View source for SGU 2.04 "Pathogen" Transcript

[[Category:Universe Transcripts|204]]
[[Image:sgu204trans.jpg|thumb|170px|left|2.04 "Pathogen"]]

== Episode Guide ==
[[SGU 2.04 "Pathogen" Episode Guide]]

== Pr&eacute;cis ==
{{sgu0204precis}}

== Transcript ==

'''PREVIOUSLY ON STARGATE UNIVERSE'''

''[Excerpts of several Season One episodes, 2.01 "Intervention", 2.02 "Aftermath", and 2.03 "Awakening" are shown.]''

'''EXT&mdash;SPACE'''

[''Destiny'' moves through FTL.]

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

[Looking at his PDA, Eli is walking by and notices Chloe standing at a console.]

<blockquote>ELI<br/>
(chuckling)<br/>
Hey, what are you doing in here?</blockquote>

[Chloe looks up at him as if confused.]

<blockquote>ELI<br/>
Are you okay?</blockquote>

<blockquote>CHLOE<br/>
(hesitantly)<br/>
I don't know how I got there. The last thing I remember, I was lying down for a nap.</blockquote>

<blockquote>ELI<br/>
(unconcerned)<br/>
Sleepwalking? I used to do it all the time as a kid. My dad had to put an alarm on the front door to make&mdash;</blockquote>

[Chloe is not paying attention. Suddenly she gets up and rushes out.]

<blockquote>CHLOE<br/>
I'll see you later.</blockquote>

<blockquote>ELI<br/>
Oh&hellip;kay.</blockquote>

'''INT&mdash;''DESTINY'' MESS'''

[Eli is talking to Scott.]

<blockquote>ELI<br/>
Seriously. And it's not just this one thing. She-she's been acting a little odd for a while now. You know what I'm talking about, right? It's not just me noticing&mdash;</blockquote>

<blockquote>SCOTT<br/>
No, no, no, right. She's been acting different. She's quiet and withdrawn.</blockquote>

<blockquote>ELI<br/>
You should talk to her about it.</blockquote>

<blockquote>SCOTT<br/>
I did. I mean, I tried, yesterday.</blockquote>

<blockquote>ELI<br/>
And?</blockquote>

<blockquote>SCOTT<br/>
And nothing. She wasn't in the mood. She was too busy writing in her diary.</blockquote>

<blockquote>ELI<br/>
(surprised)<br/>
She keeps a diary?</blockquote>

<blockquote>SCOTT<br/>
Oh, it's kind of a therapy for her. There's all the stress of being on the ship.</blockquote>

<blockquote>ELI<br/>
Oh! What about that gun-shot wound on her leg!</blockquote>

[He realizes he's speaking loudly and looks around.]

<blockquote>ELI<br/>
(more quietly)<br/>
No one heals that fast. How do you explain that?</blockquote>

<blockquote>SCOTT<br/>
I can't.</blockquote>

[Young enters and approaches.]

<blockquote>YOUNG<br/>
Eli. You need to use the stones. Your mother is sick.</blockquote>

<blockquote>ELI<br/>
What? I-is she&hellip;</blockquote>

<blockquote>YOUNG<br/>
I don't know the details, just that they want you to go back soon.</blockquote>

[Eli rushes off. Scott and Young exchange a look, then Young follows Eli out.]

'''END TEASER'''

'''OPENING CREDITS'''

'''INT&mdash;''DESTINY'' BRIDGE'''

[Rush has both hands on various knobs and switches on a panel.]

<blockquote>GLORIA<br/>
You need to sleep, Nick.</blockquote>

[He rubs his face and twitches.]

<blockquote>GLORIA<br/>
Nicholas?</blockquote>

<blockquote>NICHOLAS<br/>
Yes, yes.</blockquote>

[He flips three adjacent switches.]

'''EXT&mdash;SPACE'''

[''Destiny'' drops out of FTL.]

'''INT&mdash;''DESTINY'' BRIDGE'''

[The countdown clock has started. Franklin appears.]

<blockquote>FRANKLIN<br/>
Manipulating the countdown clock is, uh, complicated, to say the least&hellip; So many variables tied into it.</blockquote>

<blockquote>RUSH<br/>
Well, that's the problem, isn't it. A myriad of systems, each as complicated as the next.</blockquote>

<blockquote>FRANKLIN<br/>
Made worse by one man trying to do the work of an entire crew.</blockquote>

<blockquote>RUSH<br/>
Well, for now, I just need to control the countdown clock. And if you are indeed the ship, why aren't you helping me?</blockquote>

<blockquote>FRANKLIN<br/>
What are you really hoping to gain?</blockquote>

<blockquote>RUSH<br/>
(incredulous)<br/>
Control of the ship is key to the mission!</blockquote>

[Franklin nods and smiles.]

<blockquote>BRODY<br/>
(over radio)<br/>
Dr. Rush, this is Brody, come in.</blockquote>

<blockquote>RUSH<br/>
(into radio)<br/>
Go ahead.</blockquote>

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

<blockquote>BRODY<br/>
(into radio)<br/>
We just dropped out of FTL.</blockquote>

'''INT&mdash;''DESTINY'' BRIDGE'''

<blockquote>RUSH<br/>
(into radio)<br/>
Yes, I'm aware of that, thank you.</blockquote>

<blockquote>BRODY<br/>
(over radio)<br/>
But again, no gates in range.</blockquote>

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

<blockquote>PARK<br/>
(into radio)<br/>
And now we're banking left, changing course again. It doesn't make sense.</blockquote>

[Brody and Park wait for Rush to respond.]

<blockquote>PARK<br/>
(into radio)<br/>
Dr. Rush?</blockquote>

'''INT&mdash;''DESTINY'' BRIDGE'''

[Rush looks around nervously.]

<blockquote>PARK<br/>
(over radio)<br/>
Dr. Rush?</blockquote>

<blockquote>RUSH<br/>
(into radio)<br/>
Look, I'm sorry, I can't get away right now.</blockquote>

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

<blockquote>PARK<br/>
(into radio, confused)<br/>
Where are you?</blockquote>

<blockquote>BRODY<br/>
(annoyed)<br/>
What are you doing?</blockquote>

<blockquote>RUSH<br/>
(over radio)<br/>
Rush out.</blockquote>

<blockquote>PARK<br/>
This is getting ridiculous.</blockquote>

<blockquote>BRODY<br/>
Getting old, is what it is.</blockquote>

'''EXT&mdash;AIR FORCE HOSPITAL ON EARTH, DAY'''

'''INT&mdash;AIR FORCE HOSPITAL CORRIDOR'''

[Dr. Brightman walks with Eli, who is in the body of Airman Tracy.]

<blockquote>BRIGHTMAN<br/>
She stopped taking her treatment. Unfortunately, her counts dropped, dipping below three hundred.</blockquote>

<blockquote>ELI/TRACY<br/>
Opening the door for pneumonia.</blockquote>

<blockquote>BRIGHTMAN<br/>
We've restarted the AVR therapy, and we're successfully treating the pneumonia. Her counts have leveled off, so physically she's on the mend. But if she stops taking her treatment again&hellip;</blockquote>

<blockquote>ELI/TRACY<br/>
Don't let her.</blockquote>

[They stop walking.]

