Date: Sun, 05 Oct 1997 20:02:28 -0400 From: Matt Subject: CA-T X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) seaQuest 2047 "Consenting Adults" Story by Victoria Morgan Hyde Written by Victoria Morgan Hyde & Don Speirs Sunday, October 5, 1997 Publication Draft Based on "seaQuest DSV" and "seaQuest 2032". TEASER OPEN ON PHILADELPHIA NAVAL SHIPYARDS >From an aerial view, the camera pulls in on _seaQuest_, no longer in drydock, but still not submerged, in her berth. Equipment surrounds the boat. CUT TO SCIENCE LAB The nearly completed lab is empty. Built-in equipment lines the bulkheads. It's all quite shiny and obviously new. Ensign Anne Morgan enters and looks around, a broad grin breaking out on her face. She makes the rounds of the room, touching equipment, running her hand over consoles...much as one might do with a new car. Captain Lucas Wolenczak enters. WOLENCZAK Sooo... (beat, grinning) Does it live up to expectations, or do you want us to do it again? Morgan turns, returning his smile. MORGAN Are you kidding? I don't think I could ask for better. (beat) And the module by the bridge is just as good. WOLENCZAK (teasing) Though why we need two science facilities for one rather diminutive ensign is beyond me... MORGAN ("offended") Hey, no fair. (beat) You're the one who told me to ask for the moon. Neither one of us actually thought we'd get it. WOLENCZAK (seriously) Let's just hope we can get you a staff to supervise in here. (beat) Although, frankly, it's not going to happen right away. He roams around, looking at labels on various pieces of equipment. WOLENCZAK (continues) The refit's just about done, and knowing Fleet Command, we're not going to get a regular shake-down cruise. Morgan looks at him curiously. This is a change in plans from what she'd heard. MORGAN (shrugging it off) Well, at least I'm working in a space that's designed for what I'm doing. I don't think I'll ruin things by complaining just yet. Through the open hatch joining the lab to MedBay, Lieutenant Commander Ed Taylor and Doctor Laura Taylor can be seen entering MedBay. They're laughing and happy. Wolenczak spots them, and his manner becomes even more serious. WOLENCZAK (sighs) There's a problem that's going to have to be dealt with soon. MORGAN What problem? WOLENCZAK A married couple serving on the same boat. Morgan nods and they both watch the Taylors for a moment as we... CUT TO NAVAL HOSPITAL Lieutenant Commander Greg Callan has obviously come a long way since we last saw him, unconscious, in _seaQuest_'s ICU. He is sitting up in a hospital bed, still bandaged, but making progress. His wife, Kelly Callan, is there by his side, smiling as he attempts to eat. He holds the fork unsteadily as he spears a piece of chicken, moves it slowly into his mouth and chews on it. KELLY (encouraging) Greg, that's wonderful. You're making progress every day. CALLAN (chewing carefully, his expression sullen) Right. (beat) But it's going to be embarrassing for me to have to ask the waiter cut up my food for me. KELLY (without thinking) I'll do that for you, Greg-- She stops as she sees the expression on his face, realizing her mistake. KELLY (softly) I'm-- (beat) All I want to do is help, honey. You know that. Callan squeezes his eyes shut for a moment, looking like he's fighting back tears. When he talks a moment later, his voice is very quiet. CALLAN (softly angry) You know what's the worst part? This didn't just take an arm and a leg. (beat) It took my dignity, too. Callan drops the fork to the floor and pushes the dinner tray away in frustration. He turns away, his head down. As he does, the camera pans to show us a physical therapist, Lieutenant Gerald Doty, entering the room. DOTY (oblivious) Good evening, Commander. Just wanted to drop by and let you know we'll be fitting you tomorrow morning. Doty waits, as Callan just ignores him. Kelly watches for a moment as the silence becomes awkward, then tries to fill the gap. KELLY Fitting Greg? DOTY (to Kelly) Yes, for the sockets for the new prosthetics. (beat, looking at Callan) Have to be sure they fit comfortably, you know, so they won't-- CALLAN (growling, still turned away) Get out. Kelly becomes alarmed at his tone of voice and tries to intervene. KELLY Greg, Lieutenant Doty is just trying to-- Callan turns toward them, his face a mask of competing emotions. Anger and hurt color his voice, which cracks with emotion. CALLAN Trying to help, Kelly? (beat) I don't need his help, or his pity. (beat, looking directly at Kelly) Or anyone else's. KELLY Greg, that's not fair-- CALLAN (shouting) _Dammit_, just leave me alone! Callan turns away again, facing the wall. Kelly is speechless in front of that reaction. She turns to Doty, who just shakes his head and walks out the door. As the door