Добавлено (19 Марта 2014, 14:30)
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BRODY
Yeah. I want to know what’s going on in the stock market. My portfolio’s had been taking a beating.
VOLKER
You’re worried about your portfolio?
BRODY
Yeah. I think I bought too much of one stock when I was last home via the stones.
VOLKER
Oh yeah? Which one?
BRODY (SHEEPISHLY)
Apple.
VOLKER
Oh.
CUT TO:
INT DESTINY: ELI’S QUARTERS. We see Chloe in the same position as earlier. Time has passed but she hasn’t moved. She looks like she hasn’t even blinked.
The STREAM OF DATA suddenly stops. She pauses a moment. Blinks. Memory of where she is suddenly comes over her. She turns and walks through the door, with purpose.
INT DESTINY CORRIDOR
As Chloe walks purposefully down it. She turns a corner and GREER is there.
GREER
Ah Chloe. Good to see you. Can you help us in the search for-
But she blows past like she hasn’t seen him.
EXT: PLANET SURFACE
The rear of the shuttle opens and SCOTT and JAMES walk down the ramp onto the lush grass of a new world.
JAMES
Do you smell that?
SCOTT (SNIFFING)

Добавлено (19 Марта 2014, 14:32)
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What? I can’t smell anything.
JAMES
Fresh air. Fresh, pure air. For once I don’t smell Sargent Greer.
SCOTT
Put a lid on that soldier. We’ve a job to do.
JAMES (A LITTLE TAKEN ABACK)
Yes, sir!
INT: DESTINY - STONES ROOM
RUSH is here, working on the stones device. He’s getting frus-trated. It’s supposed to turn on, but it won’t. He’s lifting it, turning it, but nothing happens.
GREER (V.O. ON WALKIE TALKIE)
Doctor Rush?
RUSH
Sergeant, I’m very busy, and don’t want to be disturbed.
GREER
I think you’ll want to be disturbed by this.
RUSH (IMPATIENTLY)
What is it?
GREER
It’s Chloe. She’s doing that thing with the blackboard again.
Rush puts down the stones device and hustles from the room.
INT: DESTINY - BLACKBOARD CORRIDOR
As Chloe is working on equations on the walls. She’s moving fast, writing, scribbling, drawing. She’s erasing some of Rush’s work.
Greer is there too, watching her protectively.
He enters to see her, and gets momentarily angry. Then he looks at what she’s doing.
RUSH (QUIETLY)
Oh my god.
And we FADE OUT:

ACT TWO:
FADE IN:
EXT - PLANET - DAY
The away team is hiking away from the shuttle in the direction of the tower. They’re in lush, thick, jungle that makes it hard to see clearly where they’re going.
Scott’s holding a scanner.
SCOTT
Looks like it’s that way.
(A Beat)
Sort of.
They start hacking their way through the undergrowth, two marines in front with makeshift machete’s, Lieutenant James behind. The civilians follow them, with Scott and TJ taking up the rear.
TJ
Wait a second.
Scott raises his hand in the ‘hold up’ signal, and the party stops. TJ investigates a plant near them. It has green leaves and a purple flower. The leaves have spines on them.
SCOTT
Looks like a thistle.
TJ puts on a glove and breaks a stem. She lifts it and smells it.
TJ
Smells a little like a thistle too.
SCOTT
Ok. So?
TJ
In the middle ages thistle was used in a lot of cures as a natural antibiotic. It was even called ‘blessed thistle’ because people believed it would cure the plague.
SCOTT
Believed.
TJ
Yes. Believed. Just because they didn’t have proof, doesn’t mean they weren’t right.
SCOTT
We need to keep moving. It’ll be dark soon.
TJ
Ok, go ahead. I’m going to gather some up and I’ll follow your path.
Scott nods and the party moves out. As they leave, he looks back once more, almost protectively, towards TJ. She sees him and nods. He looks down again to see the pistol on her hip and he moves on.
SCOTT (TO HIMSELF)
We need to choose what we believe in.
EXT: FOREST CLEARING - DAY
TJ is by herself at the clearing. She is putting on gloves and collecting some of the thistle-like plants. She’s methodical, picking them up one by one, stripping off dirt and packing them in sample bags.
GIRLS VOICE (VOICE OVER)
Thank you.
She stops. Jumps in her skin. She starts to look around, and puts her hand on her holster.
GIRLS VOICE (VOICE OVER)
You sacrificed for me.
(A beat)
Thank you.
TJ Draws her gun, and holds it outwards and downwards in the classic ready pose. She clicks off the safety. Her eyes are dart-ing around the clearing.
We wait a beat and then--
GIRLS VOICE (VOICE OVER)
Mother
CUT TO:
EXT - SPACE - DESTINY
As she orbits the planet below.