<blockquote>BRIGHTMAN<br/>
Okay, but when she returns home&mdash;</blockquote>

<blockquote>ELI/TRACY<br/>
(insistent)<br/>
Don't release her. Keep her here.</blockquote>

<blockquote>BRIGHTMAN<br/>
We will monitor her condition closely, but what concerns me is she is still clearly suffering from depression. One of our psychiatrists has been treating her, but hasn't made much progress, which is why we sent for you.</blockquote>

[Eli gazes at the floor.]

<blockquote>BRIGHTMAN<br/>
Look, whether here or at home, she has to ''want'' to get better.</blockquote>

[Eli nods.]

<blockquote>BRIGHTMAN<br/>
There is no room for error, now. If her counts drop below two hundred&hellip;</blockquote>

<blockquote>ELI/TRACY<br/>
(sadly)<br/>
Yeah, yeah, I know. AIDS.</blockquote>

<blockquote>BRIGHTMAN<br/>
I'll be down the hall if you need me.</blockquote>

[She pats his shoulder and walks away. Eli looks into a window and sees Tracy's reflection, reminding him how different he looks.]

'''INT&mdash;AIR FORCE HOSPITAL ROOM'''

[Eli enters the hospital room and finds his mother, Maryann Wallace, lying in a bed, her eyes closed.]

<blockquote>ELI/TRACY<br/>
(nervously)<br/>
Hi.</blockquote>

[She wakes up and looks at him.]

<blockquote>ELI/TRACY<br/>
(looking at his own name patch)<br/>
I'm Airman&hellip;Tracy. I've been working with your son, Eli.</blockquote>

<blockquote>WALLACE<br/>
Is he all right?</blockquote>

<blockquote>ELI/TRACY<br/>
Yeah, he's fine. He really wanted to be here, but the military, they've got him pretty tied up.</blockquote>

[She turns her head away sadly.]

<blockquote>ELI/TRACY<br/>
He's doing great things, though. Working really hard&hellip; Anyway, he heard about you being in the hospital.</blockquote>

[She looks at him tiredly.]

<blockquote>WALLACE<br/>
Tell him I'm fine.</blockquote>

<blockquote>ELI/TRACY<br/>
No, but see, he knows you're not fine. He told me about your condition. He heard you stopped taking your meds? And he's really, really worried about you.</blockquote>

<blockquote>WALLACE<br/>
(turning away)<br/>
Not enough to be here himself.</blockquote>

[Eli looks at her, stricken.]

'''EXT&mdash;WRAY AND SHARON'S HOME ON EARTH, DAY'''

[A large SUV pulls up to the home of Wray and Sharon. Sharon sees it out the window, smiles, and comes rushing out to the front porch. She sees a female airman holding flowers, Airman Phillips.]

<blockquote>SHARON<br/>
She-ni-ma.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Yeah, it's me.</blockquote>

<blockquote>SHARON<br/>
I was just checking.</blockquote>

[Wray rushes up the steps and they embrace happily.]

'''EXT&mdash;SPACE'''

[''Destiny'' sits motionless in space.]

'''INT&mdash;SCOTT AND CHLOE'S QUARTERS'''

[Scott and Chloe lie awake in bed.]

<blockquote>SCOTT<br/>
Where are we?</blockquote>

<blockquote>CHLOE<br/>
What?</blockquote>

<blockquote>SCOTT<br/>
You and me, our relationship. I mean, if we'd met in a different situation away from the ship, would we still be together?</blockquote>

<blockquote>CHLOE<br/>
(smiling)<br/>
Of course.</blockquote>

<blockquote>SCOTT<br/>
It's just, this is all kind of new to me, you know. I've never been all that great at relationships. And, I just want to make sure that I don't mess this up. You've been kind of quiet lately, so I start wondering, thinking, god, she's&mdash;</blockquote>

<blockquote>CHLOE<br/>
(soothing)<br/>
Matt.</blockquote>

[She turns and lays her head on his chest. He appears worried.]

'''INT&mdash;WRAY AND SHARON'S HOME'''

[Sharon sits at the dining table. Wray enters from the kitchen holding two plates of food.]

<blockquote>WRAY/PHILLIPS<br/>
Ta-da! Your favorite.</blockquote>

[Finishing the wine in her glass.]

<blockquote>SHARON<br/>
I'm really missing your cooking.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Hmm, microwave's getting a lot of work, huh?</blockquote>

[Wray looks on in concern while Sharon pours herself another glass of wine.]

<blockquote>SHARON<br/>
Yeah, and take-out. Mostly take-out. You know me, I work most nights, so&hellip; Lot of pizza.</blockquote>

[She takes a sip of wine.]

<blockquote>WRAY/PHILLIPS<br/>
Everything okay?</blockquote>

<blockquote>SHARON<br/>
Of course! You're here. Everything is perfect!</blockquote>

[Wray looks at her with worry. Sharon picks up her chopsticks and takes a bite of food.]

<blockquote>SHARON<br/>
Ummm, it's really good.</blockquote>

'''INT&mdash;''DESTINY'' CORRIDOR'''

[A team of marines guards the hatch to the Lucian Alliance prisoners. James approaches and opens the hatch.]

<blockquote>JAMES<br/>
(to LA members)<br/>
Go.</blockquote>

[The LA members march out, and each one gets paired with a ''Destiny'' marine.]

'''INT&mdash;YOUNG'S QUARTERS'''

[Greer is there with Young, who is in civilian clothing.]

<blockquote>GREER<br/>
(incredulous)<br/>
You're releasing them!</blockquote>

<blockquote>YOUNG<br/>
We can't keep them locked up forever&hellip;Sergeant.</blockquote>

<blockquote>GREER<br/>
Sir, I beg to differ.</blockquote>

[Young has poured himself a drink and sits down.]

<blockquote>YOUNG<br/>
We're not doing it without strings attached. They're giving us intel. The more they give, the more they get.</blockquote>

[Greer paces agitatedly.]

<blockquote>YOUNG<br/>
The decision's made, Sergeant. I've put an escort on each Lucian Alliance member, so it's not like they're walking around free.</blockquote>

[Scott enters.]

<blockquote>SCOTT<br/>
Excuse me, Colonel. Have you seen Chloe?</blockquote>

<blockquote>YOUNG<br/>
No.</blockquote>

<blockquote>SCOTT<br/>
I've been searching everywhere for her. She's gone.</blockquote>

'''INT&mdash;''DESTINY'' MESS'''

[TJ sits alone at a table, in contemplation. James joins her.]

<blockquote>JAMES<br/>
Morning.</blockquote>

<blockquote>TJ<br/>
(looking at her watch)<br/>
Yeah, so the clock says.</blockquote>

<blockquote>JAMES<br/>
You know, apparently it's Sunday, too.</blockquote>

[They look up as Simeon and another LA member arrive with their escorts. TJ looks up in surprise.]

<blockquote>JAMES<br/>
Colonel decided to release them into the general population. We'll see how that turns out.</blockquote>

[Simeon approaches a table where Park is sitting across from Brody and Volker. He whispers something to Park, loud enough for the other two to hear. The men pound the table and leap up.]

<blockquote>BRODY<br/>
What?</blockquote>

<blockquote>VOLKER<br/>
Whoa!</blockquote>

<blockquote>TJ<br/>
(getting up)<br/>
It looks like it's off to a good start!</blockquote>

[TJ and James approach the other group, where Brody and Volker are confronting Simeon.]