shuts, behind him, we pan over and see Callan turned away from the camera. His back moves up and down as he is wracked by sobs. Kelly comes over to lay one hand on his shoulder. FADE TO OPENING CREDITS END TEASER Date: Sun, 05 Oct 1997 20:02:44 -0400 From: Matt Subject: CA-1 X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) ACT ONE OPEN ON PHILADELPHIA BACHELOR OFFICERS' QUARTERS Lieutenant Commander William Goodwin and Lieutenant J.G. Tom Reede approach a door from opposite directions. Both are trying hard to look nonchalant; neither is succeeding very well. They both stop in front of the same door, though Reede reaches it first...by about a second. Goodwin, however, knocks on the door first, elbowing Reede aside to do so. They wait, eyeing each other, until the door is opened from within by Ensign Rebecca Trueman. TRUEMAN Hi, guys...what's up? REEDE (quickly) I just...uh...wondered if you'd heard anything from Sara lately? TRUEMAN (shaking her head) No, not really. She's been spending a lot of time with that guy, Mark. (beat, smiling) She _says_ they're just friends...but I'm starting to wonder. Goodwin gives Reede a look that reads "Is that the best you can do?" GOODWIN (smoothly) I'm sure you've been real worried about her. Why don't we go find something to do that'd cheer you up some? REEDE (quickly, glaring at Goodwin) Or if you don't feel up to that, we could just go have a quiet dinner... Trueman looks from one man to the other, quite aware of what's going on, but not sure whether to be amused or annoyed. TRUEMAN Well, actually, what I'd like is-- Suddenly a thud is heard against the door opposite. MORGAN (O.C.) Damn! TRUEMAN (to Reede) To think you used to call her the Ice Princess. She steps between the two men and knocks on the door. A disheveled Morgan answers, wearing an evening dress that's several inches too long, and too loose. Her hair is down and she's wearing mismatched earrings. Morgan only has one shoe on, and picks up another, different, one from in front of the door. TRUEMAN (concerned) Anne...are you okay? MORGAN (frustrated) Depends on your definition of okay. Why don't you just shoot me now and put me out of my misery? Trueman turns to the two men. TRUEMAN I don't think you guys are going to be needed here. This definitely looks like girl stuff to me. She walks into Morgan's quarters and closes the door in their faces. CUT TO MORGAN'S QUARTERS This room is not the way we're used to seeing Morgan's surroundings. Morgan's uniform is tossed on the bed. The mates to both shoes are on the floor; various jewelry is spilled across the dresser. TRUEMAN So, what's up? (beat) Great dress by the way. MORGAN (sarcastically, but not directed at Trueman) Yeah, great dress. (beat) The only thing right about it is that it's green. (beat) It's so long since I've bought anything like this; they must have changed the sizes again. That's what I get for buying through the mail. (beat, frustration rising) I only have two days either to gain twenty pounds and grow six inches, or to find something that fits. She suddenly gets a hopeful look on her face. MORGAN (continuing happily) Or maybe the Carolinans will attack someone and I'll have to cancel! TRUEMAN (totally lost) Cancel? MORGAN (explaining, but not very well) My date. TRUEMAN Date?! MORGAN (embarrassed) Yeah. TRUEMAN (pumping her for more) With...? MORGAN (more embarrassed) Vince. TRUEMAN Vince _Matson_?! Morgan sees Trueman's growing excitement and tries to downplay the importance of the event. MORGAN He's getting the Pulitzer for the report he did on us, and he asked me to come to the awards banquet with him. (beat, shrugging) He's just being nice. TRUEMAN (emphatically) Just being nice? (beat) Vince Matson has asked you to be his date for a _major_ thing and you call it "just being nice"? (beat, mock-seriously) We are going to have to work on your attitude a little, Anne. MORGAN (nervously) Becca, don't say things like that. I haven't been on a date like this in...well, since David and I were first married. (beat) Do _not_ make this worse than it is already. TRUEMAN You make it sound like it's a punishment or something. (beat) God, I'd go if it was me. (beat, dreamily) Vince Matson, rich important people, good food, lots of attention... Morgan turns pale. MORGAN (desperately) Becca..._don't_. Trueman rouses from her reverie and sees that she's not helping matters any. TRUEMAN (sighing) Okay...well, there's got to be somewhere around here that can do alterations in a hurry... She heads for the vidlink, Morgan trailing, as we... CUT TO EXTERIOR NAVAL HOSPITAL The rain is coming down hard, and people are scurrying to get to the main entrance. We see the reflection of lightning and hear some thunder. CUT TO NAVAL HOSPITAL, PHYSICAL THERAPY CLINIC The shot opens