INT - BLACKBOARD CORRIDOR - DESTINY
Chloe is still working frantically. Rush is trying to keep up, correlating the notes on his notepad with what she’s writing.
RUSH
It’s a pattern. Repeated. Pairs, Cou-ples. What is it?
She doesn’t answer, but keeps working. He sees her scribbling values. One of them he recognizes.
He starts to scribble out an equation based on her work, and the work in his notes. He gets to the ‘=’ at the end and writes the answer. Pi.
RUSH
Pi. Pi?
Young enters. He looks at Rush’s work.
YOUNG
Pi. That’s one that even I know. But what does it mean?
Rush looks at him, back at the equation, and then at Chloe and his notes.
RUSH
I don’t know. But. I’m close. I know I am.
Young looks back to him, and then at Chloe.
YOUNG
Don’t you mean she is?
Rush is a little taken aback.
RUSH
This is not an ego thing. Chloe is providing me with the key. I have to turn it and open the door.
YOUNG
What door?

RUSH
The answer. The background radiation. The pattern. It means something.
Chloe stops writing. Turns to Young and Rush.
CHLOE
That’s what they gave me.
YOUNG
They? Who?
CHLOE (CONFUSED)
What?
She looks around a moment, and then looks back to Young and Rush.
CHLOE (CT’D)
How did I get here? I thought I was done with that.
RUSH
This was different. Colonel, can you take Chloe to the infirmary. I need to work on this.
(A beat)
Did your people find Eli by any chance? I could really do with his insight here.
YOUNG
Not yet. But, I’ll be sure to tell him you said that when I find him.
A long glance passes between the two men. They both almost smile, almost. Young escorts Chloe out as we-
CUT TO:
EXT - PLANET’S SURFACE - DAY

Добавлено (19 Марта 2014, 14:44)
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TJ is jogging to catch up with the rest of the group. They’re on a small rise leading upwards.
JAMES
Looks like this is the top of the foun-dation. I think we’re in the right place.
SCOTT
It’s a big tower. Looks like we won’t get there and back to the shuttle be-fore nightfall.
He sees TJ enter. Her eyes are a little wide.
SCOTT (CT’D)
TJ? Everything ok?
She looks at him, catches her breath. And lies.
TJ
Yeah. Just need more exercise.
(A beat)
Don’t worry, it’s not the ALS.
She smiles and he nods.
A Marine calls out from up ahead.
MARINE 1
There’s something up here.
We see them cut through the undergrowth to reveal a dark grey wall. It’s part of the base of the tower. Another marine calls from further ahead.
MARINE 2
Over this side. There’s a clearing.
We follow their voice, and emerge from the thick growth to see a small clearing, formed by a stone overhang from the tower. With all the overgrowth it’s pretty dark, and Scott snaps a flashlight to the tip of his rifle. The others follow suit and peer into the darkness.
There’s a tunnel, clearly heading towards the interior of the tower.
SCOTT
I’ll take the good doctors and check it out. James, keep Leung and Loney here with the civilians. Stay sharp. It’s too quiet.TJ (WITH REALIZATION)
No animal sounds here.
SCOTT
Yeah. We’ll take a look in and radio back.
JAMES
Got it.
(A beat)
And sir?
SCOTT
What is it?
JAMES
Be careful.
Scott looks into the darkness. He smiles a little.
SCOTT
Roger that.
INT: TOWER VESTIBULE - NIGHT
We see Scott and TJ enter, flashlights darting around to illumi-nate the darkness.
TJ
I don’t even know what this material is. It looks like stone, but...
SCOTT
Kinda reminds me of the Destiny Star-gate.
TJ
You’re right, but, why would they build a tower out of it?
SCOTT
Hopefully that’s what we’ll find out.
They turn a corner to find the way blocked. As TJ touches her hand to the dead end, out of nowhere a display lights up. It has symbols and shapes on it most of which are clearly alien, but some are familiar, like basic circles and globes. They are a friendly luminous green.