<blockquote>TJ<br/>
Hey! What's going on here.</blockquote>

<blockquote>SIMEON<br/>
Just making conversation.</blockquote>

<blockquote>VOLKER<br/>
No, no&mdash;you apologize to her.</blockquote>

<blockquote>SIMEON<br/>
(sincerely confused)<br/>
Why?</blockquote>

<blockquote>VOLKER<br/>
Apologize!</blockquote>

<blockquote>TJ<br/>
All right, take it easy.</blockquote>

<blockquote>SIMEON<br/>
Think you can tell me what to do?</blockquote>

[While they have been speaking, Greer has arrived.]

<blockquote>VOLKER<br/>
(approaching him)<br/>
As a matter of fact, I do.</blockquote>

<blockquote>SIMEON<br/>
I'm not trying to&mdash;</blockquote>

[Greer grabs Simeon and slams him into the wall.]

<blockquote>SIMEON<br/>
What the hell?</blockquote>

[Greer holds up his hand as if it's a gun and points his finger at Simeon's head.]

<blockquote>GREER<br/>
You don't mess with my people.</blockquote>

<blockquote>SIMEON<br/>
I'm just talking to the woman&mdash;</blockquote>

<blockquote>GREER<br/>
Now, see, you don't talk, to anyone!</blockquote>

<blockquote>SIMEON<br/>
What, is she yours? I didn't know.</blockquote>

[Greer shoves him at his escort.]

<blockquote>GREER<br/>
Put him back in the hole&hellip;</blockquote>

<blockquote>SIMEON<br/>
Look&mdash;</blockquote>

<blockquote>GREER<br/>
Until he learns some manners.</blockquote>

<blockquote>SIMEON<br/>
I'm sorry, I'm not trying to cause any trouble.</blockquote>

<blockquote>GREER<br/>
No, listen, the more you talk, the longer you'll be locked up!</blockquote>

[He smiles and pats Simeon on the chest. The escort turns Simeon and walks him down the corridor.]

<blockquote>GREER<br/>
You're okay?</blockquote>

[Park nods.]

<blockquote>GREER<br/>
(to James)<br/>
Chloe's missing. Colonel wants us to form search teams and look for her.</blockquote>

[James nods.]

'''INT&mdash;''DESTINY'' BRIDGE'''

[As Rush watches, the countdown time reaches zero; the ship jumps to FTL.]

<blockquote>GLORIA<br/>
You work yourself to exhaustion.</blockquote>

<blockquote>RUSH<br/>
Too much work to be done.</blockquote>

<blockquote>GLORIA<br/>
Lack of sleep leads to carelessness. I needn't remind you that two lives have already been lost.</blockquote>

'''INT&mdash;PRISONER'S HOLD'''

[Simeon is in the large, dark room alone. Young enters.]

<blockquote>SIMEON<br/>
(approaching Young)<br/>
Colonel. I know. I'm sorry. My behavior. Unacceptable.</blockquote>

<blockquote>YOUNG<br/>
Yeah, it was.</blockquote>

<blockquote>SIMEON<br/>
(submissive and eager)<br/>
I know it's important to fit in. To get along with your people, and I can do this, I promise. We made a deal. We give you information, you give us freedom. And I intend to hold up my end of that deal.</blockquote>

[Young assesses him.]

<blockquote>SIMEON<br/>
You can trust me.</blockquote>

'''INT&mdash;''DESTINY'' CARGO ROOM'''

[James and her team search the room full of metal shipping boxes brought from Earth. James finds Chloe working at a small box with a screwdriver, as if trying to open it.]

<blockquote>JAMES<br/>
Chloe!</blockquote>

[Chloe doesn't seem to hear. James approaches.]

<blockquote>JAMES<br/>
Chloe!</blockquote>

[Chloe looks up in confusion.]

<blockquote>JAMES<br/>
What are you doing in here?</blockquote>

'''INT&mdash;''DESTINY'' CORRIDOR'''

[Some escorted LA members walk by as Scott enters.]

<blockquote>JAMES<br/>
(over radio)<br/>
Lt. Scott? We found her.</blockquote>

<blockquote>SCOTT<br/>
(into radio, relieved)<br/>
Copy that.</blockquote>

'''EXT&mdash;WRAY AND SHARON'S HOME ON EARTH, DAY'''

'''INT&mdash;WRAY AND SHARON'S HOME'''

[Wray/Phillips sits at the dining room table. Sharon searches the counters and drawers.]

<blockquote>WRAY/PHILLIPS<br/>
What are you looking for?</blockquote>

<blockquote>SHARON<br/>
My keys.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
(teasing)<br/>
You can't find your keys.</blockquote>

<blockquote>SHARON<br/>
No, I thought they were in my purse, but&hellip;</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Oh, ladies and gentlemen, this is a first! You know, you've never misplaced anything as long as I can remember&mdash;</blockquote>

<blockquote>SHARON<br/>
(irritated)<br/>
Are you going to help me find them, or not?</blockquote>

[Wray/Phillips is hurt. Sharon turns to her.]

<blockquote>SHARON<br/>
I'm sorry. It's just, I'm late and I can't&mdash;</blockquote>

[Suddenly remembering, she goes to the front door, opens it, and finds the keys hanging from the lock. She pulls them out and holds them up.]

<blockquote>SHARON<br/>
I was bringing the groceries in yesterday. Idiot.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
It's okay.</blockquote>

<blockquote>SHARON<br/>
No, it's not, because anyone could have walked in here and taken all of our things. They could've&mdash;</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Sharon, Sharon&hellip;</blockquote>

<blockquote>SHARON<br/>
(hiding her distress)<br/>
I'll be an hour at most, maybe two. I'll call you if anything changes.</blockquote>

[Sharon leaves.]

'''INT&mdash;AIR FORCE HOSPITAL ROOM'''

[Maryann Wallace holds rosary beads as she lies in bed. There's a knock, and Eli/Tracy enters.]

<blockquote>ELI/TRACY<br/>
Morning! You up for company?</blockquote>

<blockquote>WALLACE<br/>
(without enthusiasm)<br/>
Sure.</blockquote>

<blockquote>ELI/TRACY<br/>
You're looking better. Doctor said you'll be out of here in no time.</blockquote>

<blockquote>WALLACE<br/>
Why doesn't he call me? It's been months now, nothing. It's not like him.</blockquote>

<blockquote>ELI/TRACY<br/>
(sad, then determined, sitting in the chair next to her bed)<br/>
Okay, okay. What's your favorite movie of all time?</blockquote>

<blockquote>WALLACE<br/>
What?</blockquote>

<blockquote>ELI/TRACY<br/>
Just&mdash;go with me on this. Your favorite movie.</blockquote>

<blockquote>WALLACE<br/>
''Grease''.</blockquote>

<blockquote>ELI/TRACY<br/>
No, there's another one.</blockquote>

<blockquote>WALLACE<br/>
''The Sound of Music''?</blockquote>

<blockquote>ELI/TRACY<br/>
No, wait. Your favorite science fiction movie.</blockquote>

