========================================================================== 06 - FACE TO FACE 2047 Team ========================================================================== Timeline: SeaQuest 2047 Author's E-Mail: schiller@mgl.ca (E-Mail contact) ========================================================================== seaQuest 2047 "Face to Face" Story by Rachel Brody & Victoria Morgan Hyde Script by Victoria Morgan Hyde Monday, October 7, 1996 Based on "seaQuest DSV" and "seaQuest 2032" ========================= PART 0 - TEASER =============================== TEASER OPEN ON NEWSDESK A news anchor is sitting at a typical newsroom desk. Her appearance is unremarkable, typically news-anchorish, conservative clothing, conservative hair. Could be anywhere from thirty to forty-five years old. ANCHOR President Ross continues to emphasize the validity of the Carolina Confederation's right to independence from the UEO. A recent WNN poll shows that forty percent of those surveyed feel the Carolinans should be allowed to conduct their government as they see fit. (beat) Thirty-five percent say other states or countries should be allowed to join the confederation, regardless of previous political allegiances. (beat) Half of those surveyed question continuing UEO patrols of Carolinan borders. Camera pulls back to show Secretary General Katherine Hitchock and Vince Matson watching the report in Hitchcock's office. Matson is in his late 30s, handsome and well-dressed. Hitchcock mutes the screen, which continues to show weather, sports, etc., during the conversation. MATSON (persuasively, off screen) You see? People are beginning to believe Ross's PR machine, Madame Secretary. HITCHCOCK (resisting his charm) I don't really give a damn about Ross's PR. PR and truth are very different things Mr. Matson. (beat, with a "you can't fool me" smile) As you are no doubt aware. Matson cocks an eyebrow; she's playing hardball already. MATSON No doubt. But that doesn't mean you couldn't use a little of your own. (beat) My shows pull in the highest ratings of any news show on the air. And it's because I _always_ show the true story, not the PR. (beat) If you let me ride along on _seaQuest_ for a while, I can't guarantee that I'll make UEO look good. But everyone who sees it will know they're getting the truth about what _seaQuest_ is doing out there. Hitchcock's face shows she still isn't pleased with the idea. But she _is_ willing to listen. HITCHCOCK (curious) Why _seaQuest_? Why not any one of a dozen other boats? MATSON Because _seaQuest_ is a legend. Because people still remember its history. It's known for carrying the best and the brightest the UEO has to offer. HITCHCOCK (skeptically) I thought you said this wasn't a PR campaign. Matson smiles, not bothering to argue the point. MATSON It's not. The _seaQuest_ was also the home of UEO's first defector to the Carolinan Confederation. HITCHCOCK (catching on) So... MATSON So I didn't get where I am today by not having a nose for a story. She's silent for a moment, mulling it over. She finally agrees, though she knows there's still trouble ahead over this. HITCHCOCK (shaking her head) Captain Wolenczak is _not_ going to like this. MATSON But he'd do it. If you ordered him to. HITCHCOCK (resigned) Yes, he would. She sighs, knowing Wolenczak will just have to grin and bear it. HITCHCOCK (continues, more positively) And I think you're right. I think it's time to fight some of Ross' fire with fire. CUT TO SEAQUEST SHUTTLE BAY A group of civilians is boarding _seaQuest_, with crates of equipment. Matson is with them, a handheld videocam slung over one shoulder, duffel bag over the other. Captain Lucas Wolenczak and Lieutenant Commander Jessie Matthews are there. MATTHEWS (to the visitors in general) There's lunch waiting for you in the mess. And coffee. (beat) At least, they call it coffee. I'm told it's pretty decent stuff. I wouldn't know, never touch it myself. (beat) I'll see to the stowage of your equipment. Wolenczak double-takes as he recognizes Matson, and motions to Matthews that he'll take care of _this_ guest. Wolenczak walks toward Matson, who notices him. Wolenczak stops a few feet away. WOLENCZAK (a little surprised) Vince Matson? MATSON (smiling confidently) Yes, I am. He smiles. Wolenczak returns the smile. MATSON And you must be Captain Wolenczak? Wolenczak nods. MATSON It's a pleasure to meet you. WOLENCZAK Likewise. They shake hands. WOLENCZAK (friendly) Going to do a story on the McKensi Institute? We'll have you and the scientists there by dinner time. MATSON I won't be getting off at McKensi, Captain. WOLENCZAK (puzzled) Pardon me? MATSON I'll be riding along on _seaQuest_ for the week. During Matson's line, Wolenczak's PAL beeps. TRUEMAN (over PAL) Sir, Secretary General Hitchcock would like to speak with you. Shall I put it through to your office? WOLENCZAK Go ahead, Ensign... TRUEMAN And she wants to know if Vince Matson is aboard yet. (beat, digesting the information) Sir, does she mean _the_ Vince Matson? He's _aboard_? Wolenczak makes the connection between Matson and Hitchcock. He gives Matson a cool look. WOLENCZAK (dryly) Yes, Ensign, _the_ Vince Matson. He turns off his PAL and looks at Matson. WOLENCZAK (continuing, as he puts his PAL away) I think you'd better come with me. CUT TO WOLENCZAK'S OFFICE Wolenczak sits at his desk and pushes a button. The UEO logo is replaced by Hitchcock's image. Hitchcock sees Matson, then Wolenczak's expression, and realizes she's too late. HITCHCOCK (chagrined) Well, Lucas, I see you've already met your guest. Wolenczak gives Matson a sideways glance. He's on the verge of being upset. WOLENCZAK Katie, what the hell do you think you're doing, sending a newsman on my boat? HITCHCOCK (joking, choosing to ignore his agitation) Lucas...I thought it belonged to the UEO. And, since I'm the secretary general, I guess that makes it _my_ boat, doesn't it? Matson unobtrusively shoulders his camera and begins taping. WOLENCZAK Yeah, just like the Stinger was yours just because you had rank and I was only a civilian. Or was it your female-superiority kick? (beat, more agitated) You're evading my question. HITCHCOCK (going through their "ritual") It was a Gazelle, Lucas. (beat) And he's there because Ross is sinking us in the popularity polls. It's time for us to get some of our own back. WOLENCZAK (skeptical of the whole idea) I know you've been busy, Katie, but even you must know that this guy... Wolenczak glances toward Matson and sees that Matson's taping. Wolenczak stands and begins to pace. WOLENCZAK (continuing) Dammit, Katie, I can't even talk to you without his camera in my face! How do you expect me to run my boat? I've already got Trueman asking if it's "_the_ Vince Matson"! They'll all be trying to get themselves on camera! (beat) Except maybe Morgan, who hides in her lab or in her quarters and doesn't talk to anyone. But I can't exactly do this with only one sane crewmember! Matson's interest picks up at Wolenczak's mention of specific names. It's obvious he's taking note for future reference. Hitchcock stares Wolenczak down for a moment, trying to keep her temper in check. She decides she's not going to put up with Wolenczak's arguments any longer. HITCHCOCK (firmly) You'll have to cope with it, _Captain_. I've got half a hundred politicians hounding me about how we spend our money, and I'm damned well going to show them _and_ their constituents that _seaQuest_ is necessary. So you'll put up with it. (beat) Because if you don't, and I can't keep you out there, you'll all find yourselves working on haulers! Is that _clear_? Wolenczak realizes that Hitchcock his old friend has given way to Hitchcock the politician, and that he's pushed both of them too far. He still isn't happy with the idea, but gives in. WOLENCZAK (resentfully) Yes, ma'am. HITCHCOCK (flatly) Good. Enjoy your week. Hitchcock out. The screen reverts to the usual UEO logo. WOLENCZAK (muttering) Some things just never change... He remembers Matson's presence as Matson turns off the camera. WOLENCZAK (off the camera) You're not actually going to use that, are you? MATSON (smiling) You never know. FADE TO COMMERCIAL END TEASER =========================== PART 1 ===================================== ACT ONE FADE IN TO WARDROOM A meeting of the senior staff is in progress. Matson is also present, without his camera, but with a small notebook computer. Matson is seated nearest the door. Next to him is Lieutenant Justin Riller, then Ensign Rebecca Trueman, Doctor Meridith Burke, Chief Petty Officer Sara Percell, and Wolenczak. To his other side are Ensign Anne Morgan, Lieutenant Commander Greg Callan, Ensign Tom Reede, and Matthews. Wolenczak doesn't exactly ignore Matson, but he also doesn't bother to specifically include him. WOLENCZAK Now, for our final business. We all have better things to do than sit here, so I'll make this brief. (beat) I know some of you have been waiting to hear how Jason Hunter's recent...departure...affects the chain of command. (beat) It will be no surprise to any of you that Lieutenant Commander Matthews has been promoted to XO. Murmers of "congratulations" are heard. Matthews smiles and nods her head in ackowledgement. WOLENCZAK (continuing) You've all probably been speculating on who'll move up to fill her position as second officer. There were some obvious choices, and after a lengthy discussion, it's been decided that role should go to Greg Callan. More congratulations. Reede gives Callan a "way to go" pat on the back. RILLER (aside, softly, to Trueman) It should have been me. Matson overhears him and jots some notes on his notebook computer. Trueman doesn't have time to respond, as Wolenczak speaks again. WOLENCZAK Ensign Morgan, I'm putting you in charge of showing our guests around _seaQuest_ for the next few hours until we reach McKensi. Morgan, who has been studying her SEAPOC intently, jerks her head up. MORGAN (startled) Me, Sir? WOLENCZAK (mildly annoyed) You _are_ the science officer, are you not? MORGAN (flustered, floundering for an excuse) Yes, Sir. But, I mean...Doctor Burke _has_ been here longer, and she _does_ outrank me and-- Burke shoots Morgan a dirty look. The _last_ thing _she_ wants is to show a bunch of visitors around. WOLENCZAK (exasperated) But I want _you_ to do it. That's an order. (beat) They're in the mess hall; they should be done with their lunch by now. Morgan makes no move to go. WOLENCZAK (spelling it out for her) We only have five hours, Ensign. Morgan looks as if she'd rather do anything else than this. Trueman nudges Riller beside her. Reede is suppressing a smile at Morgan's unease. MORGAN (quietly) Yes, Sir. She picks up her SEAPOC and heads for the door. WOLENCZAK (as an afterthought) Oh, and Ensign? She stops and turns to him. WOLENCZAK (continues) How much time have you logged at your bridge station since you got here? MORGAN About twenty hours, Sir. WOLENCZAK (looking incredulous) In three months?! (beat, settling down) You _are_ a part of the chain of command, Ensign. I'll expect that to change. Coordinate your schedule with Lieutenant Commander Matthews. She looks miserable, and only nods. WOLENCZAK Dismissed. She leaves, forgetting to close the door behind her. Matson steps to the doorway and watches her go. CUT TO CORRIDOR--MATSON'S P.O.V. Morgan is talking to herself as she walks away from the Wardroom. MORGAN (sarcastically, under her breath) So what if you're uncomfortable meeting new people? (beat) So what if all you ever wanted was a nice, quiet lab somewhere? (beat) You've just been promoted to tour guide, so deal with it! (beat, frustrated) What am I _doing_ here?! CUT TO WARDROOM Matson is still watching Morgan, taking in her monologue. He returns to his seat. Wolenczak is wrapping up the meeting. WOLENCZAK That should do it, then. TRUEMAN (hesitant) Sir? Haven't you forgotten something? WOLENCZAK Have I? Trueman indicates Matson. TRUEMAN (a little more confident) You haven't introduced your guest. Wolenczak has nearly forgotten Matson's presence. WOLENCZAK Guest? (beat, remembers Matson, not quite enthusiastic) Oh. Yes. (beat) Secretary General Hitchcock has given Vince Matson permission to ride along on _seaQuest_ for the week. He'll be taping for his program. (beat) Do _not_ let this affect you on duty. But you're to cooperate in any way you can. The crew, murmuring general "Yes, Sirs" and "Okays", all stand and begin to leave. Finally, Trueman, Riller, and Matson are the only ones remaining. Trueman turns to Matson and extends a hand. Matson returns her handshake, amused by her obvious admiration. TRUEMAN (excited) I'm Rebecca Trueman, the communications officer. If there's anything you need while you're here, calls home or anything, just let me know and I'll be glad to help out. MATSON Thank you, that's very kind of you. Riller is standing behind Trueman and tries to pull her toward the door. He is obviously unhappy with the attention she's showing Matson. RILLER Becca, come on. It's almost lunch time. She elbows him away. RILLER (persisting) I want to talk to you. She flashes Matson a smile and looks over her shoulder to Riller. Her expression is decidedly annoyed. TRUEMAN (sideways, to Riller) Not now, Justin! She turns back, smiling, to Matson. TRUEMAN (obviously star-struck) I think it's really exciting, you doing a story on _seaQuest_. (beat) I don't think I've even missed one of your reports; my friends back home tape them for me. (beat, trying to keep the conversation going) The one you got the Pulitzer for, on the breakup of Deon International, that was really great. RILLER (impatient) Becca, _now_! He pulls her from the room, leaving a chuckling Matson behind. CUT TO MATSON'S QUARTERS Matson is trying to access the computer. Nothing happens. He tries again. Still nothing. He whacks the side of the console. The computer beeps obligingly, and the UEO logo pops up on the screen. Matson smiles wryly. MATSON (just an observation) Looks like the UEO's flagship is in need of a little troubleshooting. CUT TO MESS HALL Reede, Riller, Percell and Trueman are eating lunch. Matson approaches, carrying his own lunch. He approaches them. MATSON May I join you? TRUEMAN (too quickly) Yes! She tries to move over, but Riller makes no move to accommodate her. TRUEMAN (impatiently, trying to stay "sweet") Scoot over, Justin. Make room! RILLER Becca! TRUEMAN (imitating him) Justin! She scoots her chair, forcing Riller to do the same. Matson pulls over a chair and sits down. TRUEMAN You won't think much of the food, Mr. Matson, but it's actually pretty good compared to my last posting. MATSON You'd be surprised at some of the things I've eaten out in the field. This is cordon bleu in comparison. (beat) And call me Vince. TRUEMAN (a little awed) Thanks...Vince. I'm Rebecca Trueman-- MATSON (cutting her off) I know. TRUEMAN (embarrassed) Oh. Yeah. She looks around, trying to think of something else to say. Her gaze falls on her friends, and she gestures to each in turn. TRUEMAN (continuing) Well, this is Justin Riller, our security chief; Tom Reede, navigation; and Sara Percell, sensor specialist and resident computer whiz. Matson smiles as he sees how hard she's trying. MATSON Thanks for filling in the blanks. And the others on the senior staff are Matthews, Callan, and Burke, right? And the science officer, Ensign Morgan. Trueman opens her mouth to speak again, but Riller beats her to it. RILLER Yep. First names are Jessie, Greg and Meridith. REEDE (cutting in) And Morgan is also known as Annie the Ice Princess. TRUEMAN (teasing) I still say you're just upset because she hasn't fallen for you, like half the women on this boat. (beat, aside to Matson) Or so he'd like to think. REEDE (not amused) She's a little old for me, don't you think? MATSON (raising an eyebrow) You must like 'em really young then. I understand she's fresh out of the Academy. RILLER (sarcastically) Fresh out and _very_ wet behind the ears. But _I_ hear she's thirty. MATSON (confused) And just now graduating? What's she been doing all this time? PERCELL You're the reporter, you tell us. There's nothing in the crew files that gives a clue. TRUEMAN And she's sure not giving anything away. (beat, explaining) Not exactly social. REEDE And the hairstyle. Reminds me of one of those "Star Trek" captains. (beat) Must be a science thing. The mess hall suddenly goes dark. A loud crash is heard from the galley. Emergency lighting comes on. REEDE (unconcerned) Here we go again. Sounds like whoever hasn't eaten yet won't be getting lunch. MATSON (genuinely unfazed) What's going on around here? Riller, Trueman, and Reede exchange glances. Trueman opens her mouth to answer, but Riller jumps in before she can fawn over Matson again. RILLER Apparently, when Commander Hunter ditched us, he wanted to be sure we wouldn't forget him too quickly. Not to be cheated, Trueman jumps in, cutting Riller short. TRUEMAN We've been finding little tricks and sabotages all over the boat ever since he left. (she nods in Percell's direction) Sara's been spending most of her time checking the computer system for viruses. PERCELL But half the time, you don't know they're there until they _do_ something. RILLER We're just waiting for something serious to happen. Right now it's only annoying. I just hope that's as bad as it gets. (beat, sighing) I'd better go see what's going on. CUT TO GALLEY Emergency lighting is on here, too. None of the appliances appear to be working. The cook and his assistants are flipping switches, with no results, as Riller enters. RILLER How bad is it? COOK Bad enough that everyone'll be eating field rations for dinner if something isn't done. RILLER Did you try the main override? COOK Yeah. Nothing. RILLER (sighs) I'll get Callan up here. COOK You do that. I don't want to be responsible for people's tempers when I serve up those little dehydrated packets tonight. Riller looks up to see Matson watching him interestedly from the doorway. CUT TO EXTERIOR _SEAQUEST_--CGI The ship cuts through the water at a leisurely pace. CUT TO BRIDGE -- A FEW HOURS LATER The regular crew are in their positions, except for Morgan. Matson is sitting at her station. Wolenczak is absent; Matthews is in the command chair. Matson picks up his camera and begins taping, while Percell explains the WSKRS view to him. PERCELL (pointing to the main viewscreen) The WSKRS are constantly gathering data from our surroundings and feeding the information to the computers. They're the eyes and ears for _seaQuest_, so to speak. The Bridge doors open; Morgan and her herd of scientists enter. Morgan stops near Riller and sets her SEAPOC on his console as the scientists gather to watch the viewscreen. MORGAN (in her best tour guide style, straight from memory) Our last stop is, of course, the nerve center for _seaQuest_. Tactical, Navigation, Security, Sensors, and Communication are all-- She breaks off as a Red Alert klaxon goes off. The next few lines are delivered more or less simultaneously. RILLER (yelling) What the hell?! MORGAN (panicked) _I_ didn't do that, did I?! MATTHEWS Shut that thing off _now_! As Riller presses buttons to turn off the noise, Morgan grabs for her SEAPOC, knocking it to the floor. MORGAN Sorry! TRUEMAN (listening to her headset) The captain wants to know what's going on. MATTHEWS (slightly hostile) Mister Riller? RILLER I don't know. It just went off spontaneously. MATTHEWS (to Trueman) Tell him it looks like another one of Hunter's...goodbye gifts. Morgan turns to leave, but trips over her SEAPOC on the floor. She loses her balance, only to be caught by Riller. She blushes, then picks up her SEAPOC. MORGAN I'm sorry! I think we'd better go now. The visitors move toward the door. Matson is still taping all the excitement. RILLER (exasperated) Stop apologizing for everything, Morgan. You need to get some balls if you're going to work on this boat. Morgan stops at the doorway, and turns to face Riller. MORGAN Begging the Lieutenant's pardon-- REEDE (aside, to Trueman) She's going to apologize again. MORGAN (continues) --but