SCOTT
Some kind of terminal?
TJ
Maybe.
She gestures over the shapes and they follow her fingers. She randomly arranges some of them, but their colors change, mostly to red, and the pattern resets.
TJ
Interesting.
SCOTT
I’ll leave this to the Volker and Boone.
He takes out his walkie-talkie to signal them. But it’s just static.
SCOTT
Too much interference in here. I’m go-ing to head back and communicate with them the old-fashioned way.
TJ is preoccupied with the console, trying different combinations of shapes. They keep turning red and resetting. She doesn’t an-swer him.
SCOTT
You know. Shouting.
TJ
Ok. I’ll wait here and keep working. There’s no other way in or out, so I’ll be fine.
SCOTT
Ok. I’ll be right back.
He ventures into the darkness back towards the direction they came from.
FX: DESTINY IN ORBIT
We ZOOM in on the living quarters of the ship.

INT - STONES ROOM
Camille Wray is working on the stones device. She’s frustrated, and can’t figure out why it doesn’t work. Chloe enters.
WRAY
If you’re looking to dial home, you’re out of luck. We can’t get them to work.
CHLOE
Rush thinks that once all the ship sys-tems are online it’ll work.
1WRAY
This should be the priority.
CHLOE
Finding Eli should be the priority, but I didn’t come here to talk about that. I came because I need your help.
Wray drops what she’s doing and looks up. She suddenly sees the anxiety in Chloe’s face. Compassion pours over her.
WRAY
What is it?
CHLOE
I think I’m losing my mind.
CUT TO:
INT - DESTINY - CORRIDOR - DARK
Sergeant Greer, Doctor Park and another soldier are making their way slowly, down the dark corridor. We join in their conversa-tion.
PARK
One of the nice things about being blind is that I don’t need a flashlight in corridor’s like this.
GREER
You’re not going to be blind for long. You heard TJ. The damage might be tem-porary and might heal.

PARK (SADLY)
Might and might.
GREER
Don’t give up hope. Never give up on hope. Besides you have to get better before we go home.
PARK
Why?
GREER
Because I want to show all my friends my hot girlfriend. And I don’t want them to say that she only chose me be-cause she doesn’t know what I look like!
A wave of sadness passes over her face for a moment. She then pauses a little. Smiles. And starts to laugh.
PARK
I don’t need my eyesight to know that you have that stupid grin on your face. The one you always get when you think you said something smart.
(A beat)
But I’ll do my best.
He rests his hand on her shoulder, tenderly. She feels it and smiles a little. Sometimes you don’t need words.
They reach the end of the corridor, and the other marine touches the chime while Greer goes naturally into breach position. The door yawns open.
A beat as we realize that the corridor on the far side is lit up.
GREER
What do we have here.
PARK
Ronald! Watch out!
She clumsily throws him to the wall as a LASER SHOT zips past. He hugs the wall and she takes cover behind him.
He leans out and returns fire.
He ducks back into cover and looks to make sure that she is safe. She’s nestled against the wall, in an alcove trying to look as small as possible.