<blockquote>WALLACE<br/>
I'm not a fan of&mdash;</blockquote>

<blockquote>ELI/TRACY<br/>
''E.T.'', right? That's your favorite.</blockquote>

<blockquote>WALLACE<br/>
Yes. I love that movie.</blockquote>

<blockquote>ELI/TRACY<br/>
You rented it and showed it to him when he was a kid. You wondered if aliens really existed. If it's possible to fly spaceships to other planets and other solar systems.</blockquote>

<blockquote>WALLACE<br/>
(confused, irritated)<br/>
What has this go to do with&mdash;</blockquote>

<blockquote>ELI/TRACY<br/>
It is. Possible. Not just other solar systems. Other galaxies. You see, the Government. They have this program. The Stargate Program. And what a Stargate is, it's like a doorway. It allows you to step through and travel great distances through space, halfway across the universe in some cases.</blockquote>

<blockquote>WALLACE<br/>
(bewildered)<br/>
Why are you telling me this?</blockquote>

<blockquote>ELI/TRACY<br/>
Because I am Eli! I'm on a ship far, far away, but my consciousness is in this person's body. It really is me. Mom, I am your son.</blockquote>

[She looks at him in disbelief and fear.]

'''INT&mdash;''DESTINY'' INFIRMARY'''

[TJ examines Chloe while Scott and Young look on.]

<blockquote>TJ<br/>
You have no memory of going into the storage room?</blockquote>

<blockquote>CHLOE<br/>
No. I fell asleep in my quarters. Next thing I know, I'm talking to Lt. James.</blockquote>

<blockquote>SCOTT<br/>
Now, this isn't the first time this has happened, is it?</blockquote>

<blockquote>CHLOE<br/>
It's like I&hellip;black out from time to time.</blockquote>

<blockquote>SCOTT<br/>
(to Young)<br/>
Those aliens used the communications stones to take control of Lt. James.</blockquote>

<blockquote>YOUNG<br/>
Because we forgot to reset them. I was just in the communications lab. The stones are clean.</blockquote>

<blockquote>TJ<br/>
Listen, there doesn't seem to be anything physically wrong with you that I can find. I'd need an EEG or a CAT scan to be more thorough.<br/>
(to Young and Scott)<br/>
I would like to keep her overnight, though, for observation.</blockquote>

<blockquote>YOUNG<br/>
That's a good idea.</blockquote>

[Young leaves.]

'''INT&mdash;AIR FORCE HOSPITAL ROOM'''

[Eli is still explaining things to his mother, walking around the room as he speaks.]

<blockquote>ELI/TRACY<br/>
And once the stone is in place, and the device is turned on, you actually swap consciousness with the person on the other end. You go into their body, and then they go into yours. And, and&hellip;</blockquote>

[Wallace looks at him as if he is insane.]

<blockquote>ELI/TRACY<br/>
(distraught)<br/>
You don't believe me.</blockquote>

<blockquote>WALLACE<br/>
I don't understand.</blockquote>

<blockquote>ELI/TRACY<br/>
I know, I know, it's weird.</blockquote>

<blockquote>WALLACE<br/>
Where is Eli?</blockquote>

<blockquote>ELI/TRACY<br/>
He's on a ship, the ''Destiny'', on the other side of the universe!</blockquote>

<blockquote>WALLACE<br/>
When is he coming home?</blockquote>

<blockquote>ELI/TRACY<br/>
I don't know! It's a long, long way. Billions of light years from Earth.</blockquote>

<blockquote>WALLACE<br/>
(raising her voice)<br/>
How did he get there?</blockquote>

<blockquote>ELI/TRACY<br/>
(frustrated)<br/>
The Stargate, Mom! Okay, okay, Mom&mdash;</blockquote>

<blockquote>WALLACE<br/>
Stop calling me that. You are not my son!</blockquote>

[She looks away from him.]

<blockquote>ELI/TRACY<br/>
(subdued)<br/>
The day Dad left, I was fourteen. I ran up to my room, crying.</blockquote>

[She is looking at him again, assessing him.]

<blockquote>ELI/TRACY<br/>
You came up, told me that I needed to be strong for you. You said I needed to be the man he wasn't. Remember? How can I know that if I wasn't Eli?</blockquote>

<blockquote>WALLACE<br/>
He could've told you!</blockquote>

<blockquote>ELI/TRACY<br/>
How could he possibly have told me every little thing about&mdash;</blockquote>

<blockquote>WALLACE<br/>
Leave me alone!</blockquote>

<blockquote>ELI/TRACY<br/>
Please, Mom, it really is me! I&mdash;</blockquote>

<blockquote>WALLACE<br/>
Nurse! Nurse!</blockquote>

<blockquote>ELI/TRACY<br/>
I know it's a lot to take in, Mom, please&mdash;</blockquote>

<blockquote>WALLACE<br/>
Nurse!<br/>
(to Eli)<br/>
Please leave.</blockquote>

[Eli stops talking, defeated.]

'''INT&mdash;SCOTT AND CHLOE'S QUARTERS'''

[Scott has Chloe's book bag on the table. He opens it, pulls out her diary and starts to look through it. The first few pages are written in English, and there is a picture of Chloe's dad. From that point on, the pages are covered in Ancient-like writing. He turns the pages in shock.]

'''INT&mdash;''DESTINY'' ROOM'''

[Rush, TJ, and Young have joined Scott in looking at the diary.]

<blockquote>TJ<br/>
What is it? Ancient?</blockquote>

<blockquote>RUSH<br/>
Some of it.</blockquote>

<blockquote>SCOTT<br/>
Those symbols, they looked familiar to me, and then I remembered where I saw them.</blockquote>

<blockquote>RUSH<br/>
In the crashed alien ship. Some of this I understand, but most of it's too far advanced.</blockquote>

<blockquote>SCOTT<br/>
They must have done something to her, implanted something in her brain.</blockquote>

<blockquote>YOUNG<br/>
(to Rush)<br/>
You said she didn't have any tracking devices in her.</blockquote>

<blockquote>RUSH<br/>
No, she didn't, not I was aware of. There may be something happening to Chloe on a cellular level. Some kind of genetic manipulation gradually changing her.</blockquote>

<blockquote>TJ<br/>
Into what?</blockquote>

<blockquote>SCOTT<br/>
You think she's changing into one of them?</blockquote>

<blockquote>YOUNG<br/>
I want her quarantined.</blockquote>

<blockquote>TJ<br/>
Wait, we don't know for sure if that's what's going on here.</blockquote>

<blockquote>SCOTT<br/>
You cannot just lock her up!</blockquote>

<blockquote>YOUNG<br/>
Until we know what's wrong with her, I can't risk letting her walk around free on the ship, can I?</blockquote>

<blockquote>RUSH<br/>
I think the risk may be worth it. If we can monitor her behavior, the frequency of her black-outs. Where she goes, what she does. We might gain more insight into what's actually happening. Certainly quicker than isolating her in her room.</blockquote>

<blockquote>YOUNG<br/>
She's not to be left alone. Ever.</blockquote>

<blockquote>SCOTT<br/>
Yes, sir.</blockquote>

'''EXT&mdash;AIR FORCE HOSPITAL ON EARTH, DAY'''

[Eli/Tracy sits at a picnic table outside the hospital. Wray/Phillips approaches him.]