the UEO health plan doesn't cover sex change operations. General laughter. She's got him there. Trueman can't resist the line. TRUEMAN Guess that means you'll have to take that pretty pink party dress back to the store, Justin. More laughter as we... FADE TO COMMERCIAL END ACT ONE =========================== PART 2 ===================================== ACT TWO FADE IN TO _SEAQUEST_ SHUTTLE BAY The McKensi Institute scientists are preparing to board a shuttle. Their equipment crates are being loaded. Callan, Riller, Trueman, Reede, and Matson wait in a group. Matson is carrying his camera. Morgan is talking with one of the scientists. RILLER I can't say I mind toting equipment for these people, when I get a couple of hours off-ship to go with it. REEDE (with a wink, to Callan) I suppose you'll be making the most of it? Callan grins. CALLAN (slyly) You better believe it. It's been a couple of months since I've seen Kelly. I have to convince her I'm fully recovered from that little incident with the Carolinans. Matson's curiousity is piqued by the exchange. MATSON Girlfriend? The others exchange glances, as if to say, "This guy wants to know _everything_." CALLAN (rather proudly) My wife. She's on the science staff at the Institute. Matson nods his head in understanding. Reede changes the subject. REEDE Is Morgan coming ashore? Matson looks over at Morgan appraisingly, trying to figure out if she'd be of any use if she came. MATSON I can't exactly see _her_ lugging science equipment. (beat) She looks a little...fragile. Trueman, Reede, Riller and Callan exchange amused looks. MATSON (curious) What's so funny? Trueman rushes to explain to Matson. Riller, who has opened his mouth to speak, looks miffed at being cut off--again. TRUEMAN She's about as fragile as piano wire. She saved the secretary general's life in her first five minutes on board. Matson looks at Morgan again, skeptically. TRUEMAN (continues) And then never said a word about it. To anyone. REEDE (shrugging) But then, she hardly ever says a word to anyone anyway. Riller decides to settle the question directly. RILLER (calling to Morgan) Hey, Morgan! You going ashore? Across the room, Morgan looks up, startled, and turns to face the group. MORGAN (hesitant) I, um, wasn't planning to. REEDE (incredulous) You'd pass up a change of scenery?! Morgan shakes her head, not even tempted. MORGAN Sorry. I have other things to do. Morgan exits, rather hastily, as if she's afraid they'll try to talk her into it, as Riller, Reede and Trueman shake their heads. CALLAN I begin to see what you guys mean about her being cold. The scientists board the shuttle, followed by the _seaQuest_ crewmembers and Matson. CUT TO INTERIOR SHUTTLE Callan is strapping himself into the pilot seat. Reede is beside him. Behind them are Trueman and Matson, then Riller and the scientists. Trueman leans forward to talk to Reede. Matson doesn't hide the fact that he's listening. TRUEMAN I can't believe you even care whether she goes. REEDE (a little too casual) What, just because you lost the bet? Trueman cuffs him on the shoulder. TRUEMAN Hey, the two weeks are up tomorrow. (aside to Matson) He's got the most disgusting socks I've ever seen. (beat, back to Reede) We might as well give up on her _ever_ being friendly. REEDE (shaking his head) Something's gotta get through to her. TRUEMAN (exasperated) Why try? Reede thinks it over for a moment, but can't come up with a reason. REEDE I don't know. (beat) But didn't you think, for a minute there on the Bridge, when she actually talked back to Riller, that she might have a sense of humor after all? TRUEMAN Yeah. So? REEDE So I have an idea. But we'll need some stuff from the Institute. Matson raises his eyebrows at the idea of two officers scheming against another one. He pulls his notebook computer from his jacket and makes more notes. CUT TO MORGAN'S QUARTERS Morgan's quarters are very tidy. There's a Monet print of sailboats, but no other pictures of any type. The picture is the only personal touch in the room. Morgan is seated at the computer. Her Internex character, The Phantom, is on the screen. So is the baseball player, Big League. They're talking. She's relaxed and smiling. As she types, The Phantom speaks. PHANTOM (excited) ...So there I was on the Bridge, shepherding all these visitors around, and suddenly we're at Red Alert. One of the scientists went positively white, he was so frightened. And there's Vince Matson, of all people, filming the whole thing. It was all I could do not to laugh! BIG LEAGUE You've always had a weird idea of what's funny. Morgan grins and shakes her head as she types. PHANTOM And I suppose you _wouldn't_ have laughed? BIG LEAGUE (shaking his head) I never said that! CUT TO MCKENSI INSTITUTE The shuttle party disembarks. Reede, Riller and Trueman start offloading equipment. Matson, of course, is busy taping. Kelly Callan runs up to greet her husband. They kiss, quite enthusiastically. When they finally come up for air, Kelly steps back. KELLY (exuberant) I can't believe you're actually here! I even have your Christmas present ready to give you now! She reaches to kiss Greg again, but he shakes his head, then nods it in the direction of his friends, who are quite obviously enjoying the scene. She follows his glance. KELLY (sighing) Oh. Right. (beat) How long do you have? CALLAN (rejoining his group) A couple of hours. But I have to work. We have all this stuff to unload. He begins hauling boxes off the shuttle as Kelly watches, a crestfallen look on her face. Trueman looks over to Reede and Riller, jerking her head slightly in Kelly's direction and raising her eyebrows. Riller nods, and Reede and pulls Callan aside. REEDE We can handle it. Go. CALLAN But-- REEDE (insistent) Go on. We won't leave without you. Callan thinks it over for about a millisecond. CALLAN (smiling) Okay, okay. You win! The others return to work as the Callans begin to walk away, holding hands. Matson is filming the Callans, listening to their conversation until they are out of range. CALLAN So how are your folks? KELLY Mom says she thinks she's getting arthritis. And she says Dad's starting to be forgetful. (beat) I think she's joking though. They're only forty-six. They continue on. Matson stops taping, though he continues to watch them walk away. MATSON (stating the obvious) She's a GELF. TRUEMAN (blandly) Yeah, so? She suddenly gets an idea--could her favorite reporter actually be a _racist_?! TRUEMAN (continues, concerned) You don't have a problem with that, do you? Matson sees she's misunderstood him. MATSON (easily) No. I just don't think I've come across any interracial marriages involving GELFs before. Trueman puts down the box she was unloading and turns to face him, realizing her suspicion was unfounded. Then she double-takes as she realizes what he just said. TRUEMAN (incredulous) I thought you'd seen everything?! MATSON (smiling) Apparently not. As Trueman returns to her boxes, Matson once again produces his computer and begins making notes. MATSON (to himself) Vince, my boy, you've got the scoop again... CUT TO EXTERIOR _SEAQUEST_--CGI The _seaQuest_ is stationary as a shuttle enters the shuttle bay. CUT TO INTERIOR SHUTTLE BAY Callan, Reede, Riller, Trueman and Matson are leaving the shuttle. Matson hangs back a little, watching as the others give Callan a hard time. Callan's too pleased with himself to be bugged. REEDE You know, Greg, watching you grin like that could really get to be annoying. CALLAN (playing innocent) Grin? Was I grinning? TRUEMAN You know you were. CALLAN (shrugs) Sorry. Can't help it. CUT TO CORRIDOR As the group emerges from the shuttle bay. TRUEMAN So, where's that Christmas present your wife was giving you? Did you leave it behind? CALLAN (puzzled) Christmas present? RILLER She said she had an early Christmas present for you. CALLAN (making the connection) Oh. (beat) I got it. TRUEMAN And...? CALLAN (grinning) It was very nice. The others look at Callan for a moment. All he does is grin. REEDE You know, Greg, watching you grin like that could really get to be annoying. Callan merely walks away, as Reede looks significantly over at Trueman. She's shaking her head over Callan and doesn't even notice. Reede realizes he's staring, and shifts his attention, only to see Matson watching him watch Trueman. CUT TO REC ROOM Matson is taping as some crewmembers decorate a "Christmas tree." The tree is a cardboard cutout; they're sticking various decorations on the "branches." The holiday spirit is in full swing as people break out into snatches of "Fa la la la la" and whatnot. There's a string of blinking lights slung over a chairback. One of the women is wearing a reindeer-antlers headband. Trueman enters; Matson stops taping and turns to speak with her. MATSON (warmly) Ensign...Rebecca. Are you off duty? TRUEMAN (a little breathless) Yes, but if you need to call someone I can-- MATSON No, it's fine. I just wondered if you'd be willing to be the first crewmember I interview. Trueman stops dead in her tracks, her mouth dropping open. She's beyond flattered by Matson's request, and he was counting on that. TRUEMAN (amazed) _Me_? Really? Matson is amused by her continuing awe of him. MATSON Yes, you. (beat, indicating a chair) Why don't you sit down right here? I'll just point the camera at you and ask you a few questions. It's pretty easy. She hasn't moved. TRUEMAN (still flustered) Wow. (beat, nodding) I mean, okay. Trueman sits, and Matson shoulders his camera. Trueman appears to be a little nervous, sitting on the edge of her chair. MATSON This is your second tour of duty? How do you like it? TRUEMAN It's a helluv-- a _whole_ lot different from my first one. She pauses, thinking about what she's just said. TRUEMAN (continuing) I don't think it's just because peace is at stake. There's this whole...aura...around being on _seaQuest_. (beat, thinking) I read a lot of history, and the first two _seaQuests_, well, they're legends. And now I'm _on_ a _seaQuest_. (laughing) Maybe someone'll read about