She’s smart, and knows that he’s looking out for her. While not looking quite in his direction, she smiles and gives him thumbs up.
Another LASER SHOT zaps out, hitting the wall close to them. He ducks back again.
Greer looks across the corridor at the other marine. Gestures with his fingers to his eyes and down the corridor - he’s asking the other marine if he can see who or what is shooting. The ma-rine understands and answers in the negative.
He gestures for the other soldier to stay under cover, and reach-es for his radio.
GREER
Greer to Young. We’re in the fore sec-tion, taking fire. I repeat taking fire. We opened an unexplored part of the ship, and it looks like someone got here before us.
Another blast emphasizes the point.
YOUNG
I’m sending a team down. Wait for back-up.
GREER
Roger that.
Another shot. He’s pinned down.
FADE OUT:

ACT THREE
FADE IN:
EXT: DESTINY - SPACE -
As she orbits the planet below
Cut to:
INT: DESTINY - CORIDOOR
As Greer, Park and the Marine are pinned down by enemy fire. Greer puts a mirror on the tip of his rifle and uses it to peer out.
In the darkness we see some shifting shapes. We’re peering into the mirror trying to make them out. There’s a little movement and then -
ZING
As a laser takes off the mirror. With a muttered curse, Greer pulls the gun back. The tip is smoking from the laser blast, but the barrel is otherwise undamaged and the gun is in working or-der.
The radio pings.
[Note - Saunders is a new marine that will show up from time to time. He’s not a regular character]
SAUNDERS (V.O - ON THE RADIO)
Specialist Saunders here sir. We’re just outside the door.
GREER
The door is in the line of fire. Watch yourselves.
SAUNDERS
Yes sir. We’ve got a little gift for our friends.
The door opens, with Saunders and a couple other marines flanking the side of it. Laser fire erupts from further down the coridoor, going through the open door, and missing the marines. Saunders and Greer’s eyes meet, and Saunders tosses Greer something. It’s a small cylinder about the size of a soda can.
Greer catches it and looks down at it. A big grin grows across his face.
GREER
Nice!
Saunders motions and throws another couple of the devices.
Greer puts two of the devices into his pockets and pulls the fuse on the other, throwing it down the corridor towards their assail-ants.
GREER
Flash out!
There’s a BANG and a FLASH OF LIGHT where the grenade explodes. It’s designed to blind and disorient the enemy. Without thinking whether or not it can affect alien physiology (if indeed the ene-my are aliens), Greer, Saunders and the marines go to work.
They move down the corridor in pairs shooting everything they see.
SAUNDERS
Clear!
GREER
Corners clear
(a beat)
...well I’ll be damned
He walks up to the corpse of one of their enemies and prods it with his rifle. POV turns around and we see it’s one of the ‘blueberry’ aliens.
GREER
Secure this corridor. There may be more of them!
CUT TO:
INT - DESTINY - STONES ROOM
Chloe and Wray are here together. Chloe is looking out the window at the planet below.
CHLOE
It worked.
WRAY
What worked?
CHLOE
The stones. I went home. To Earth.
She chokes back a sob.

WRAY
Are you sure?
CHLOE
Yes. I’m sure. I don’t know how, but I went. But it was terrible.
WRAY
What happened?
CHLOE
They were under attack. Earth was under attack. I saw cities in flames. New York, Washington, London, Paris. They were all in flames.
WRAY
Washington?
She puts her hand to her mouth.
WRAY
(Quietly)
Sharon
Her face hardens as she looks back to Chloe
WRAY
(Ct’d)
Are you sure? The device isn’t working, and there could be some disorientation from the hibernation modules.
CHLOE
Nobody else has any disorientation.
WRAY
But you were...
(a beat)
Modified. That could have an effect.
CHLOE
It was real. I was there.
WRAY
I know you believe that but-
CHLOE
It’s not what I believe! It’s what you don’t believe. Why don’t you trust me?