<blockquote>WRAY/PHILLIPS<br/>
Hey.</blockquote>

<blockquote>ELI/TRACY<br/>
(upset)<br/>
Thanks for coming. I didn't have anyone else I could call.</blockquote>

[She sits down across from him.]

<blockquote>WRAY/PHILLIPS<br/>
How-how's your mom doing?</blockquote>

<blockquote>ELI/TRACY<br/>
Physically, fine. Her pneumonia's healing, her T-cell counts are stable now that they've re-started her therapy, but she's&hellip; I was always worried she might give up if something happened to me, and now she's ki&mdash;</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Nothing's happened to you.</blockquote>

<blockquote>ELI/TRACY<br/>
She doesn't even know it's me. I tried to tell her, but as far as she's concerned, the military took her son away, won't even tell her where he is, or won't let him talk to her&hellip; I would give up, too.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Eli, no one is giving up. And whether she believes you or not, she has to take her meds. And you need to make her understand that.</blockquote>

[Eli/Tracy sighs deeply.]

'''INT&mdash;''DESTINY'' CORRIDOR'''

[Chloe and Scott walk.]

<blockquote>CHLOE<br/>
I can't go near the control interface room, or use the stones to visit my mom.</blockquote>

<blockquote>SCOTT<br/>
It's only temporary, just until we figure out what's going on.</blockquote>

[Rush approaches them from behind.]

<blockquote>RUSH<br/>
Lieutenant? Time for a shift change. I'll take over from here.</blockquote>

<blockquote>SCOTT<br/>
Oh, it's okay, I don't mind.</blockquote>

<blockquote>RUSH<br/>
Colonel's orders, I'm afraid.<br/>
(at Scott's reluctance)<br/>
I promise I won't let her out of my sight.</blockquote>

<blockquote>CHLOE<br/>
(to Scott)<br/>
It's all right.</blockquote>

<blockquote>SCOTT<br/>
Okay. I'll check in on you later.</blockquote>

[Scott leaves.]

<blockquote>RUSH<br/>
Come with me.</blockquote>

'''INT&mdash;RUSH'S SCIENCE CORRIDOR'''

[Rush takes Chloe to a remote, long corridor in which the dark walls are covered with equations written in white chalk. There are bits of paper taped to the walls as well.]

<blockquote>CHLOE<br/>
What is this?</blockquote>

<blockquote>RUSH<br/>
A place for study. Problems to solve.</blockquote>

[He closes the hatch behind them.]

<blockquote>RUSH<br/>
Does any of this look familiar to you? Take your time. Look closely.</blockquote>

[Chloe approaches a section of the wall with equations involving trigonometry and integral calculus. Rush hands her a piece of chalk. She immediately adds a new equation to the wall. She gives the chalk back to Rush, who looks at her in amazement.]

'''INT&mdash;VARRO'S QUARTERS ON ''DESTINY'''''

[Varro hears a knock, opens his hatch and finds TJ standing there. He smiles.]

<blockquote>TJ<br/>
Settling in?</blockquote>

<blockquote>VARRO<br/>
Yes. Nice quarters. Come in.</blockquote>

[She enters. The hatch stays open, guarded by two soldiers.]

<blockquote>TJ<br/>
The Ancients probably figured they'd be here a while. Might as well give themselves some measure of comfort.</blockquote>

<blockquote>VARRO<br/>
(glancing at guards)<br/>
How long will they be tagging along with us?</blockquote>

<blockquote>TJ<br/>
As long as you give them reason to. One of your men, Simeon&hellip;</blockquote>

<blockquote>VARRO<br/>
Yes, I know. I heard, and I'm sorry. He's not the most diplomatic person in our group. The culture on his home-world was rougher than most.</blockquote>

<blockquote>TJ<br/>
Colonel Young has decided to release him, but if he slips up again&mdash;</blockquote>

<blockquote>VARRO<br/>
I'll talk to him. We're trying to make this work.</blockquote>

<blockquote>TJ<br/>
He needs to try harder.</blockquote>

[Varro nods. TJ leaves.]

'''INT&mdash;''DESTINY'' GATE ROOM'''

[Scott enters.]

<blockquote>CHLOE<br/>
Hey.</blockquote>

[Scott looks up and sees Chloe and Rush on the balcony above the gate room.]

<blockquote>SCOTT<br/>
Ah, there you are! I've been looking all over for you. You didn't answer your radio. So, I thought&mdash;</blockquote>

<blockquote>RUSH<br/>
Sorry. Lost track of time. She's all yours.</blockquote>

[Rush leaves.]

<blockquote>SCOTT<br/>
You okay?</blockquote>

<blockquote>CHLOE<br/>
Yeah, fine.</blockquote>

<blockquote>SCOTT<br/>
What were you doing?</blockquote>

<blockquote>CHLOE<br/>
He, uh, wanted me to look at some equations; see if I understood them.</blockquote>

<blockquote>SCOTT<br/>
Did you?</blockquote>

<blockquote>CHLOE<br/>
(worried)<br/>
I don't know.</blockquote>

'''INT&mdash;WRAY AND SHARON'S HOME'''

[Sharon waits in the kitchen as Wray/Phillips arrives.]

<blockquote>WRAY/PHILLIPS<br/>
Hey, sorry I'm late.</blockquote>

[She kisses Sharon on the cheek. Sharon appears upset.]

<blockquote>WRAY/PHILLIPS<br/>
It's just Eli, you know. When he gets to talking&hellip;</blockquote>

<blockquote>SHARON<br/>
How's his mother?</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
Oh, doing okay physically. It's just emotionally, this is all starting to take its toll.</blockquote>

[Wray/Phillips realizes the meaning of what she's said. They stand in awkward silence. Sharon holds a glass of wine.]

<blockquote>WRAY/PHILLIPS<br/>
You okay?</blockquote>

<blockquote>SHARON<br/>
Your dinner is in the oven.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
(surprised)<br/>
You cooked?</blockquote>

<blockquote>SHARON<br/>
Hmm. An attempt.</blockquote>

[Wray/Phillips laughs and takes the plate from the oven.]

<blockquote>WRAY/PHILLIPS<br/>
Looks good!</blockquote>

<blockquote>SHARON<br/>
Famous last words.</blockquote>

[Wray/Phillips takes a bite of food.]

<blockquote>WRAY/PHILLIPS<br/>
So, uh, how was your day?</blockquote>

<blockquote>SHARON<br/>
(sipping wine)<br/>
Long, exhausting, the usual.</blockquote>

[She goes to pour more but sees the wine bottle is empty.]

<blockquote>SHARON<br/>
I'll get another.</blockquote>

[She walks out of the kitchen. Wray/Phillips appears concerned.]

'''INT&mdash;SIMEON'S QUARTERS ON ''DESTINY'''''

[Varro arrives just as Simeon is leaving with his escort.]

<blockquote>VARRO<br/>
(to guards)<br/>
Give us a minute.<br/>
(to Simeon)<br/>
Back inside.</blockquote>

[They go in and shut the hatch, leaving them alone in the room.]

