IN OUR FRYING PAN, 'CUZ
FOOD, FOOD, YOU'RE NOTHING MORE THAN FOOD.
YOU'RE GOOD TO EAT
A TASTY TREAT
YOU'RE NOTHING MORE THAN FOOD, THAN FOOD.
YES, NOTHING MORE THAN FOOD!
SHEPPARD
(into radio)
Ford! What's your position?
FORD
(over radio)
I'm at the stargate, sir. Those ships are
flying out a wormhole.
SHEPPARD
Memorize that address! Burn it into your
retinas! Those bastards have our men.
WRAITH CHORUS
YES, NOTHING MORE THAN FOOD!
Sheppard is alone. The last
wraith dart flies from Sheppard's
sight. The orchestra stops.
Smoke drifts from the campfires of
the empty Athosian camp.
TRANSITION TO:
SCENE 4
INT. ATLANTIS, CONTROL ROOM - EVENING
The claxon alarm sounds. Red
lights flash. Zelenka shouts in
Czech at McKay. Grodin runs from
console to console, using hooked
up laptops. Sheppard is with Weir
in an office off the control room.
Ford waits by the door.
WEIR
I don't know, John. Maybe we can negotiate
with the wraith.
SHEPPARD
Elizabeth, these guys eat people. The longer
we wait, the more likely my men will be lunch.
WEIR
Fine. I don't like it, but if you feel we
don't have any other choice...
SHEPPARD
We don't.
WEIR
Take the address for Major Lorne's evacuation
site. Atlantis may not be here for you to
return to.
Sheppard nods and runs off,
stopping by Grodin to get the
stargate address. McKay stares at
Sheppard, his lips pressed
together in a crooked line of
thought. Sheppard catches McKay's
stare.
SHEPPARD
What?
MCKAY
What, what?
SHEPPARD
Shouldn't you be, I don't know, building an ark
or something, rather than staring at me?
MCKAY
(flustered)
My brain is working on hundreds of different
solutions simultaneously, not to mention making
lists of all the food I want since I haven't
eaten yet, the number of disasters waiting to
befall us on the evac site, contemplating with
horrifying conclusion the amount of coffee that
will be washed away if Atlantis fully sinks,
and, for a bit of torturous fun, calculating
the volume of water it takes to fill a city
this size.
SHEPPARD
471,410,258,458.7 cubic meters. Roughly.
McKay appears glassy eyed.
MCKAY
Oh.
Sheppard exits. Ford follows, up
the steps and into the hangar.
MCKAY (cont'd)
Well. Okay.
He turns, dazed, back to his
computer.
INT. ATLANTIS, HANGAR
Sheppard and Ford enter one of the
puddle jumpers. The interior
lights snap on and the jumper
comes alive. Sheppard slides into
the pilot seat.
FORD
Do you think you can fly this thing?
SHEPPARD
We'll find out.
The controls in Sheppard's hands
respond immediately. The hatch
closes and the jumper moves. The
hangar floor opens and the jumper
is guided down into the Gate Room.
SHEPPARD (cont'd)
Dial it up. Let's go bring our guys home.
FORD
Yes, sir.
Ford dials the gate address in the
cockpit. The stargate locks and a
wormhole opens. Sheppard flexes
his fingers around the controls
and shoots through the event
horizon.
INT. JUMPER COCKPIT - NIGHT
Sheppard sets the jumper down near
the stargate. Through the window,
trees and brush are visible. The
sky is cloudy gray.
FORD
Now, what?
SHEPPARD
I guess we start searching. Wish we had a map.
An image appears on the cockpit
window. Diagrams, maps, and
information about the terrain are
displayed. Sheppard and Ford
exchange glances.
SHEPPARD (cont'd)
That's pretty neat. Maybe if I wish for a way
to detect-
A panel opens beside Sheppard and
a hand-held life-signs detector is
visible. Sheppard picks it up.
The screen glows, showing two dots
in the jumper.
FORD
Wish for something else.
SHEPPARD
Okay.
Sheppard closes his eyes.
SHEPPARD (cont'd)
I wish Sumner were here.
Sheppard cracks open an eye, but
nothing happens.
FORD
Maybe you have to wish for something you
actually want.