WRAY
That’s not it. Calm down, Chloe. Don’t you see it would be better for you if we had some proof. When we get the de-vice working again we can-
CHLOE
(Shaking her head)
Eli would have believed me.
WRAY
It’s not a question of that. What if you’re right? What if you tell the whole ship that Earth is under attack?
(A beat)
And we can’t see for ourselves or do anything about it. What good would that do anyone?
CHLOE
I thought you’d understand.
(A beat)
I guess I was wrong.
She storms out.
INT - DESTINY - LIT CORRIDOR
Chloe has left the Stones room. She walks a few yards and then stops. Slumps against the wall, looking up at the ceiling.
CHLOE
Eli? Where are you?
(A beat)
You were always there for me and I-
(A long beat as she draws a breath, trying not to cry)
I hurt you. I’m sorry.
(Another beat)
You were always there for me.
Fade To:

EXT - DESTINY - SPACE
As she orbits the planet.
CUT TO:
INT - TOWER VESTIBULE - NIGHT
Scott reaches the group at the tower entrance.
SCOTT
It’s a dead end. There’s some kind of terminal there which might open a door-way.
JAMES
Sir, we’ve been trying to raise Desti-ny, but can’t. We think the comms are being blocked by the tower but we’re not su-
She doesn’t get to finish as a ZING of laser fire comes from the trees, hitting one of the marines and killing him instantly.
SCOTT
Fall back into the tower, go, go!
He and James lay down covering fire in the direction that the la-ser came from as the two civilians run into the cover of the tow-er vestibule. Scott and James have ducked down behind a large root, and occasionally pop up to shoot in the direction that they think the enemy is in.
Scott looks to James.
SCOTT
On three you fall back into the tower
JAMES
No sir, let me cover for you.
SCOTT
I gave you an order. One.
(a beat)
There’s silence but for the occasional distant song of a rain forest bird.
SCOTT
Two
He nods to James and she nods back.

SCOTT
Three!
He leaps up from behind the root, opening fire as he goes. He moves sideways across the entrance to the vestibule, firing all the way, a move designed to draw the enemy’s fire while James scrambles into the entranceway.
He is answered by laser fire all around him, but manages to leap to cover behind a moss covered rock. Laser fire is zinging on it, but for now he’s safe.
CUT TO:
INT - DESTINY - BRIDGE
YOUNG
Colonel Young to Lieutenant Scott. Come in.
(A beat)
Can you boost the signal?
BRODY
Negative. We’re at maximum already.
YOUNG
Damn it.
BRODY
They took the only shuttle, and there’s no Stargate on the planet. Without com-munications we’re-
YOUNG
Deaf, dumb and blind. I know. Keep try-ing them.
He’s interrupted by a radio ping.
GREER
(V.O.)
We’ve cleared the area, sir. But we had hitch hikers.
YOUNG
What?
GREER
(V.O.)

About a half dozen of those blue al-iens. You know the ones that took Chloe.
(A beat)
We killed them all.
CUT TO
INT - DESTINY - CORRIDOR
The other side of the conversation as Greer is talking with Young.
YOUNG
(V.O.)
See if you can find out anything. Like how they got aboard.
GREER
We were asleep for three years. It could have happened any time.
YOUNG
We’ve lost contact with Lieutenant Scott and the away party.
GREER
Wonder if it is something to do with these guys.
YOUNG
See what you can find out.
Greer shrugs and directs the three marines to explore further.
PARK
Do you think they got Eli?
GREER
I don’t know. But they could have killed all of us while we slept. Why didn’t they?
CUT TO:
INT - DESTINY - CONTROL INTERFACE ROOM
Rush is working with the terminal. He’s projecting models into the air above it. As he works the patterns change, but they al-ways come back to simple, concentric circles.

He looks at his notepad again, and twiddles some parameters. The ideograms light up on the screen, and the model runs.
More concentric circles. He doesn’t seem to be able to escape them.
He throws his hands up in frustration, and steps back from the terminal.
From his new point of view we can see through the projection of the circles. They float in the air semi-translucent.
He looks curious for a moment, moving his head.
We follow his POV to see what he’s looking at. We should see the circle projected in the air, with the out-of-focus background be-hind.
Move the angle again, and now but the background slowly in focus. We see a line along one of the corridor walls, which is horizon-tal, and now cutting through the projected circle as a perfect diameter.
RUSH
Pi?
EXT - PLANET SURFACE - NIGHT
Scott is still behind the rock where he had taken cover from the attack. He’s trying to use his walkie-talkie.
SCOTT
Scott to Destiny. Come in?
Static.
SCOTT
Scott to Colonel Young. Can you hear me, over?
More Static.
He peers over the edge of the rock slightly. If there’s a sniper out there...
No shots ring out. He sizes up the run to the vestibule entrance. He spots TJ and James lying prone, aiming their guns outwards from the shadows. The attackers haven’t spotted them yet either.
James nods in Scott’s direction and Scott, without hesitation, leaps up and sprints towards the vestibule entrance just as TJ and James start shooting. TJ has a pistol, James has an automat-ic, but they let it all out to save their friend.