on the window, wet with rain. Reflected in the window is Kelly Callan, pensively looking out onto the rain. We pan behind her to see, in a wheelchair, Greg Callan. His eyes are closed, and he appears to be dozing. Lieutenant Doty walks in, again cheerful. His voice startles Callan awake. DOTY (sincere) Good morning, Commander. I'm sorry if we kept you waiting. Callan looks up at Doty, his manner still depressed and unresponsive. Doty is undeterred as he walks behind the table in the room and sits down. He pulls out a keyboard interface and starts to type. The vid screen on the wall comes to life, showing a wireframe diagram of a man. Below it, the screen reads "Case 48-0237-24: Callan, G." Doty finishes up a few keystrokes, hunting and pecking with two fingers, then looks up at the Callans. DOTY Right, then. Let's talk about our plan of action here. (beat) Commander, this is a fairly straightforward procedure. Step one is to implant a series of neural leads into the remaining tissue on your left arm and leg. These are self-bonding, and fairly easy to install, but they're critical to the next step in the process. KELLY How so? Doty looks to Callan for a response, but so far, he's just looking passively at the screen. He continues. DOTY Well, the leads will provide the feedback from the sensor net we've implanted in Greg's cerebral cortex... (pointing to the screen) ...Here. They shorten the transmission time to the units, as well as provide kinesthetic feedback, to allow a position sense. Despite himself, Callan is slowly perking up with interest as the engineering of the prosthetics unfolds before him. The engineer in him takes over, lighting his eyes from within. Kelly sees the change in Callan's attitude, and encouraged by it, continues to ask questions. KELLY Position sense? I'm not sure I understand. DOTY (nodding) It's sometimes a difficult concept to understand. But I think I can demonstrate. Put your arms out in front of you, Mrs. Callan, and then close your eyes. Kelly does so, as Callan watches. DOTY Now, without opening your eyes, raise your arms up over your head. (beat, as Kelly does so) Now lower them until they are straight in front of you. (beat, again as Kelly does this) One last test. Touch your nose with your left forefinger, and then your right. Kelly again complies. DOTY Now open your eyes. (beat) You were able to do all those movements without any visual cues because you _know_ where your hands are. You have a sense of location of your extremities. The neural circuits will enable the commander to feel that with his right arm, and the new left one. Callan snorts at that, disbelieving. CALLAN Trust me, doctor, _I'll_ know the difference. Doty looks over at Callan and makes a decision. Walking around the table, he pulls over a chair and reversing it, sits on it facing Callan. DOTY (straighforwardly) Commander, I know you've been through hell. But unless you give yourself the chance here to be whole again, to see yourself as more than just the sum of your parts, you'll never survive this. (beat) I happen to think both you and your wife here deserve better than that. Callan looks up at him, a spark of anger in his eyes. CALLAN (growling) You couldn't possibly know-- DOTY (cutting him off) Yes, I do. With that, Doty closes his eyes for a moment. There is an audible click, and his right arm goes limp. Reaching over with his left hand, Doty pulls his right arm out of his sleeve, and lays it on the table next to Callan. Kelly's mouth forms a soundless "oh" as she sinks into a chair. Callan just stares at the arm, lying there next to him, the hand upturned as if beckoning him. DOTY (quietly) I was 19 when the Macronesians attacked. I never saw the wall collapse. All I know is that someone helped me afterward. (beat) Let me help you, Greg. Callan looks up at him, trembling as the emotions again threaten to overwhelm him. He looks over at Kelly for support. CALLAN (to Kelly, his voice breaking) Let's get out of here..._now_. Callan shuts his eyes tightly, lost in the emotions. Heavy with defeat, Kelly moves over to him as he activates the controls on the wheelchair. They slowly leave the room. Doty just watches. CUT TO EXTERIOR UEO HEADQUARTERS We start with a view of a docking facility at the shoreline. Sitting on a bluff above it is an impressive set of buildings, silhouetted in the morning sun. A single tall tower is set in the center of four smaller rectangular buildings. The smaller buildings radiate outward to the north, south, east and west. As the camera moves through the air around the building, we see workmen putting the finishing touches on various projects. The camera shifts to a ground POV, looking up at the tower. The camera pans down, showing gardeners adding plants to the site. As we pan right