SHEPPARD
Funny.
Sheppard closes his eyes again.
SHEPPARD (cont'd)
I wish for... a turkey sandwich.
Ford laughs.
SHEPPARD (cont'd)
What? I'm hungry. And anyway, it didn't work.
FORD
Guess we're on our own.
INT. HIVE SHIP - NIGHT
The orchestra plays. Sumner,
Teyla, Marines, and Athosians are
in a hive cell. Amorphous cocoons
line both sides of the corridor
outside the cell door. Three
WRAITH DRONES and one WRAITH
WORKER approach.
"NOTHING MORE THAN FOOD - REPRISE"
(SLOWER TEMPO)
WRAITH CHORUS
FOOD, FOOD, YOU'RE NOTHING MORE THAN FOOD.
YOU'RE GOOD TO EAT
A TASTY TREAT
YOU'RE NOTHING MORE THAN FOOD, THAN FOOD.
In a straight line, the four
wraiths step, pivot, step, pivot,
half-turn stop. Wraith 2 and 4
about face. All four box step,
box step, one step forward, and
slam their right hands against the
amorphous cocoons. Human heads
split from the cocoons with
screams of agony. Sumner, Teyla,
Marines and Athosians look on in
horror.
The wraith stop feeding, pivot
slide back into a straight line,
and march to the cell. The door
opens. Sumner steps forward as
the others fall back.
SUMNER
I am Colonel Sumner of the US Marines and I
demand to see your leader.
Wraith Worker smiles, pivots, and
leaves the cell. Two of the
Wraith Drones grab Sumner and drag
him out of the cell. The cell
door closes behind them. Teyla
runs up to the door and watches
until the wraith take Sumner out
of sight.
INT. HIVE SHIP, MAIN HALL - NIGHT
A skeleton in Athosian clothing
sits at a long table, an uneaten
feast in front of the corpse.
Sumner is shoved to his knees in
front of the WRAITH KEEPER. Two
Drones and the Worker leave. One
Drone remains, armed with a wraith
stunner.
WRAITH KEEPER
(circling Sumner)
You are not like the others.
SUMNER
What do you want with us?
WRAITH KEEPER
Tell me, what world do you come from?
SUMNER
I'm not telling you anything until you let my
people go.
The Wraith Keeper slams her right
hand onto Sumner's chest. Sumner
screams as she feeds.
She pulls back her hand and steps
away.
Jagged tears pattern Sumner's
shirt in the shape of a hand, with
blood coming from five fingernail
wounds and a feeding mark in the
center.
WRAITH KEEPER
Now, what world do you come from?
SUMNER
(breathing harshly)
I'll never tell you.
The Wraith Keeper again feeds from
Sumner. Sumner screams
continuously. His hair goes
completely white and his face
becomes wrinkled and emaciated.
WRAITH KEEPER
What world do you come from?
SUMNER
(forced)
Earth.
Gunshots. The Wraith Keeper's
body jerks as squibs explode. She
spins around and Sumner collapses
to the floor. Sheppard stands in
the doorway of the hive chamber.
Orchestra plays.
Sheppard fires repeatedly into the
Drone. The Drone goes down.
Wraith Keeper howls/screams
angrily. In the background,
explosions and more gunshots can
be heard.
"THE RESCUE"
SHEPPARD
WHEN I CAME THROUGH THE STARGATE
I DIDN'T KNOW JUST WHAT TO EXPECT
NOTHING COULD PREPARE ME
CLOSED DOORS WOULDN'T SPARE ME
FEELINGS HIDDEN DEEP INSIDE WOULD RESURRECT.
THIS WAR, I'VE BEEN REPRESSING
THIS PAIN, IT'S NEVER LESSING
A RESCUE FAILED IS ONE I'LL NEVER FORGET.
Sheppard walks into the room,
shooting at the Wraith Keeper.
She jerks at each shot but does
not go down. More explosions and
gunfire from another location.
SHEPPARD (cont'd)
STILL, I TRY TO MAKE IT RIGHT.
BRING THE BATTLE, I WILL FIGHT!
I WILL ACT WITHOUT A SINGLE SAD REGRET.