FADE IN:
BEGIN ACT FOUR
INT - DESTINY - CORIDOOR
Greer is still peering up into the bright hold in the ceiling. The one that Park had vanished into, moments before.
Oddly enough, Park’s head appears in the hole.
PARK
You down there Ronald?
GREER
Yeah. You ok?
PARK
I’m fine. I guess it’s their version of a ladder.
(A Beat)
And tell Colonel Young I found some-thing that he’s going to love-
She breaks out into a smile. She’s beautiful when she smiles, and Ronald is relieved and softened.
INT - BUILDING VESTIBULE - ON PLANET
James, Scott and TJ work their way back to the dead end with teh terminal. Doctor Boone is working on the terminal. He’s had the same level of success as TJ. None.
SCOTT
Hurry up and get it opened. We’re trapped here.
BOONE
Don’t you think that’s what I’m trying to do?
SCOTT
Whatever you’re doing. Do it faster.
Boone looks back at Scott. Annoyed. But he understands the stakes and redoubles his efforts. TJ, James and Scott take up the best defensive positions at the bend in the corridor.
JAMES
I got two clips left.
TJ
I’m down to three shots.
SCOTT
On my last clip, but-
He has a holstered pistol. He takes it out and hands it to TJ.
SCOTT
This one’s full.
She nods and takes it.
We hear a SCRATCHING noise from further down the corridor. The direction out.
JAMES
You hear that?
SCOTT
Yeah. They’re coming.
He turns back to see if Doctor Boone has made any progress. He’s still working with the controls, and we’re still seeing a lot of red. We don’t even know if that means ‘fail’, but nothing is hap-pening.
CUT TO:
EXT - DESTINY - SPACE
As she continues to float, beautifully, in orbit.
INT - DESTINY - CHLOE’S ROOM
She’s pacing up and down. Restless. Her hands are ending in lit-tle fists held firmly at her side.
CHLOE
Eli, Eli, where are you?
She looks up to the ceiling and around the room.
CHLOE
Are you there Eli? In Destiny? Are you with her? With Ginn?
The doorway chimes. It’s Rush.
RUSH
Come with me.
CHLOE
Where are we going?

He doesn’t answer and jogs off. She has no choice but to follow.
INT - BUILDING VESTIBULE - NIGHT
Scott, James and TJ are hugging their cover. We hear more SCRATCHING sounds as their unseen enemy comes closer.
Scott peers around, and we see from his POV. Several somethings are coming down the corridor. He can’t see exactly what they are, but they’re getting closer.
He gestures back towards the civilians. He motions for them to ‘Get Down’ - Boone ignores him, continuing to work on the termi-nal.
He looks back to TJ and James. He holds up three fingers. They nod.
He does a silent count.
One. They cock their weapons and prepare to aim.
Two. They lift their weapons and aim down the sights.
Three. All three leap out and start shooting down the corridor. There are screams from the aliens as they are hit, but they re-turn fire. Scott is hit on the shoulder and he spins around, falling to the ground. But he still keeps shooting.
TJ drops her pistol and takes out the second one as she stands straight, aiming down the sights, shooting down the corridor. Every shot is a hit, before she gets hit on the leg, and goes down.
And then - BOOM! There’s a huge explosion and the entranceway starts to cave in. James drags TJ back, away from the falling de-bris. Scott crawls back.
Boone is slumped over the terminal, a huge gaping hole in his back. Dead.
More sounds coming from down the corridor. More movement.
SCOTT
Ok guys, this is it, make every shot count.
JAMES
I’m out.
SCOTT
Well you’ve got a heck of a right hook.