past a reflecting pool, a concrete sign comes into view, with the UEO logo inlaid in mosaic tiles. Caption reads: "Ford Administration Building" New line: "New UEO Headquarters" New line: "Portland, Oregon" CUT TO ROBINSON'S OFFICE Admiral Wallace Robinson, UEO Chief of Naval Operations, is working out of his new office in the new headquarters complex. The desk is still covered with plastic sheeting, and there is a painter's scaffold against the wall. The large conference table is covered with papers, as Robinson is going over a number of items with his staff officer, Lieutenant Tendrament. TENDRAMENT (going down a checklist) The final acceptance on the communications facilities is scheduled for tomorrow. ROBINSON Good. We should be able to finish the move of the command staff by the start of next week. TENDRAMENT Yes, Sir. (beat) Sir, with the dedication ceremonies scheduled for the following Sunday, won't we run into transportation conflicts? ROBINSON (thinks a moment) Not if we make their arrival a deadline--and I put some teeth into it. Robinson smiles a bit at that and turns back to the diagrams on the table. The com unit on the desk starts to beep. Tendrament looks at it for a moment, then turns on the extension on the wall. TENRAMENT (businesslike) CNO's office. Lieutenant Tendrament speaking. COM OFFICER (over com) Sir, I have an incoming vidlink call for the admiral from Secretary General Hitchcock. ROBINSON Put it through. At the end of a table, a large high-definition screen displaying an image of the _Bon Homme Richard_ fades, replaced by the UEO logo and the words "incoming call." A second later, the image of UEO Secretary General Katherine Hitchcock appears. ROBINSON Katherine, to what do we owe the pleasure of your call? HITCHCOCK (on vidlink) Sorry to bother you, Admiral, but we've got a change in plans. ROBINSON (shaking his head for a second) How much of a bother depends on how much of a change we're talking about. HITCHCOCK Well, the date and time of the ceremony is still the same. There's just a _slight_ change to the guest list. Robinson looks up at the vidlink screen, a frown creasing his brow. ROBINSON Katherine, you know I hate playing games. Just cut to the chase. HITCHCOCK (taking a deep breath) I've extended a formal invitation for the dedication ceremonies to Eileen Ross. Robinson just stares at the screen, not sure he believes what he hears. HITCHCOCK (continuing) I have to do this, Wallace. (beat) I owe it to Jonathan's memory to try to keep his dream from disintegrating completely. ROBINSON (shaking his head) I won't even try to talk to you about the political side of this. That isn't my game. (beat) But inviting Eileen Ross here is going to create a number of security headaches. (beat) Wasn't one of the reasons we chose this site because it was about as far from the Carolinans as we could get? HITCHCOCK Yes. ROBINSON And of course, we're offering VIP tours to other leaders, so we'll have to give the same tour to the Carolinans. (beat) Katherine, why don't we just hand them the keys now? It would save us all the expense and hassle of this ceremony. HITCHCOCK (firmly) Wallace, I know you're not happy with this, but we'll already have the security on hand to handle this. ROBINSON (acquiescing) All right. But this isn't going to change anything. (beat) President Ross has her own agenda. (beat) And reunification isn't on it. (beat, changing tacks) Can I make one suggestion? We add one more element to the ceremony? HITCHCOCK (dubious) I'm listening. ROBINSON We need to show UEO's resolve to defend the principles we stand for. I propose we put one of our ships on static display for the dedication. HITCHCOCK Who'd you have in mind? ROBINSON (matter-of-factly) Well, for an occasion of this magnitude, I think we need the flagship. HITCHCOCK _seaQuest_? I thought she was still in the shipyards at Philadelphia? ROBINSON Lieutenant? Tendrament pulls out his notepad, and scrolls through his copy of the daily briefing. He stops at the correct location and notes the information. TENDRAMENT (reading from his notes) The _seaQuest_ refit and repairs are at 85 percent. Installation of the new science lab modules is completed, and repairs to the propulsion and weapons systems are finished. The design refits of the docking bays are on hold, due to the injuries to Commander Callan, and the damaged Marauders haven't been replaced. (beat) She's at reduced capacity, Sir, but she can sail on 48 hours notice. ROBINSON (turning back to the vidlink screen) Even with skirting around Carolinan territory, if she utilizes the Nicaraguan corridor, _seaQuest_ could be here in six days. Hitchcock thinks on it for a moment. HITCHCOCK I don't know, Wallace. Captain Wolenczak and his crew have been through a lot recently. Don't