The Drone on the floor, not dead,
clips Sheppard in the ankles as he
nears. Sheppard goes down. The
Drone gets up on his knees and
picks up the stunner. Sheppard
fires at the Drone's head. The
Drone goes down again.
SHEPPARD (cont'd)
SO BRING THE BATTLE, BRING THE FIGHT!
I WILL STRIKE WITH ALL MY MIGHT!
I WILL NOT LET ANY DOUBT LEAD ME ASTRAY.
I WILL FIGHT WITH ALL I'VE GOT!
AIMING TRUE WITH EVERY SHOT!
AND SUCCESS WILL SURELY SOON COME MY WAY.
Sitting up, Sheppard fires at the
Wraith Keeper, but the empty
magazine of the P-90 only clicks.
Sheppard looks at it in dread, and
then scrambles for the wraith
stunner.
The Wraith Keeper approaches.
Sheppard shoots her with the
wraith stunner as he gets to his
feet. She jerks but keeps
approaching.
SHEPPARD (cont'd)
SO BRING THE BATTLE, BRING THE FIGHT!
I WILL STRIKE WITH ALL MY MIGHT!
I WILL NOT LET ANY DOUBT LEAD ME ASTRAY.
Sheppard fires several more times
with no success.
SHEPPARD (cont'd)
I WILL FIGHT WITH ALL I'VE GOT!
AIMING TRUE WITH EVERY SHOT!
AND SUCCESS WILL SURELY SOON COME MY WAY.
Finally, when she's almost upon
him, he spears her with the tip of
the stunner. Orchestra stops.
Wraith Keeper is shocked. Blood
comes from her mouth.
WRAITH KEEPER
You do not know what you have just done.
SHEPPARD
Turned you into a shishkebob?
WRAITH KEEPER
Woken the others.
Wraith Keeper slurs the 'S',
trailing off as she dies.
Sheppard pulls the stunner free
and she collapses on the floor.
Above him, the chamber ceiling
begins to light. Shadowed figures
move behind the fogged covering.
Orchestra plays.
"THE RESCUE - REPRISE/FOOD"
Awakening Wraith Chorus begins
chanting, a few voices at first,
then more, quietly, then growing
steadily louder, continuously in
the background.
AWAKENING WRAITH CHORUS
YOU'RE NOTHING MORE THAN FOOD.
YOU'RE NOTHING MORE THAN FOOD.
Sheppard rushes to Sumner. Sumner
is weak, frail, and dying.
SHEPPARD
THIS WAR, I'VE BEEN REPRESSING
THIS PAIN, IT'S NEVER LESSING
A RESCUE FAILED IS ONE I'LL NEVER FORGET.
AWAKENING WRAITH CHORUS
YOU'RE NOTHING MORE THAN FOOD.
YOU'RE NOTHING MORE THAN FOOD.
SHEPPARD
Come on, sir. Ford's freeing the others. We
need to get out of here.
AWAKENING WRAITH CHORUS
YOU'RE NOTHING MORE THAN FOOD.
YOU'RE NOTHING MORE THAN FOOD.
SUMNER
Leave me.
SHEPPARD
I can't do that, sir.
AWAKENING WRAITH CHORUS
YOU'RE NOTHING MORE THAN FOOD.
YOU'RE NOTHING MORE THAN FOOD.
SUMNER
That's an order, Major.
Sheppard gives Sumner a wry smile.
SHEPPARD
You know how well I follow orders, sir.
AWAKENING WRAITH CHORUS
YOU'RE NOTHING MORE THAN FOOD.
Sheppard picks up Sumner in a
fireman's carry. He glances up at
the awakening wraith. The
Awakening Wraith Chorus chant
drops in volume, underscoring
Sheppard's song.
AWAKENING WRAITH CHORUS (cont'd)
FOOD. FOOD. FOOD. FOOD. FOOD. FOOD.
SHEPPARD
I WILL WIN THIS BATTLE, YOU'LL SEE.
NOTHING WILL TAKE THE FIGHT FROM ME.
I WILL STAND TALL IN THE MIDDLE OF THE FRAY.
THE PAIN, I WON'T FORGET
BUT I'VE DONE NOTHING I REGRET
AND I WOULDN'T DO IT ANY OTHER WAY.