Добавлено (19 Марта 2014, 14:52)
---------------------------------------------
A LIGHT is shining down the passageway. It’s bouncing around mak-ing the shadows dance. As it gets closer the three soldiers steel themselves for action.
A beat.
And then the light turns to show the smiling face of Sergeant Greer
GREER
Guess who’s coming to dinner?
He sees the wounded and dead, and gets more serious.
GREER
Medic! We got wounded here!
CUT TO:
EXT: TOWER - DUSK
As we see the outside of the tower from above. Several of the small ships belonging to the blueberry aliens are landing. We FOLLOW one down as it lands.
The hatchway opens and Rush and Chloe get out.
INT: TOWER - DEAD END
Young is here. Scott is being bandaged up. He’s going to be okay, as is TJ.
YOUNG
What is this, and why did they want it so bad.
RUSH
Logical to assume it’s some kind of en-trance.
YOUNG
With a lock?
RUSH
Or a test. They want to test if we’re worthy to enter here.
(A beat)
Or at least smart enough to get in.
CHLOE
I recognize some of these symbols.

RUSH
Aye. And I recognize this one.
He drags a circle to the center of the screen. A symbol appears over it.
YOUNG
What are you doing?
Rush then drags a straight line, intersecting the circle to make a diameter. Another symbol appears.
CHLOE
Could it be that simple?
YOUNG
The circumference and the diameter
RUSH
Mathematics is the one language that crosses cultures. The symbols and sounds may change, but the result is the same. The value that we get when we divide these two was called ‘pi’ by the greeks.
(A beat)
But the people who built this weren’t Greek. But they knew mathematics.
Rush drags the symbols so that the first is above the second.
YOUNG
And they want to see if we do, too.
As he puts them in place, the display glows orange for a moment, and the symbols are replaced by a new set.
YOUNG
Chloe’s work gave you Pi. Co-incidence?
Rush is peering at the new set of characters on the display. There are no circles this time, but there are a number of spin-ning spheres.
RUSH
I don’t think so. I think someone was giving us a hint.
Rush is rubbing his chin. We hear the scratching sound of his stubble.
YOUNG

Any hints as to this puzzle?
RUSH
No, but I think it’s the same.
He drags two of the spheres into an empty area on the screen. A symbol appears above each, and a line is drawn, connecting them, with a symbol above that.
CHLOE
The mass of each object and the dis-tance between them.
RUSH
Which yields the universal gravitation-al constant, yes.
CHLOE
Gravity is determined by the product of the masses divided by the square of the distance between them.
RUSH
Right.
He drags out the calculations on the screen. It pauses for a mo-ment, and glows orange.
(A beat)
The screen then dims, and a crack, highlighted by a bright light beyond, appears in the wall at the dead end.
It opens to an entranceway, and our heroes step in.
INT - TOWER - NERVE CENTER
They enter a large, wide, room which is about three stories high, and looks to take the full width of the tower. It’s circular in shape, and the center is dark.
As our heroes walk towards the center, the light follows them, gradually illuminating everything.
They finally reach the center.

As this point the music should crescendo as we see what is at the center.
It’s a pod, of sorts, about the right size to hold a human being. Connected to it are cables that snake out towards the hidden depths of the building.
Rush approaches it and reaches up his hand to wipe the dusty glass surface.
He smiles a little as the camera turns around to see his POV.
Inside the pod, looking like he is sleeping peacefully is...
ELI
... TO BE CONTINUED ...

Добавлено (19 Марта 2014, 14:55)
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Это лишь одна серия, на самом деле они писали сценарии 8 серий, но я прочитал лишь 3. Остальные вылаживать долго, но вы можете на их официальном сайте (http://laurencemoroney.azurewebsites.net/) скачать все 8 серий сценариев. Ещё неизвестно точно, когда они выйдут на экран и выйдут ли вообще?