<blockquote>VARRO<br/>
(angry)<br/>
I won't let you ruin this for us.</blockquote>

<blockquote>SIMEON<br/>
I was just talking to the woman.</blockquote>

<blockquote>VARRO<br/>
You want to get us all locked up for good?</blockquote>

<blockquote>SIMEON<br/>
What difference does it make? Sooner or later, they're going to realize the information we've been feeding them is just a bunch of lies, anyway.</blockquote>

<blockquote>VARRO<br/>
Information you've been feeding them?</blockquote>

<blockquote>SIMEON<br/>
What are you talking about? I-I thought we were all giving them the same misinformation.</blockquote>

<blockquote>VARRO<br/>
We're cooperating with them &mdash; all of us. We have to find a way to get along with these people.</blockquote>

[He starts to leave.]

<blockquote>SIMEON<br/>
You want me to play the game, I'll play it, but I'm not taking down the Lucian Alliance.</blockquote>

<blockquote>VARRO<br/>
Don't play any game.</blockquote>

<blockquote>SIMEON<br/>
I'm not taking them down.</blockquote>

<blockquote>VARRO<br/>
(furious)<br/>
Don't play any game at all! Just keep your mouth shut.</blockquote>

[Varro leaves.]

'''EXT&mdash;SPACE'''

[''Destiny'' drops out of FTL near a planetary system.]

'''INT&mdash;''DESTINY'' BRIDGE'''

[The countdown clock starts.]

<blockquote>RUSH<br/>
(seeing the clock)<br/>
Dammit!</blockquote>

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

[Brody and Park are working.]

<blockquote>BRODY<br/>
(frustrated)<br/>
Again with this? No gates.</blockquote>

<blockquote>PARK<br/>
Altered course.</blockquote>

<blockquote>BRODY<br/>
Bet you a day's rations he doesn't answer.</blockquote>

[Brody sighs heavily but picks up his radio.]

<blockquote>BRODY<br/>
(into radio)<br/>
Doctor Rush, this is Brody, come in? Doctor Rush, please respond.<br/>
(to Park)<br/>
You owe me.</blockquote>

<blockquote>PARK<br/>
I never agreed to that!</blockquote>

'''INT&mdash;''DESTINY'' CONTROL ROOM'''

[Young has joined Park and Brody.]

<blockquote>BRODY<br/>
I don't think it's because of pulsar damage. There would be a pattern to the jump intervals, however frequent they are.</blockquote>

<blockquote>PARK<br/>
There's also the changes in the ship's course once we drop out of FTL.</blockquote>

<blockquote>BRODY<br/>
It also seems too coincidental that every time this happens, we can't seem to get a hold of Rush.</blockquote>

<blockquote>YOUNG<br/>
He's doing this. How?</blockquote>

<blockquote>BRODY<br/>
Outside of cracking the master code, I don't know.</blockquote>

<blockquote>YOUNG<br/>
Figure it out.</blockquote>

[He starts to leave.]

<blockquote>BRODY<br/>
Yeah, we could really use Eli for that.</blockquote>

<blockquote>YOUNG<br/>
(turning back)<br/>
Eli's not here right now.</blockquote>

<blockquote>BRODY<br/>
Well, you can get him back.</blockquote>

<blockquote>YOUNG<br/>
(insistent)<br/>
He needs to be where he is right now, so I need you to figure it out.</blockquote>

[Rush enters.]

<blockquote>YOUNG<br/>
Why is your radio off?</blockquote>

<blockquote>RUSH<br/>
Sorry, I was in my quarters, sleeping.</blockquote>

<blockquote>YOUNG<br/>
Wrong. You didn't answer my call. I sent Cpl. Barnes to your quarters. Where were you?</blockquote>

<blockquote>RUSH<br/>
(ignoring him)<br/>
Okay, so, uh, so what's happening? What's wrong?</blockquote>

<blockquote>BRODY<br/>
Just trying to figure out what's going on with ''Destiny''.</blockquote>

<blockquote>YOUNG<br/>
(to Rush)<br/>
Where the hell were you?</blockquote>

'''INT&mdash;RUSH'S SCIENCE CORRIDOR'''

[Rush shows Park, Brody, and Young inside.]

<blockquote>YOUNG<br/>
What's this?</blockquote>

<blockquote>RUSH<br/>
I come here to think.</blockquote>

<blockquote>BRODY<br/>
And write on the walls?</blockquote>

<blockquote>RUSH<br/>
Working on problems that have confused us since we set foot on this ship, Mr. Brody.<br/>
(pointing at equation Chloe added)<br/>
This one has been particularly frustrating. And yet Chloe &mdash; she solved it in a minute flat. Whatever alien influence she's under, it's studying this ship.</blockquote>

<blockquote>YOUNG<br/>
So you think she's hijacked the ship's systems during one of her blackouts?</blockquote>

<blockquote>RUSH<br/>
Something she could have set in motion days, perhaps even weeks, ago.</blockquote>

'''INT&mdash;SCOTT AND CHLOE'S QUARTERS'''

[Scott sits awake while Chloe sleeps. He hears knocking at the door that awakens Chloe as well. He opens the hatch to find Greer and three marines waiting. Greer looks at Chloe.]

'''EXT&mdash;SPACE'''

[''Destiny'' moves through normal space.]

'''INT&mdash;''DESTINY'' CORRIDOR'''

[Simeon and his escort meet Greer and another marine.]

<blockquote>GREER<br/>
Uh, this section's off limits.</blockquote>

<blockquote>SIMEON<br/>
It wasn't earlier.</blockquote>

<blockquote>GREER<br/>
It is now.</blockquote>

<blockquote>SIMEON<br/>
Why?</blockquote>

<blockquote>GREER<br/>
Back to your quarters.</blockquote>

<blockquote>SIMEON<br/>
You're going to keep doing this, aren't you. Pushing me. Getting me to do something so you can lock me back up?</blockquote>

<blockquote>GREER<br/>
(slowly and emphatically)<br/>
Back to your quarters.</blockquote>

<blockquote>SIMEON<br/>
Oh, you're talking tough. You're armed. You've got your men here, covering you.</blockquote>

<blockquote>GREER<br/>
(laughing)<br/>
That's true.</blockquote>

[Greer removes his sidearm and hands it to the marine with him.]

<blockquote>GREER<br/>
(to both marines)<br/>
Dismissed.</blockquote>

[They leave. Greer gets in Simeon's face.]

<blockquote>GREER<br/>
You were saying?</blockquote>

[Simeon smiles, then backs away and leaves.]

'''INT&mdash;HOLDING ROOM ON ''DESTINY'''''

[Chloe sits alone on a bench along the side of the room. The hatch opens, and Scott enters carrying a tray with food and drink.]

<blockquote>SCOTT<br/>
You okay?</blockquote>

[Chloe nods faintly. Scott sets the tray on bench, then sits down next to her.]

<blockquote>SCOTT<br/>
Uh, just let me know, and we'll get you whatever you need. The Colonel's just doing this as a precaution.</blockquote>

<blockquote>CHLOE<br/>
What do they think is happening to me?</blockquote>

<blockquote>SCOTT<br/>
They don't know yet.</blockquote>

<blockquote>CHLOE<br/>
I feel like I'm slipping away&hellip;bit by bit.</blockquote>

<blockquote>SCOTT<br/>
No. No, we're going to figure this out. We're going to fix it, I promise.</blockquote>

'''INT&mdash;WRAY AND SHARON'S HOME'''

[It is night. Sharon stands at a window.]