me someday, huh? Matson smiles at the idea, then probes further. MATSON How about the captain? Trueman thinks a little, then opens her mouth to speak. Apparently, she has second thoughts about what she was going to say, because she pauses again. Finally, she answers. TRUEMAN (thoughtfully) He's part of the legend too. It's pretty appropriate that he's here, really. (beat, explaining) He was on the first two. Matson nods--he _is_ aware of that fact. And more. MATSON Some people think he's too young for the job. (conspiratorially, as if he's trusting her with privileged information) There are those who say he only got it because he and the secretary general go way back. Trueman is still star-struck enough to fall for his act. She responds in kind. TRUEMAN You should've heard Justin after we found out who our captain would be! She pauses to consider the idea. TRUEMAN (continuing) But even if you take off the ten years he was in stasis, he's thirty-five. That's older than Ford or Hitchcock were when they got their first commands. Matson isn't hearing anything new. He pushes a little harder. MATSON But what do _you_ think of him? She's surprised that it would even matter what _she_ thinks. TRUEMAN (hesitant) He's not like anyone I've ever served with. (beat) Sometimes you think he's not even paying attention to what's going on, and then suddenly he has this brilliant idea that solves everything. (beat, smiling) He's not one of those captains you figure out right away. Trueman appears to be getting more comfortable with being on camera. She settles back in her chair. Now that she's comfortable with him, Matson goes for the personal questions. MATSON (casually, like it just occurred to him) I notice you and Lieutenant Riller seem to be pretty good friends. TRUEMAN Yeah, we've known each other a long time. It's great being able to serve together. (beat, explaining) We've been together on both of my tours. MATSON (too casually) How good of friends? Trueman looks at him sharply; then decides he's just misinterpreting her relationship with Riller. TRUEMAN (smiling) Not the kind you seem to be thinking of. MATSON Why not? You obviously think a lot of each other. TRUEMAN (struggling to explain) I don't...I couldn't...He's like a brother to me. We keep each other in line. (beat) Or try to. It's been a little easier since he went through rehab. (beat, shrugging) He's just not my type of guy. MATSON (curious) Why not? TRUEMAN Justin's too...I don't know. It's like he thinks he has something to prove all the time. He's a great guy, I love him dearly, but... She thinks about it for a moment. TRUEMAN (continuing) I want a guy who's sure of himself. Self-confident. Knows what he wants and how he's going to get it. (beat, grinning) And it wouldn't hurt if he was good looking too. MATSON The kind of man you're describing sounds a lot like the helm officer. Trueman nearly chokes, trying not to laugh. TRUEMAN (through a fit of giggles) God...no! She calms down slightly and thinks about it a bit more. MATSON (again, too casually) I think he'd kind of like the idea. TRUEMAN Me and Reede?! She gives in to the giggles. CUT TO COMMERCIAL END ACT 2 =========================== PART 3 ===================================== ACT 3 FADE IN TO MESS HALL Crewmembers are eating breakfast. Morgan is sitting alone at a table, about halfway through her meal. Matson, carrying his food, spots her and heads in her direction. When she notices his approach, Morgan hastily gathers her things and leaves before he reaches her table. Matson is left shaking his head at her abrupt departure, then turns and joins a group of enlisted personnel at their table. They are a lot more welcoming than Morgan was. CUT TO WOLENCZAK'S OFFICE Wolenczak is busy at his desk. He has two SEAPOCS in front of him, and is consulting them as he works at his computer. There's a knock at the door. WOLENCZAK (without looking up) Yes? Matson enters, carrying his camera. Wolenczak points to the chair, but resumes typing. Matson starts taping. Wolenczak still doesn't stop typing. WOLENCZAK (off camera, exasperated) Is that really necessary? I'm just filling out reports. MATSON (explaining) I never know what'll make a good story until I have it all in front of me. I use three times as much tape as anyone else. (beat, slightly smug) And I get three times as many awards. WOLENCZAK (only half joking) And you have about three times as many enemies, right? MATSON (shrugging) Occupational hazards. Wolenczak warms up to Matson a little, thanks to the shared joke. WOLENCZAK And mine are these damned reports. He finishes typing and swivels in his chair to face Matson. WOLENCZAK (continues) I don't remember Bridger or Hudson _ever_ having this amount of bureaucratic busy work to do. Matson takes advantage of the comment. MATSON What was it like, serving with Nathan Bridger? WOLENCZAK (thoughtfully) Captain Bridger...I still can't adjust to having the same rank. I was barely sixteen when I met him. (beat, smiling) And I sure as hell never thought _I'd_ be captaining _seaQuest_. MATSON You've been here four months. From what I've been able to read, it's been a pretty exciting four months. Wolenczak is a little wary of this. He knows where it's leading, and tries to deflect Matson. WOLENCZAK Not half as exciting as it used to be. Let's see, on the first _seaQuest_, I was caught in a hurricane on a life raft. Then there was Krieg and the glowing fish poop.... He's getting caught up in the memories now. He smiles and shakes his head. Matson isn't quite ready to interrupt yet, and merely keeps taping. WOLENCZAK (continues) You should've seen Katie--Secretary General Hitchcock--when she went into the Broken Ridge mining colony as a lounge singer. (beat, grinning) Sure beats filling out reports! Matson is smiling too. But he's not about to lose control of his interview. MATSON (persistently) But times are different now. And _you're_ the captain who had a traitor on your ship. Wolenzcak is brought sharply back to earth. So much for being relaxed with Matson. WOLENCZAK (sharply) I _am_ aware of that fact. MATSON But you weren't then. WOLENCZAK Look, I'm not going to give you any excuses. (beat, trying to be nice for the camera) Hindsight's a wonderful thing. I can look back now and see the little hints and clues. But at the time, I thought they were just a part of the growing pains that happen when you put a new crew together. (beat, reminiscing again) God knows we went through it with Captain Hudson. MATSON You served with Hudson for how long? Wolenczak's manner is definitely becoming cooler at being asked to discuss Hudson. WOLENCZAK (flatly) Ten years. MATSON (neutrally) A lot longer than you were with Bridger. Would you say he was a greater influence on you than Bridger was? WOLENCZAK (still stonewalling) Not greater, necessarily. Different. (beat) He was a military man all the way. And, considering the state of the world during those ten years, he was the most appropriate captain for the _seaQuest_. Wolenczak reaches for a book on the corner of his desk. It's _The Red Badge of Courage_. He toys with it, flipping pages and so forth, as he talks. MATSON (probing) But you parted company before the war ended. A disagreement? WOLENCZAK (curtly) You could say so. MATSON What happened? Wolenczak's manner changes abruptly, from anger to...nothing. He speaks with no emotion at all, merely reciting details. WOLENCZAK We were in battle. I was injured. Piccolo was too, but not as badly. Hudson felt the chances of saving Piccolo were better than the chances of saving me. I was almost captured. Emotion breaks through Wolenczak's shell briefly, as he knocks the book to the floor. Regaining control of himself, he bends to retrieve it and notices a small video disk has slipped out of the back cover. In Hudson's handwriting, it is labeled simply, "To Lucas." Matson speaks during this. MATSON And you never saw him again? He was killed in action last year, wasn't he? Wolenczak is completely focused on the disk in his hand, oblivious to Matson's question. WOLENCZAK (murmuring, to himself) No, Captain. Whatever it is you have to say, I'm not ready yet. Matson is aware that there's something going on here, but hasn't a clue as to what. MATSON Captain? WOLENCZAK ("snapping out of it") I'm sorry, but I really should be on the Bridge. I hope you got enough information for your show. Rising, Wolenczak gestures to the door. Matson would obviously like to continue the interview, but decides discretion is the better part of valor. He takes the hint, and leaves. As he does, he turns back and sees Wolenczak once more staring at the video disk. CUT TO ENGINEERING Callan is at his station, a tray of half-eaten food at his side. His console shows schematics of the ship. He's consulting a SEAPOC. Matson enters, with his camera. MATSON When you didn't show up for our appointment, I thought I might find you here. I hear you've been here all day. (beat) It's late. Don't you ever sleep? CALLAN (ruefully) Not tonight. (beat) You've heard about Hunter's tricks? Matson nods. CALLAN (continues) Well, all I can say is, he was damn good at them. He left a month ago and they're _still_ popping up. This morning, all the sonic showers on "B" deck went on the blink. And the water ration codes were wiped from the database. (beat, indicating console) I've been going over the schematics, trying to find a pattern, but there doesn't seem to _be_ a pattern to just plain old nastiness. Matson picks up the camera and begins taping. MATSON (curious) So when did this all start? CALLAN About two days after he left. The first one was crazy. I don't know where he figured this out, it's really old, but highly effective. (shaking his head) He wrapped a piece of cloth soaked in nitric acid around a bunch of wires. It took a couple of days, but the acid went through the insulation and the wires, then, pow! All the lights on the lower three decks went out. Callan stretches, takes a bite of dinner, and throws his fork down in disgust. CALLAN Ugh, cold! Now, where