JOHN SHEPPARD IS HERE TO STAY.
Sheppard and Sumner exit.
TRANSITION TO:
SCENE 5
INT. ATLANTIS, GATEROOM - NIGHT.
On foot, Sheppard steps through
the stargate, alone. The claxon
alarm and red lights continue with
their warning. Atlantis quakes.
McKay, Zelenka, and Grodin's
voices can be heard clearly from
the control room. Weir rushes
down the steps to meet Sheppard.
WEIR
John.
SHEPPARD
I'm glad to see you haven't floated away.
WEIR
Not yet, but close.
SHEPPARD
I'm ordering the evacuation of Atlantis.
WEIR
We're not giving up until we have no other
choice.
SHEPPARD
You have no other choice. Sumner's dead, and
I'm not allowing anyone else to die today. Not
on my watch.
Weir presses her hand to her
heart, distressed.
WEIR
Oh.
Sheppard nudges her toward the
still active stargate.
SHEPPARD
Yeah. I'll see you on the other side.
Weir nods, looks around Atlantis
one last time, as if trying to
memorize it. Orchestra plays.
"SO LONG, FAREWELL, GOODBYE."
WEIR
I CAME THROUGH THE STARGATE
WITH BRIGHT HOPES AND DREAMS.
NOW THEY'RE ALL BROKEN,
OR SO THAT IT SEEMS.
WHICH LEAVES ME ONLY TO SAY
SO LONG.
FAREWELL.
GOODBYE.
THE MOMENT HAS PASSED
FOR OUR REACH TOWARDS GLORY
OUR TIME HERE, TOO SHORT
FOR THAT I AM SORRY.
WHICH LEAVES ME ONLY TO SAY
SO LONG.
FAREWELL.
GOODBYE.
She goes through the stargate.
Sheppard runs up the steps and
nearly falls as a hard tremor
shakes the Gate Room. He enters
the control room.
SHEPPARD
Time's up, kiddies. Pack your bags and let's
get out of here.
Grodin, McKay, and Zelenka stop
shouting as one and stare at
Sheppard. Grodin turns abruptly
and types on a laptop.
GRODIN
It may work.
Zelenka hurries over to his own
laptop and types.
ZELENKA
Yes, yes. The others did not have strong
enough gene.
McKay unhooks and takes a laptop,
double-times it over to Sheppard,
and grabs Sheppard's elbow as he
speaks.
MCKAY
Set it up again, quickly. Major Hedgehog, come
with me.
McKay leads Sheppard out of the
control room and down the stairs.
SHEPPARD
I'm ordering everyone to evacuate, McKay.
MCKAY
You do that. But first, you do this.
INT. ATLANTIS, DRIVE ROOM - A MOMENT LATER
McKay and Sheppard are in a room
with screens, panels, and several
consoles. The claxon alarm and
red lights continue to give
warning. McKay hooks the laptop
up to one of the consoles. He
taps the radio in his ear.
MCKAY
(into radio)
Are we ready yet?
ZELENKA
(over radio)
Almost.
MCKAY
Take your time. My gills could use a workout.
SHEPPARD
Explain to me again what we're doing?
MCKAY
You, with your magic gene, are going to
hopefully convince Atlantis that drowning is
bad. Peter, the crazy Czech guy who I can
never remember his name, and I have rerouted
several systems to this console here. If the
schematics that I'm reading are right, this
command console operates the star drive.
SHEPPARD
Star drive?
MCKAY
Atlantis doubles as a space ship. Didn't you
read any of the brochures before coming?
We tried to do this earlier, but Beckett's gene
is too weak to initiate the drive.
GRODIN
(over radio)
We are ready, Rodney.
MCKAY
And so am I.
McKay finishes typing on the
laptop and waves his hands at
Sheppard.
MCKAY (cont'd)
Do your thing.
Sheppard approaches McKay.
SHEPPARD
What thing am I supposed to be doing?
McKay grabs Sheppard's hands and
presses them on two keys on the
console.
MCKAY
Think, "Up."
Sheppard screws up his face like
McKay is insane, and then looks at
the console. A beat passes, then
a rumble louder than the claxon
suddenly fills the room. McKay
taps at the laptop, his eyes
widening.