<blockquote>WRAY/PHILLIPS<br/>
You can't sleep?</blockquote>

<blockquote>SHARON<br/>
I look at you, and I know it's you, but still&hellip; I miss ''your'' face. ''Your'' voice.</blockquote>

<blockquote>WRAY/PHILLIPS<br/>
This is hard. Probably worse on you than it is for me.</blockquote>

[They turn to face each other.]

<blockquote>WRAY/PHILLIPS<br/>
This situation &mdash; it's so easy to lose hope. I've seen it in others. But-but what keeps me sane are these few moments we're together. Being able to come home and see you and hold you.</blockquote>

[Sharon starts crying. Wray/Phillips touches her face.]

<blockquote>WRAY<br/>
Even if it's just for a day or a minute, it's-it's what's keeping me going.</blockquote>

[Sharon nods, and they embrace tearfully.]

<blockquote>SHARON<br/>
I'll be okay.</blockquote>

<blockquote>WRAY<br/>
I know.</blockquote>

<blockquote>SHARON<br/>
I love you.</blockquote>

<blockquote>WRAY<br/>
I know.</blockquote>

<blockquote>SHARON<br/>
I'll be okay.</blockquote>

[Wray/Phillips kisses and hugs Sharon.]

'''INT&mdash;''DESTINY'' KINO ROOM'''

[Young and TJ watch video playback of Chloe in her holding cell.]

<blockquote>TJ<br/>
It's coming up now. There.</blockquote>

[The video shows Chloe waking up and turning to sit on the bench, then not moving.]

<blockquote>YOUNG<br/>
And she just sits there the whole time?</blockquote>

<blockquote>TJ<br/>
Yes. In an earlier one, she wrote in the diary, but mostly she just sits or lays still, staring at the walls. I still can't detect any physical changes, and without proper equipment I don't really know what else I could do. Colonel, I know you're just doing this to keep her away from others, but quarantine is not a long-term solution.</blockquote>

<blockquote>YOUNG<br/>
I know.</blockquote>

'''INT&mdash;AIR FORCE HOSPITAL ROOM'''

[Maryann Wallace is sleeping. She wakes up to see Eli/Tracy watching her.]

<blockquote>WALLACE<br/>
Nurse!</blockquote>

<blockquote>ELI/TRACY<br/>
Wait, no, please, just-just listen, and then I'll leave. I promise. Whether you believe me or not, the fact is, I'm worried. Eli's worried. I can't leave you here like this.</blockquote>

<blockquote>WALLACE<br/>
He was all that I had. The reason I got up in the morning. I never realized it fully until he was gone. Just tell me: will I ever see him again?</blockquote>

<blockquote>ELI/TRACY<br/>
(tearfully)<br/>
I don't know.</blockquote>

[Wallace lies back on her pillow, saddened.]

'''INT&mdash;AIR FORCE HOSPITAL CORRIDOR'''

[Distraught, Eli/Tracy walks the corridors and speaks into a cell phone.]

<blockquote>ELI/TRACY<br/>
(into phone)<br/>
I can't leave her like this. I can't go back to that ship. If I leave her, she's going&mdash;</blockquote>

'''INT&mdash;WRAY AND SHARON'S HOME'''

<blockquote>WRAY/PHILLIPS<br/>
(into phone)<br/>
Eli, Eli, listen to me. Whatever happens, you will get through this.</blockquote>

'''INT&mdash;AIR FORCE HOSPITAL CORRIDOR'''

<blockquote>ELI/TRACY<br/>
(into phone)<br/>
Maybe-maybe you could talk to her. Someone else from the Stargate Program. Maybe then, she'll believe me.</blockquote>

'''INT&mdash;WRAY AND SHARON'S HOME'''

<blockquote>WRAY/PHILLIPS<br/>
(into phone)<br/>
I've got a better idea. I-I'll call you right back.</blockquote>

'''INT&mdash;AIR FORCE HOSPITAL CORRIDOR'''

[Eli sits tiredly onto a chair.]

'''INT&mdash;WRAY AND SHARON'S HOME'''

[Wray/Phillips is speaking on the phone.]

<blockquote>WRAY/PHILLIPS<br/>
I know it's beyond her clearance. You're just going to have to make an exception. He unlocked the ninth chevron. He's quite possibly the most important person on that crew. We need him to be emotionally healthy, focussed. You know what? I'm not asking you; I'm telling you. Make this happen.</blockquote>

[She hangs up.]

'''INT&mdash;''DESTINY'' STONES ROOM'''

[Maryann Wallace uses the stones to exchange bodies with Park. She sees Park's reflection in a mirror and is stunned. She touches herself on the face while watching in the mirror.]

<blockquote>YOUNG<br/>
Mrs. Wallace, welcome to the ''Destiny''.</blockquote>

[Young looks at Eli and leaves. She follows his gaze and sees Eli.]

<blockquote>ELI<br/>
Hi, Mom.</blockquote>

[She gasps in amazement.]

<blockquote>ELI<br/>
Yeah, I'm real!</blockquote>

<blockquote>WALLACE<br/>
(joyfully)<br/>
Oh, Eli. Eli!</blockquote>

[She hugs him, crying happily. They break apart.]

<blockquote>ELI<br/>
Come here. I want to show you something.</blockquote>

[He leads her away by the hand.]

'''INT&mdash;''DESTINY'' CORRIDOR OUTSIDE OBSERVATION DECK'''

<blockquote>ELI<br/>
The other side of the universe, Mom.</blockquote>

[She sees the view out the observation deck.]

<blockquote>ELI<br/>
Pretty cool, isn't it?</blockquote>

'''INT&mdash;OBSERVATION DECK'''

[He walks to the balcony. She slowly approaches him.]

<blockquote>ELI<br/>
Yeah, I know. I was speechless at first, too. If you can believe that. It's an amazing ship. We're still trying to figure it out.</blockquote>

[He looks at her.]

<blockquote>ELI<br/>
See if there's some way we can get back home. I'll never stop trying, I promise.</blockquote>

[She holds her hand out, and he takes it.]

<blockquote>ELI<br/>
We're going to be okay, Mom, you ''and'' me.</blockquote>

<blockquote>WALLACE/PARK<br/>
I'm so proud of you.</blockquote>

[She hugs him.]

'''INT&mdash;''DESTINY'' MESS'''

[Eli, Scott and Young sit together.]

<blockquote>SCOTT<br/>
It blew her mind, didn't it.</blockquote>

<blockquote>ELI<br/>
(laughing)<br/>
Oh yeah. She's leaving the hospital tomorrow.<br/>
(to Young)<br/>
Thanks for letting her come here. And don't worry &mdash; she knows it's a one-time thing. She won't be asking to come by every week.</blockquote>

[Young smiles.]

<blockquote>ELI<br/>
Anyway, I owe you one.</blockquote>

<blockquote>YOUNG<br/>
You owe Wray. She's the one who made it happen.</blockquote>

<blockquote>RUSH<br/>
(over radio)<br/>
Colonel Young, come in.</blockquote>

<blockquote>YOUNG<br/>
(into radio)<br/>
Yeah, go ahead.</blockquote>

<blockquote>RUSH<br/>
(over radio)<br/>
I think I have a solution to Chloe's condition.</blockquote>

<blockquote>YOUNG<br/>
(into radio)<br/>
Well, let's hear it.</blockquote>

'''INT&mdash;RUSH'S SCIENCE CORRIDOR'''

[Rush is sitting on the floor.]