was I? MATSON You were telling me about Hunter's first sabotage. CALLAN Right. Well, you know how it is. We didn't even _think_ of something as basic as cut wires. We had Percell going through the computer codes. Finally, the captain told us to look at it backwards, that we were making it too hard. And there it was. MATSON You sound like you enjoy your work, though. CALLAN (smiling) I love it. Always used to take things apart when I was a kid. It drove my mom crazy. It can get a little wild sometimes, even without sabotage, but...it's great to be able to do something you're good at. (beat) Of course, Kelly would be happy if I'd settle down and take a job at Headquarters, designing engines instead of running them. Matson pounces on the Callan's mention of his wife. MATSON (too casually) I think yours is the first human-GELF marriage I've encountered. Callan looks at him sharply, offended. CALLAN Kelly's human. Matson realizes he may have just ruined his interview. He tries to patch things up. MATSON I just meant-- CALLAN (angry) GELF is a race now, not a species. (beat) It's been twenty-five years since the first baby was born to GELF parents. That baby, and all the natural-borns, are just the same as you and me. Callan's wound up now and shows no signs of stopping. CALLAN (continues) Look, if Kelly were black, or Latino, or Asian, you wouldn't have said a word. But just because her skin has all those colors, it's suddenly a big deal. Matson is finally able to get a word in edgewise. MATSON (wryly) I can see you've had this conversation before. CALLAN (just a bit calmer) Yeah, I have. (shakes his head) Kelly takes it better than I do. I just get so furious that people can play God with a bunch of test tubes and figure that gives them the right to mess around with the lives they created. Kelly's parents were _there_ when the GELFs were finally given citizenship. They never really talked about it. Then, when I got posted to _seaQuest_, they told me the whole story. MATSON I'm not following you here... CALLAN (explaining) The second _seaQuest_ was barely out of drydock when it all happened. They were pretty pleased when they heard I'd be here. When I told them about Captain Wolenczak--he was actually _there_--well, they made me promise to introduce them someday. Matson gets it now. MATSON And what do they think of the situation with the Carolinans? (beat) Do they find any similarities with their own history? CALLAN No, not really. (beat) But with Kelly at McKensi, barely out of Carolinan water, they're pretty glad to know that it's _seaQuest_ out here. They attach a lot of significance to that. CUT TO CORRIDOR The corridor is empty as Matson rounds a corner into camera view. The lights are at their nighttime level of intensity. The open door of the Rec Room spills light into the corridor, but there are no sounds coming from the room. MATSON Your tax dollars at work...leaving lights on in empty rooms. He looks in to find the light switch, and sees that the room isn't _quite_ empty. CUT TO REC ROOM Morgan, still in uniform, is completing a Tai Chi exercise. MATSON (O.C.) That was great. Morgan is startled; she thought she was alone. MORGAN (embarrassed) Oh, uh, thank you. Matson enters the room. Morgan obviously wishes he wouldn't. MORGAN (polite, but nothing more) Is there something I can do for you, Mr. Matson? MATSON (trying to charm her) Call me Vince. Your name's Annie, isn't it? MORGAN (curtly) Anne. There's an awkward pause. Matson tries again. MATSON Actually, I wanted to set a time to interview you. I'm trying to talk to the whole senior staff; you're the only one I have left to make an appointment with. (beat, smiling) I'm beginning to think you're avoiding me. Morgan is embarrassed. MORGAN I've been busy. (beat) I can tell you all you need to know right now. I'm an anachronism. I read Asimov, Shakespeare and the Bible. I listen to Bach, Gershwin and the Beach Boys. I have a weakness for anything chocolate and I hate bananas and peanut butter. (beat) That pretty much covers it. Matson turns on the charm, trying to pull more information out of her. MATSON And you do Tai Chi... MORGAN (reluctantly) Yeah, well, it started out as therapy. I went through a difficult period about five years ago and the Tai Chi helped, mentally and physically. Once I was feeling better, I was kind of hooked on the exercise. MATSON (still trying to charm) And now I bet I know more about you than any of your crewmates do. MORGAN (a little wistfully) If you're saying I'm not very good at making friends, I knew that already. (beat, colder) Now, if you'll excuse me... She leaves, not waiting for a response. CUT TO MATSON'S QUARTERS Matson is seated at his computer. Over his shoulder we see him typing: SEARCH DATABASE MORGAN, ANNE. CUT TO COMMERCIAL END ACT 3 =========================== PART 4 ===================================== ACT 4 FADE IN TO MEDBAY Burke is there alone, counting medical supplies. Matson enters, camera already running, and looks around. MATSON No customers today, Doctor? BURKE (tartly) None. Makes me almost glad to be here. MATSON (slightly surprised at her response) You don't like it here? Burke gives him a "what do you think I am, crazy?" look and stops counting. BURKE (incredulously) In the _Navy_?! MATSON (with humor) You didn't know it was the Navy when you took the job? She moves to another rack of supplies and starts re-folding linens. They don't really need folding; it's more to give him the impression that her time is valuable and she's not going to waste any of it just to talk to a reporter. BURKE (emphatically) I'm in the Navy because it was the only way I could afford med school. As soon as I've done my payback, I'm outta here. Matson's not sure she really means what she's saying, or why she's doing a job she seems to get so little joy from. MATSON Is it _that_ bad? Burke softens a bit, because it _isn't_ that bad. Besides, she has to make it look good for the camera. BURKE Okay, it _could_ be worse. (beat) I guess. Matson looks a bit worried; this woman doesn't fit the idea he had of what the ship's doctor would be like. He's got to find _something_ positive in this interview. MATSON But the captain's a scientist himself. That should make it easier. BURKE (skeptically) He _was_ a science officer. There wasn't a whole lot of science going on during the war with Macronesia. She stops, thinking it over. For the sake of the interview, she tries to give Wolenczak the benefit of the doubt, but she doesn't sound truly convinced of what she says. BURKE (continues) He's trying to keep this from being a warship, I'll give him that. (beat, finding something positive to say) We're scheduled for a research trip to the Pacific Northwest soon. (beat) Which is fine with me. (beat) The farther we stay away from conflicts, the happier I am. Matson tries to draw her out a little more by appealing to her professional pride. MATSON But that means less practice for you... Burke snorts at the idea. BURKE (vehemently) I don't _need_ practice setting bones, fixing lacerations, blunt force trauma...I don't _want_ it. (beat, more thoughtful) When I decided to go back to school and become a doctor, it's medicine, not surgery, that attracted me. (beat) I guess I figured I'd be at a base hospital, not stuck on a boat. (sighing) At least things have calmed down some. I'd rather be bored than patch up officers who get themselves shot. The conversation winds down. Matson realizes Burke's not going to give him the "noble and dedicated ship's doctor" persona he was hoping for. He appears to be puzzling over just how _this_ footage is going to work in his show. Morgan enters, looking from a SEAPOC in one hand to a petri dish in the other as she walks. She's oblivious to Matson's presence. MORGAN (without looking up) Doctor, do you know who changed the settings on the incubator in the lab? She looks up and notices Matson and his still-running camera. She looks like she's ready to turn and leave without waiting for a reply, but Burke speaks before she can. Matson stays quiet. BURKE (exasperated) What's going on _now_? MORGAN (sighing) I just wondered if you had reset it for something. I had some cultures growing in there, and the temperature's gone down sixteen degrees in the past four hours. She slaps the petri dish down on a table. MORGAN (continues, angrily) The whole damn experiment's shot. BURKE (getting a little huffy) I wouldn't change it without asking you. Morgan blushes and starts apologizing, though it's obvious she's still mad. MORGAN I didn't mean to imply-- BURKE (cutting in, slightly calmer) Ask Callan to check it out. Probably another one of Hunter's little bugs. MORGAN Well, Hunter just cost me three days' work. I'd love to get my hands on _him_... She leaves, giving Matson and his camera a sour look on her way out. MATSON (merely an observation) I wouldn't want to be Hunter if she ever _does_ get hold of him. Burke apparently feels that crewmates should stick together. BURKE (making excuses) She's not usually so irritable. (beat) In fact, that's the first time I've seen her mad. She was up all night over that experiment. Off the ruined culture on the table we... CUT TO WARDROOM Matson is interviewing Matthews. She's not terribly relaxed, but not hostile either. MATSON ...And you're a Marauder pilot? MATTHEWS (nods) That's right. I finished my training right as the war ended. (beat, a little sad) So I'm a fighter pilot who's never actually _fought_. MATSON You sound disappointed. Matthews thinks about it for a few moments, as if she's never given the idea serious thought before. MATTHEWS Well, yes and no. (beat) I mean, I've got the training, I've got the ability, and I've got nowhere to put all of it. (beat, firmly) But I don't think we need to go to war just so Jessie Matthews can show off. Matson takes another approach. MATSON I'll bet your family's pretty proud of you though. MATTHEWS (tightly) I wouldn't know. Matson looks like he's wondering what he could possibly have said wrong _this_ time. MATSON (confused) You're not from a very close family, I take it? MATTHEWS (still borderline upset) You could put it that way. Matson waits for more. Finally Matthews gives in to the silence, and explains, but only a little. MATTHEWS I left home when I was sixteen. (laughing at the irony) If you actually _use_ this interview, it'll be the first time any of 'em have seen me in over ten years. (beat) If any of 'em are still around. Matson's looking pleased with himself; he's getting something he hadn't planned on. He tries to get more from Matthews. MATSON Do you think they'll be pleased with what they see? Matthews gives him a hard look. MATTHEWS (forcefully) They thought I was crazy, wanting to go to the Academy, wanting to be a fighter pilot. (beat, her temper's rising) They told me I'd never make it. (beat, challenging) What do _you_ think? MATSON (kindly) I think they'd be sorry they lost you. He holds the camera on her angry stare as we... CUT TO BRIDGE Regular bridge crew are at their stations, including Morgan. Matson is also present, taping. Another Red Alert goes off. No one even jumps. Riller has it turned off within two seconds. Everyone's manner implies that this is all just a boring nuisance, but nothing more. Wolenczak looks at his watch. WOLENCZAK (blandly) Well, if you can say anything about Hunter, it's that he's predictable. MATTHEWS (nodding in agreement) Four hours to the second. (beat) How are you doing with killing that nuisance, Percell? PERCELL Well, I've _finally_ found the subroutine he put in. She types for a moment. PERCELL (continues) There. We'll know for sure in three hours and fifty-eight minutes. Morgan suddenly begins typing, then stops. Reede and Trueman exchange a look. REEDE (casually) Problems, Ensign? MORGAN (flustered) It just suddenly switched off. It won't let me log back on. TRUEMAN (helpful) It's probably a fuse. You'll have to pop the panel off. There's tools and fuses in the storage locker. Morgan leaves her station and goes to the storage locker. The door is jammed. She gives it a good tug, and the door flies open, releasing hundreds of colored plastic balls, the size of ping-pong balls, which cascade over her, then roll around noisily on the floor. She looks stunned. Riller chokes down a laugh as he watches Reede and Trueman nudge each other and smile. Even Wolenczak is stifling a grin at the look on her face. A few other crewmen snicker quietly. Apart from the noise of the balls, the bridge is momentarily silent. REEDE (nonchalantly) Well, I guess you have all the balls you'll ever need, huh, Ensign Morgan? (aside, to Trueman) Told you all those models of molecules would come in handy. Morgan hasn't moved, as the final couple of balls bounce out of the locker. Wolenczak gives her an appraising look. WOLENCZAK (mildly) I suggest you get it cleaned up right away, Ensign. We wouldn't want anyone getting hurt. Morgan's face is unreadable at first, then the corners of her mouth start to twitch. It's not clear whether she's mortified at being the center of attention, or wants to laugh at the joke. Probably a little of both. MORGAN (very quietly) Yes, Sir. TRUEMAN (still being "helpful") There's a sack in the bottom of the locker. Morgan gives Trueman a look. She knows exactly who set her up. MORGAN (coolly) Thank you. (beat) Will you be wanting them back? Apparently, Trueman expect Morgan to have more of a reaction. But Morgan's Ice Princess demeanor has Trueman beat. TRUEMAN I, uh... WOLENCZAK (still being cool about it) I think that would be a fine idea, Ensign. As Morgan begins retrieving balls, Reede nudges Trueman. REEDE (quietly, shaking his head) Still nothing! I thought for sure she'd crack! Trueman only shakes her head. CUT TO PERCELL'S QUARTERS Percell, Matthews and Callan are watching one of Percell's movies. Matson is taping them as they watch. PERCELL (happily) And here's where Natalie Wood sees the guy's cane in the corner... They all watch in silence as the final few moments of _Miracle on 34th Street_ unfold. Percell sighs happily as the final credits roll. The movie ends; Percell switches off the player. They sit silently for a few moments, relishing the effects of the movie. CALLAN (slowly) _Great_ movie. (beat) I can't believe you have the old black and white version. I thought Turner colorized _everything_. MATTHEWS But the black and white gives it that nostalgic _feel_. (beat, amazed) I can't believe women actually _dressed_ like that. Callan checks his watch, then smacks his head. CALLAN (upset) I'm dead! I was supposed to call Kelly ten minutes ago. (on his way out the door) Gotta run! Thanks, Sara. MATTHEWS (reluctantly) I'd better go too. I'm supposed to be getting the leave assignments for the holidays figured out. (beat) Half a dozen religious and cultural holidays, all within the same three-week span. It's driving me crazy! She leaves. Percell is now alone with Matson, who is still taping. She sits on the bed. MATSON Well, Chief, it's your turn to talk now. PERCELL (a little shy) I'm not sure what to talk about... MATSON (persuasively) Hey, it's your big chance. You know, "Hi, Mom!" or whatever. PERCELL (smiling) Yeah, my family would love that. Okay, how's this? She looks into the camera and waves. PERCELL (continues) Hi, Leslie. Hi, kids! I hope you're behaving yourselves so Santa can give you lots of good stuff! Matson looks like he's going to enjoy this one. A nice, warm-fuzzy, family sort of person at last! MATSON (kindly) See, that wasn't so bad. (beat) So, who were you talking to? Percell's slightly more relaxed; this part's not so bad. PERCELL My big sister and her kids. She's silent again. Matson tries another approach; he's sure this will be a good interview if he can just get her talking. MATSON You've been in the Navy since you were eighteen, right? Percell nods. MATSON (continues) That's pretty young to leave your family. Drafted? Percell looks at him sharply. It's like her talk with Hunter on the shuttle, all over again. She pushes herself back on the bed, back to the wall, pulling her knees up in a self-protective gesture. PERCELL (flatly) No. I joined up because I thought I should serve my country in the war. MATSON (still trying to draw her out) But the war's been over for four years. Percell's back on safer ground here, and stretches her legs out again. PERCELL And by then, I'd been promoted and found out I'm pretty good at what I do. (beat, shrugging) I'm kind of the odd one in the family -- the only one who doesn't live within a hundred kilometers of my folks. I like my job. (beat, under her breath) Most of the time. Matson picks up on it. MATSON "Most of the time"? Percell can't tell him about her experiences as a prisoner, and wouldn't even if she could. PERCELL (evasively) Sometimes you find out people aren't what you thought they were. Matson thinks on it, then puts two and two together. MATSON Hunter? She's surprised he got it so quickly. The knees come back up; she wraps her arms around them. MATSON (continues) You two were friends? PERCELL (a touch hostile) I wouldn't go so far as to say that. (beat) He was my commanding officer. I trusted him. And he turned out to be a liar and a traitor. MATSON A lot of people think he's noble and patriotic, returning to his roots. Percell rises abruptly from the bed, pacing agitatedly around the room. As she talks, she adjusts her videos on the shelves, shifts pictures slightly, trying to be in control. PERCELL (vehemently) A lot of people don't know him very well, then, do they? (beat) Jason Hunter abused the trust the UEO gave him. He didn't deserve the uniform _or_ the rank. In her agitation, Percell drops a video disk. As she picks it up, her hands shake. PERCELL (continues, the words pouring out) I could tell you things about him that'd make you _sick_. (beat, her voice rises) And if it weren't for Rosss and her damned PR machine, we'd've been able to say this a long time ago. She's making Captain Wolenczak out to be some kind of a liar, as though he's incompetent or something. (beat, insistently) He's one of the best captains I've ever had. So much for Matson's warm-fuzzy family story. This is even better. Matson starts mentally calculating the where to put the Pulitzer he's going to get for _this_ one. MATSON (carefully) You sound pretty convinced of that. PERCELL (explodes) Convinced?! I was _there_! (beat, struggling) I was their prisoner for two weeks. Hunter took me along with him when he left, thinking I'd stay there and work for _them_! Now that it's coming out, there's no stopping Percell. She sits on the bed again, looking right at Matson. PERCELL (continues, still angry, still fast) For two weeks I was "interrogated." You _do_ know what that means, don't you? (beat) And then, when they realized they wouldn't get anything out of me, they didn't even have the guts to kill me outright. (beat, quieter again) They stuck me in an escape pod with little power and less oxygen and jettisoned me near the border. I just _happened_ to get picked up by the _Zodiac_. Matson stands in stunned silence, setting down the camera. MATSON (horrified) There was no word about this _anywhere_. Percell looks at him like he's an idiot. PERCELL Of course not. It's classified. (beat, realizing what she's done) And I just told it to a reporter... It sinks in. PERCELL (continuing, panicked) Oh, God. I'm dead. I'm _dead_. Matson realizes he's about to lose the best interview of them all. MATSON (trying to be convincing) But the public needs to know this! She can't believe he wants to air this when it could end her career. PERCELL (angry again) Don't you _get_ it?! It's _classified_. I could be court-martialed for telling you. My own _family_ doesn't even know. The captain never believed Ross when she told him I was dead, and after I was back the whole damn thing had to be hushed up. MATSON But-- Percell rises, picking up his camera and removing the tape. As she talks, she puts it in her own player and hits "record", erasing any record of the interview. PERCELL (spelling it out for him) Officially, it