MCKAY (cont'd)
It worked!
McKay runs out of the room.
Sheppard, after a moment's
hesitation, runs after him.
The rumbling continues. The
corridor shakes. Sheppard catches
up with McKay in front of the
large window from Scene Two.
SHEPPARD
Did I need to stay-
MCKAY
(gesturing)
No, no. You turned it on. The rest is up to
Atlantis.
Outside the windows, gigantic air
bubbles rise past. The rumbling
and shaking make Sheppard and
McKay bump against one another.
Sheppard steadies McKay with a
hand on his shoulder. Orchestra
plays.
"ATLANTIS RISING"
MCKAY (cont'd)
Look...
Air bubbles rush past the window
and suddenly Atlantis bursts
through the surface of the water.
The sun is nearly blinding as it
streams inside. Water runs down
the window as the city continues
to rise. White clouds dot the
blue sky. Birds fly in the
distance. The rumbling and
shaking slow to a stop, as
Atlantis comes to a rest on the
surface of the sea.
Orchestra notes fade to silence.
The claxon alarm has also silenced
and the red lights have gone off.
Sheppard and McKay stare in awe
out the window.
SHEPPARD
Cool.
Over the radio, cheering can be
heard briefly. Sheppard turns to
McKay and graces him with a large,
happy smile. The sunlight
highlights his features, haloing
him in a golden glow. Orchestra
plays quietly.
"ATLANTIS RISING PIANO REPRISE"
Sheppard squeezes McKay's
shoulder, turns, and jogs off.
McKay watches him leave before
turning back to the window.
Orchestra Movement blends into the
next song. McKay puts his hand on
the glass.
"I THINK HIS NAME IS JOHN"
MCKAY
I CAN COUNT ON JUST ONE HAND THE PEOPLE I RESPECT.
WHAT THEIR NAMES ARE, WHERE THEY ARE NOW, HOW MANY AWARDS
THEY HAVE.
I KNOW THEIR BACKGROUNDS, FAMILY, AND PETS.
A FEW I'D EVEN DEIGN TO CALL A FRIEND.
BUT NOW THIS GUY THAT I DIDN'T CARE ABOUT
COMES ALONG AND PROVES HIS WORTH WITHOUT A DOUBT
AND I THINK HIS NAME IS JOHN.
McKay leans his forehead on the
glass. A white bird soars around
one of the city's spires, visible
through the window.
MCKAY (cont'd)
AN ERRANT FLYBOY WANDERS BY ME, NOT EARNING A SECOND'S CHECK
LEAN SHOULDERS, HAZEL EYES, HIS HAIR A TOTAL WRECK.
HE SITS IN THE CHAIR AND IT LIGHTS WITH HIS ATA GENE
BRINGING US ONE STEP CLOSER TO REACHING OUR DREAMS.
AND IN MY MIND, I AM SINGING JOYOUS SONGS,
BUT THERE IS ONE THING THAT I CAN'T PUT MY FINGER ON
AND I THINK HIS NAME IS JOHN.
McKay turns from the window and
heads back to the drive room.
Celebration over the citywide
speakers gets louder and quiets
again. In the drive room, McKay
types in the laptop, closes the
screen, and unhooks it from the
console, as he sings.
MCKAY (cont'd)
NOW THE CITY ISN'T FLOODED OR CUT FROM MY EYES.
THE FUTURE IS WAITING FOR ME TO CLAIM MY NOBEL PRIZE.
BUT IT WASN'T ME WHO WENT AND SAVED THE DAY.
IT WAS THAT FLYBOY SWEEPING DANGER AWAY.
AND IN THE END, WITH A SINGLE SMILE AND TOUCH
ATLANTIS SINGS AND MY HEART TREMBLES VERY MUCH
SOMETHING'S BEGINNING AND ALL I CAN DO IS HOLD ON
AND I THINK HIS NAME IS JOHN.
McKay pauses in the doorway, hand
reaching for the light sensor.
MCKAY (cont'd)
I THINK HIS NAME IS JOHN.
The lights lower and the stage
goes dark as the Orchestra
finishes. Curtain lowers.
FADE OUT.
THE END