<blockquote>RUSH<br/>
(into radio)<br/>
The neural interface.</blockquote>

'''INT&mdash;''DESTINY'' MESS'''

<blockquote>YOUNG<br/>
(into radio)<br/>
The chair.</blockquote>

'''INT&mdash;RUSH'S SCIENCE CORRIDOR'''

<blockquote>RUSH<br/>
(into radio)<br/>
I believe it can cure her.</blockquote>

'''EXT&mdash;SPACE'''

[''Destiny'' moves through FTL.]

'''INT&mdash;YOUNG'S QUARTERS'''

[Young, Rush, TJ, Eli, and Scott are there.]

<blockquote>RUSH<br/>
Look, it's relatively simple. From what I've learned so far, I believe the chair will not allow any non-human to interface with it. There's safeguards built in that would destroy any alien life-form that tries to use it.</blockquote>

<blockquote>TJ<br/>
So the chair kills off any potential alien matter inside her, while leaving her human side unaffected?</blockquote>

<blockquote>RUSH<br/>
Exactly.</blockquote>

<blockquote>YOUNG<br/>
You ''believe'', meaning you're not sure.</blockquote>

<blockquote>RUSH<br/>
Well, no. I can't be absolutely certain.</blockquote>

<blockquote>SCOTT<br/>
Ah, it's too dangerous.</blockquote>

<blockquote>RUSH<br/>
Look, I've made improvements to the program I developed when I used the chair. They should prevent her from being harmed. I'm now able to sever the connection externally at any time. She shouldn't have to sit in it for very long &mdash; a few seconds at most.</blockquote>

<blockquote>ELI<br/>
If you can't be a hundred percent sure, I don't think we should&mdash;</blockquote>

<blockquote>RUSH<br/>
It's the best option anyone's come up with.</blockquote>

<blockquote>TJ<br/>
The ''only'' option.</blockquote>

<blockquote>SCOTT<br/>
Colonel, you can't force her to do this.</blockquote>

<blockquote>YOUNG<br/>
Well, then, I'll ask her.</blockquote>

'''INT&mdash;''DESTINY'' CHAIR ROOM'''

[Rush, Young, Brody, and Eli are there. Scott escorts Chloe in.]

<blockquote>SCOTT<br/>
You sure you're okay with this?</blockquote>

<blockquote>CHLOE<br/>
Yes, I'm fine.</blockquote>

<blockquote>RUSH<br/>
It's all right. The chair won't activate until I input the proper command.</blockquote>

[Chloe nods and sits in the chair, Scott helping her get situated.]

<blockquote>RUSH<br/>
We're ready.</blockquote>

<blockquote>YOUNG<br/>
Okay.</blockquote>

[Chloe nods that she's ready.]

<blockquote>YOUNG<br/>
Go ahead.</blockquote>

[Rush inputs the command. The room darkens, and the chair extends restraints around Chloe. It places probes against her temples. The chair starts working, making high-pitched noises. Chloe's eyes roll back in her head. After just a few seconds, the chair deactivates, releasing her. She faints. Scott rushes to her, and TJ checks her vital signs.]

<blockquote>TJ<br/>
She's breathing, and her pulse is steady.</blockquote>

<blockquote>YOUNG<br/>
Did it work?</blockquote>

<blockquote>RUSH<br/>
I believe so. We'll soon find out, won't we?</blockquote>

'''INT&mdash;WRAY'S QUARTERS ON ''DESTINY'''''

[Wray is alone, lost in thought. Eli arrives.]

<blockquote>ELI<br/>
Hey.</blockquote>

<blockquote>WRAY<br/>
Hey.</blockquote>

<blockquote>ELI<br/>
I just wanted to thank you for pulling the strings to let my mom come here. I-I know it's something that a lot of people here would want.</blockquote>

<blockquote>WRAY<br/>
Does she believe you now?</blockquote>

<blockquote>ELI<br/>
Yeah! Yeah, she does. They're discharging her from the hospital today.</blockquote>

<blockquote>WRAY<br/>
(trying to smile)<br/>
Oh.</blockquote>

<blockquote>ELI<br/>
Anyway, it was great having you there to talk to. Someone who gets what we're going through.</blockquote>

'''INT&mdash;SCOTT AND CHLOE'S QUARTERS'''

[TJ and Young watch as Scott settles Chloe into bed.]

<blockquote>YOUNG<br/>
We'll keep an eye on her, twenty-four/seven.</blockquote>

[Young leaves.]

<blockquote>SCOTT<br/>
(to Chloe)<br/>
You okay?</blockquote>

<blockquote>CHLOE<br/>
Yeah.</blockquote>

<blockquote>SCOTT<br/>
Can I get you anything?</blockquote>

<blockquote>CHLOE<br/>
No, I'm good. I just want to lie down for a little bit.</blockquote>

[She does so. TJ leaves. Matt watches Chloe from a chair beside the bed.]

<blockquote>CHLOE<br/>
(smiling)<br/>
I'm fine, Matt.</blockquote>

[Scott nods.]

'''INT&mdash;AIR FORCE HOSPITAL ROOM'''

[Sharon enters the room. Maryann Wallace is packing her suitcase to leave.]

<blockquote>SHARON<br/>
Mrs. Wallace?</blockquote>

<blockquote>WALLACE<br/>
Yes.</blockquote>

<blockquote>SHARON<br/>
I'm Sharon Walker. Your son Eli suggested&mdash;</blockquote>

<blockquote>WALLACE<br/>
Oh, yes. Hello.</blockquote>

[They smile at each other.]

'''INT&mdash;SCOTT AND CHLOE'S QUARTERS'''

[The hatch opens, revealing Rush and a guard behind him. Rush enters.]

<blockquote>RUSH<br/>
We need to talk.</blockquote>

[Chloe closes the hatch.]

<blockquote>CHLOE<br/>
I'm not cured, am I?</blockquote>

<blockquote>RUSH<br/>
No.</blockquote>

'''INT&mdash;''DESTINY'' CORRIDOR'''

[Simeon and his escort walk. Greer watches them.]

'''INT&mdash;WRAY'S QUARTERS'''

[Wray is lost in thought, holding a pen and looking at a blank journal book.]

'''INT&mdash;''DESTINY'' CORRIDOR'''

[Varro walks with his escort. He gives a restrained nod to TJ as he passes her.]

'''INT&mdash;''DESTINY'' MESS'''

[The mess is crowded. Scott, Chloe, and Eli sit together. Chloe plays with her food desultorily.]

'''INT&mdash;''DESTINY'' BRIDGE'''

[Rush sits in the command chair, making notes.]

<blockquote>GLORIA<br/>
Do you really think she can help you?</blockquote>

<blockquote>RUSH<br/>
I do, yes. If she values her freedom, she'll play along without telling anyone. I need it to be this way. For now, anyway.</blockquote>

<blockquote>GLORIA<br/>
But can you trust her?</blockquote>

[Rush contemplates the questions.]

'''FADE OUT'''

'''END CREDITS'''

''Transcribed for Stargate Solutions by Michelle, October 2010.''

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--[[User:Michelle|Michelle]] 06:51, 24 October 2010 (UTC)