never happened. And if anyone says it did, the UEO is forced to go to war. And we're going to avoid war at all costs. (beat, with great emotion) And if I can pay that cost, _you_ sure as hell can. She hands him the tape. He only looks at it in his hand, stunned at all that he's heard. MATSON (still in shock) You erased it... PERCELL (only the slightest bit apologetic) I hope there was nothing else on there that you needed. (beat, firmly) Now, I think you'd better leave. She's completely taken the wind out of Matson's sails. MATSON (incredulous) But that was the best interview-- PERCELL (getting angry again) It never happened. I never went to Raleigh, and you never did this interview. She opens the door for him and waits until he leaves, disbelief still written all over his face. CUT TO MESS HALL Matson is there, taping general scenes of crew as they eat their dinner and unwind from the day's work. CUT TO CORRIDOR Matson knocks on the door to Morgan's quarters. She opens the door wearing shorts and a "Les Miserables" T-shirt. Her hair is unbraided and reaches her waist. Matson is taken aback by this new view of Morgan. MATSON Your hair... MORGAN (amused, but not particularly friendly) I don't think you just dropped by to talk about my hair. MATSON (getting his thoughts back together) You're right. I came to talk about your son. Morgan is stunned. MORGAN My...How did you find out? Matson is off-handed in his explanations, not realizing he's just dropped a bomb. MATSON (shrugs) I'm an investigative reporter, remember. You said something about hard times a few years ago, and I investigated. MORGAN (unhappy) You'd better come in. Off her face we... CUT TO COMMERCIAL END ACT 4 =========================== PART 5 ===================================== ACT 5 FADE IN TO INSIDE MORGAN'S QUARTERS There's a book, opened, lying facedown on the bed. Matson sits in the desk chair, laying his camera on the desk. Morgan paces. MORGAN (flatly) So, what do you want to know? MATSON (simply) Everything. (beat) But I want you to tell me on-camera. Morgan whirls to face him, panicked. MORGAN I can't! Do you know what the military's opinion of motherhood is? (beat) They figure if you've got kids, you can't pay attention to your job. (beat, with irony) Did you know that, for all our twenty-first century enlightenment, the percentage of women with children to be posted on ships like this is miniscule? And most of _them_ are enlisted. And whatever they say about equal opportunity, we get promoted less, too. Her voice rises as her agitation increases. She's almost pleading with him. MORGAN (continuing) If the captain finds out I have a child back home, I'm sunk. He'll think he has to protect me and I won't be able to _do_ anything. (beat, desperately) Do you know how many strings I had to pull to get John taken off my record?! She opens a drawer, removing a framed picture of her and her son, who looks about ten years old. MORGAN (continuing) I don't even dare have this out. She sits, cross-legged on the bed, clutching the picture. MATSON (softly) Then why did you join the Navy in the first place? MORGAN (quieter, steady) If you know about my son, then you know my husband died in '42, in the war. I couldn't get work anywhere. (beat, explaining) John was born right after I finished college, and I was old-fashioned enough to stay home with him, so I had no work experience at all. Morgan sets the picture on the desk as she talks. MORGAN (continues) In '43 we beat the Macronesians, and the Navy convinced me I could get a land-based posting doing research. Got my MS and officer rank, and the Carolinans seceded at an inconvenient time. (beat) Now here I am riding into battle. (beat, with some of the temper she had back in MedBay) But now that I'm here, I'm damned well going to do a good job of it! Matson thinks about what she's said and how it fits in with all the other interviews he's done. MATSON (persuasive) Look, Joe Public thinks this is a war boat, with a bunch of blood-thirsty berserkers who are itching for a fight with the Carolinans. I want to show them you're a bunch of dedicated people with a lot to live for, who want to keep peace and come home to their loved ones. (beat) You can help me do that. Morgan looks as if she's struggling with the idea. Finally, she decides. MORGAN (quietly) Okay. (beat) I'll do it. She stands as she says it and walks across the room, moving to open the door. She looks back when she realizes Maton has picked up his camera. MORGAN (confused) Ummm...shouldn't we set up an appointment? For when it's more convenient? Matson looks up at her, getting ready to turn on the power on his camera. MATSON (raises eyebrow) Later? (beat) It's convenient now. (beat) You're here, I'm here, I have plenty of tape... (beat) Come on. Sit down. (beat, grins) We'll just get it over with. Okay? She looks at him for a moment, as though overcoming a final hesitation, then takes a deep breath and nods. MORGAN (smiles shakily) Fine. She begins to twist her hair up into a bun. MATSON (firmly) Leave it down. MORGAN But-- MATSON (persuasively) Trust me. You look like you're about sixteen with it loose like that. (beat, almost to himself) The public's going to get a whole new perception of this boat. CUT TO EXTERIOR _SEAQUEST_--CGI The _seaQuest_ is moving through the water. MATSON (V.O.) I've heard some of your crewmates call you the Ice Princess. They don't think you're very friendly. CUT TO MORGAN'S QUARTERS All is as before. Matson is taping, Morgan is talking. They're in the middle of the interview. MORGAN (wistfully) ...It's been hell. I haven't dared to become friends with anyone here, for fear someone will find out. It's not that I don't _like_ them. I'm serving with some pretty fine people. (beat) I can just imagine what they say about me.... CUT TO REC ROOM The "Christmas tree" is completely decorated, outlined by blinking lights. Several people are there, including Riller, who's wrapped up in one of his VR games. Matson enters, toting his camera, and approaches Riller. MATSON Lieutenant? Riller is oblivious. Matson taps him on the shoulder. Riller jumps, pulling off the VR visor. When he sees who it is, he isn't particularly welcoming. RILLER Is there something you need? Matson's used to this type of response, and ignores it. MATSON I was supposed to meet you here...remember? RILLER (with irony) Oh yeah. My big chance to be a star. MATSON (playing along) It could happen. A few million women see you....I promise to send you any mail that comes to the network addressed to you. Riller cracks a smile. Maybe this guy's not so bad after all. Matson takes this as the go-ahead and turns on the camera. Riller looks a little uncomfortable at having it pointed at him, but takes it okay. MATSON This is your first posting as security chief, isn't it? RILLER (nods) That's right. MATSON And you've been dealing with Hunter's sabotages? RILLER (snorts) _Trying_ to deal with them. The SOB was pretty sneaky. (beat) It's kind of pointless, doing all this after the fact. I'm just doing my best to see that nothing he did will compromise the security of the ship _now_. MATSON (cutting to the chase) But security _has_ been compromised in the past. RILLER (getting defensive) And it was our own XO who planted the transmitter in the guidance system! Matson looks at Riller curiously. MATSON That wasn't what I meant. (beat) I was referring to the time the secretary general was almost abducted from your own shuttle bay. RILLER (backing off a little) Oh. Well. I wasn't actually on duty then. MATSON Oh? Riller doesn't meet Matson's eyes. Instead, he pretends to be involved with logging out of his game. RILLER (evasively) I was...ill. Matson sees the opportunity to make the most of his information. MATSON Something to do with the rehab Ensign Trueman mentioned? Riller turns quickly to face Matson. RILLER (angrily) Becca told you about that?! MATSON (trying to defend her) I don't think she meant to bring it up... RILLER (rather agressively) Yeah, I went through rehab. I've been clean for eight weeks now. (beat) And there's not a single day I don't think about Kytes. Not a single day I don't wonder if just one wouldn't hurt. (beat, painfully) And not a single day I don't think about what almost happened because of it. MATSON (almost a question) But despite what happened, you're still here. RILLER Yeah, I am. The captain believes in second chances. (beat, emphatically) And this time, I _won't_ mess it up. Matson lowers the camera thoughtfully as we... CUT TO MESS HALL Reede is eating lunch, alone. Matson enters, with his camera, notices Reede, and sits down opposite him. MATSON Eating alone? That's not usual for you. Where's Ensign Trueman? Reede gives him a "how would I know" look, then plays dumb. REEDE (too casually) Did you try the Bridge? MATSON (not pushing it--yet) No. I was looking for you, anyway. You're my last interview. REEDE Candid Camera time, huh? Who was first? Matson picks up the camera and turns it on as Reede finishes eating and pushes his tray aside. MATSON Trueman. REEDE (chuckling) I'll bet she was thrilled. MATSON She seemed to have a good time. (beat, carefully) She told me she and Lieutenant Riller aren't an "item." REEDE (easily) You're not the first one to make _that_ mistake. (beat) Nah, Riller's more like her over-protective big brother. Every time I get near her off-duty, there he is. MATSON I've noticed the way you look at her. (beat) She doesn't seem to return the sentiment. Why don't you just give it up? Reede flashes a smile, then turns suddenly serious. REEDE If there's one thing I learned at the Academy, it's _never_ to give up. (beat) No matter how much it looks like I should. MATSON (taking it lightly) I didn't know "Stubborn 101" was in the curriculum. REEDE (still serious) It's not. Let's just say it was...extracurricular. Matson, naturally, is curious. MATSON "Extracurricular" how? REEDE (trying to avoid specifics) There were people there who didn't like me much, is all. They tried to make me miserable enough to quit. MATSON (probing) Classmates? Upperclassmen? I thought "miserable" was _definitely_ part of the underclassmen's lives at the Academy. Reede is becoming impatient with the line of questioning. REEDE (shortly) Look, it's over, it doesn't matter any more, okay? Matson obviously feels like pushing his luck. MATSON (pushing) If it's over, then why not tell me about it? (beat) Or do you think Trueman would be disappointed in you? Reede can tell the guy's not going to let up, and realizes the only way to get rid of him is just to give him an answer. REEDE (with irony) Nah, Becca'd probably understand it as well as anyone would. (beat) All right. (beat) There was an instructor there who didn't like me. He thought I was too cocky, did his best to "amend my attitude to one more amenable to Naval service." MATSON (curious) What did he do? Reede shakes his head ruefully at the memory. REEDE He'd order me to do something, then criticise every little detail. For three years, he'd give me a "C" when I knew damned well I deserved an "A." (beat, upset) It wouldn't have been so bad if it was just one. But he got the other officers on his side too. They were all trying to "help me be a better officer." MATSON Did it work? Reede raises an eyebrow and points out his rank patch. REEDE Apparently not; I'm still an ensign. (beat) Only taught me you can't trust anyone above Lieutenant. (beat) Or at least, I thought so until I came to _seaQuest_. Matson nods, though he doesn't quite get it. Finally, he sees that Reede isn't going to say any more unless asked directly. MATSON How do you mean? REEDE (explaining) Well, here the Captain actually seems to believe in second chances. I know a couple of people that he's given them to. (beat) He's doing his best to make this the best boat in the fleet. (beat, thoughtfully) And to keep us out of trouble with the Carolinans. A voice comes over the comm system. VOICE Mister Matson, your shuttle has arrived. Please report to the shuttle bay. Matson turns off the camera and rises. MATSON Guess that's my cue. Thank you, Mister Reede. They shake hands and he exits, leaving Reede alone once more at his table. CUT TO SHUTTLE BAY Matson, bags in hand, is leaving. Wolenczak is there to see him off. WOLENCZAK (a little sourly) You rate pretty well with the secretary general, for her to send a shuttle for you. MATSON (unannoyed) I didn't want to intrude any more on your hospitality, Captain. He's going to try one last time to be friends with Wolenczak, and holds out a hand. MATSON (continuing) I hope you didn't find me _too_ disruptive to your routine. Wolenczak ignores the gesture. WOLENCZAK I'm withholding judgement until I see the end product of all this. Matson gives up. He's done something wrong, but can't tell what. MATSON (sighs) I think you'll be surprised. I'm really not such a bad guy, Captain. WOLENCZAK (relenting slightly) That's good to know. CUT TO EXTERIOR _SEAQUEST_--CGI Standard exterior view, with WSKRS preceding the ship through the water. Caption reads: One week later. CUT TO REC ROOM Many crewmembers, in uniform and in off-duty clothing, are gathered around the main viewscreen in the room, including Reede, Riller, Trueman, Percell, Callan, Matthews and Burke. They're watching the broadcast of Matson's report on _seaQuest_. The screen shows Morgan, in her quarters, talking about her son. MORGAN (onscreen) ...John's living with my folks. They're pretty good to him, but I miss him terribly. He hit his first home run last spring. I missed it; I was out on training. (beat) He broke his finger a couple of weeks ago. I missed that, too. We talk as much as we can, but it's just not the same as being there, watching him grow up. He reminds me so much of his dad. MATSON (V.O.) Why did you leave him? Why didn't you just resign? MORGAN (onscreen, surprised at his question) I'd made a commitment to the UEO when they put me through school. I just never dreamed I'd end up here. (beat) But I'm here. And I have to do my best. Then maybe they'll transfer me landside. (beat, near tears) If we don't end up at war. If the Carolinans will just let us keep the peace. Camera pulls in on Reede and Trueman as they exchange surprised looks. TRUEMAN (upset) God, no wonder she's so quiet! I can't believe we've been so mean to her. REEDE (quietly, trying to calm her down) Becca, there's no way we could have known! Riller overhears them, noticing that Reede is too close to Trueman for Riller's comfort. He quickly joins in. RILLER He's right Becca-- Burke adds her two cents worth to the conversation. BURKE She didn't _have_ to be so standoffish. Morgan's voice from behind surprises them all. MORGAN (O.C.) Maybe she just didn't know any other way. The camera pulls back to show Morgan, still in uniform, standing in the doorway. The others look at her, speechless, as she turns and goes down the corridor. CUT TO WOLENCZAK'S OFFICE Wolenczak is at his desk. Hitchcock is on the viewscreen, speaking animatedly to him. HITCHCOCK You wouldn't believe the feedback we've had since the broadcast last night, Lucas. I don't know what you told your crew, but they were great. (beat) Even the people who wanted _seaQuest_ brought home last week are telling me your people are so committed to peace that they'll be sure to keep it. WOLENCZAK (wryly) I'm just glad he didn't use the tape of you ordering me to cooperate with him. (smiling slightly) He was in the way and underfoot. But it worked out okay. (beat) Why isn't there anything about Morgan's...situation...in her service jacket? HITCHCOCK (easily) Because she asked me to remove it. A quick, stunned silence. WOLENCZAK (a little puzzled) But why _did_ you? HITCHCOCK (matter-of-factly) First, I didn't think it should matter. She's very capable, and that should be all that counts. But as I thought about it... She stops. The words aren't coming easily. HITCHCOCK (hesitantly) I remember how you felt about your parents dumping you on _seaQuest_. I wasn't sure how you'd respond to her leaving her son behind. (beat, firmer) She was afraid you'd try to protect her. She had some trouble in the Academy, people judging her based on her appearance. And she was afraid of her family status making it worse. I think she's right. You have too much of Captain Bridger in you, and your own longing for a real family. You wouldn't have given her a chance to stretch. WOLENCZAK (puzzled) But why send her out here? Hitchcock seems surprised at the question. HITCHCOCK (simply) You asked for a science officer; she was the only one I had available at the time. Wolenczak looks startled at her answer--it's _that_ simple? HITCHCOCK (continues) And a tour on _seaQuest_ will help her get a post anywhere she wants. _If_ you'll treat her just like you treat anyone else. She pretends to be stern, shaking a finger at Wolenczak. HITCHCOCK (continues) No protecting her just because she's somebody's mother. WOLENCZAK (joking now) Your female-superiority kick again, Katie? HITCHCOCK (grinning affectionately) You'd better believe it! CUT TO CORRIDOR Morgan, in off-duty clothing, is knocking on Percell's door. Percell opens it, surprised to see Morgan there. MORGAN (awkwardly) I was wondering if you would help me with something... CUT TO BRIDGE It is the beginning of the morning's duty shift. Morgan is already busy at her station. She's changed; her hair is no longer pinned up, but is in a braided ponytail. Wolenczak is in the command chair. The rest of the regular bridge crew enter and take their places, logging on to their consoles. Trueman puts on her headset; Reede finishes logging on. As he does, all the screens on the bridge come alive with a clip from Matson's program. It's of Trueman. MATSON (V.O.) The kind of man you're describing sounds a lot like the helm officer. TRUEMAN (on-screen) God...No! The scene repeats. And again. And again. The camera pulls back to show Trueman and Reede both pushing buttons, frantically trying to make it stop. Trueman looks up to Percell for help. TRUEMAN (plaintive) Sara, can't _you_ turn it off? PERCELL (nonchalantly) Sorry. MORGAN Let me. She types for a moment, and the screens revert to their normal displays. Reede and Trueman suddenly realize the source of their embarrassment. REEDE (incredulous) You?! Morgan merely lifts her eyebrows, but gives no other reaction. Reede looks around the bridge, realizing just about everyone thinks he deserved it. Even Wolenczak is smiling at his discomfiture. Trueman is beet red. CUT TO MESS HALL Morgan is in line for dinner. Reede inserts himself in the line just behind her. She ignores him. REEDE (awkwardly) Umm, Morgan? She doesn't reply. Reede tries again. REEDE Look, Anne. (beat) Hey, my brother sent me a Paris Lasers World Series hat. It's a little small. Do you think, maybe, um, your son would like it? She looks at him for a long moment. Then she smiles shyly. MORGAN It's the _only_ thing John wants for Christmas. I haven't exactly been able to go shopping. And there's only a few days left. (beat) Thanks, Mister Reede. REEDE (still a little uncomfortable) It's Tom. (beat) Look, I'm....Well, we're, Becca and me, we're sorry we were so rough on you. (beat) We just didn't know. It's Morgan's turn to look uncomfortable as they put food on their trays. MORGAN Yeah, well, I didn't exactly advertise the fact. (beat, explaining) I've just never been very good at making friends. I'm great with test tubes, but people.... They begin to walk over to the tables. Percell and Callan motion for Reede to join them. Morgan starts heading for an empty table. REEDE (firmly) No you don't. You're eating with us. She looks surprised, but sits down with them. CALLAN (casually) I heard things were pretty interesting on the Bridge this morning. Morgan and Percell look at each other and laugh. MORGAN Thanks to Sara's help, I think I managed to even the score. The camera pulls back as the four begin to eat and talk. FADE TO BLACK THE END ========================================================================== Copyright 1996-97 by the seaQuest 2047 crew.