they deserve a rest? ROBINSON Katherine, _seaQuest_ is more than just a vessel. She's come to represent the lengths we'll go to defend the ideals we believe in. Having her there at the dedication is a statement of the strength of our ideals. (beat) I'll ensure that after the ceremony, we'll assign her to San Diego for an extensive shake-down, with a long in-port period. HITCHCOCK All right, Admiral. You win. Make the arrangements. I'll be in touch. She reaches out to touch a control, and the vidlink image irises closed, replaced with the ubiquitous UEO logo and the words "end transmission" underneath. Robinson stares at it for a moment, lost in thought. He ends his wool-gathering with a shake of his head and turns to Tendrament. ROBINSON Better get to work on this right away. Send a message to Captain Wolenczak with his new orders. (beat) And let's get ready for our_guest_. CUT TO WATERFRONT BISTRO It's evening and the sky is a shade of deep blue that comes somewhere between day and night. The Taylors are having dinner on a sheltered terrace overlooking the water. As Taylor pours his wife a glass of wine, a waiter enters, seating Commander Jessie Matthews at a small table right next to the Taylors. TAYLOR Well, Commander, it's a small world, isn't it? MATTHEWS (a bit surprised) Oh! Hi. (beat) I thought I was the only one who knew about this place. DR. TAYLOR Ed and I used to come here quite a bit. I went to med school here in Philadelphia. Matthews nods and turns her attention to the menu. The Taylors watch her for a moment. Dr. Taylor raises her eyebrows questioningly, and Taylor shrugs. DR. TAYLOR Would you like to join us, Commander? MATTHEWS (uncomfortable) Oh, I'm fine. (beat) I wouldn't want to disturb the two of you. TAYLOR (reassuringly) It's okay...really. (beat, with a wink) Actually, we've spent more time together the past couple of weeks than we have in five years. If we're not careful, we'll start fighting or something. Matthews looks at him curiously for a moment, then shrugs. MATTHEWS Okay. She picks up her menu and chair and takes them over to the Taylors' table. DR. TAYLOR I've been hearing rumors that we won't be doing a shakedown cruise. MATTHEWS (shrugging) You know how scuttlebutt is. At any rate...the captain wants all the senior staff at a meeting day after tomorrow. TAYLOR (teasing) So I'll know before you will, Laura. DR. TAYLOR (grinning) Just because you're senior staff and I'm not. Taylor squeezes her hand fondly, and Matthews picks up her menu again and begins studying it. She glances over the top of the menu at the Taylors, then back down. Dr. Taylor looks over at her husband, then at Matthews. DR. TAYLOR Okay, Jessie. Something's up, isn't it? Matthews puts her menu down and tries to look innocent. MATTHEWS Pardon me? TAYLOR (sighing, to Dr. Taylor) I knew it was too good to last, Laura. (beat, to Matthews) We're going to be split up, aren't we? Now that it's out in the open, Matthews looks more relaxed than she has since she came in. MATTHEWS (nodding) I'm afraid so. Off Taylor's dismayed expression we... CUT TO COMMERCIAL END ACT ONE Date: Sun, 05 Oct 1997 20:03:18 -0400 From: Matt Subject: CA-2 X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) ACT TWO OPEN ON BISTRO All is as before. MATTHEWS What to do with the two of you is the other thing the captain talked to me about today. But we're having a helluva time deciding which one of you we can spare. (beat) Frankly, we'd rather not lose either of you. But having a married couple on board... TAYLOR (rather bitter) I know. It's just not done. MATTHEWS (defensively) Look, if I had my way, we'd keep you both. There's a shortage of engineers _and_ of good doctors. (beat, sighing) But I'm stuck between a rock and a hard place here. DR. TAYLOR We're not blaming you. You're just doing your job. MATTHEWS Well, this is one part of being XO that I just plain don't like. She's looking decidedly unhappy when her PAL starts to beep. She takes it from her pocket and activates it. MATTHEWS Matthews here. DUTY OFFICER (over PAL) Commander, I'm sorry to bother you, but the Captain wants you to return to the boat immediately. MATTHEWS I see. Did he say why? DUTY OFFICER (over PAL) No, Ma'am. But we did receive a coded message for him thirty minutes ago from UEO Headquarters. MATTHEWS (sighing, to herself) His master's voice. DUTY OFFICER (over PAL, puzzled) Excuse me, Commander? MATTHEWS (quickly) Nothing. Please pass on my respects to the captain, and tell him I'm on my way. (beat, checking her watch) ETA is fifteen minutes. Matthews out. She puts her menu down on the table and rises. MATTHEWS (continuing) Looks like I'm not going to get the linguine after all. (beat) Enjoy your meal. I'll see you later. Matthews exits. TAYLOR Well. DR. TAYLOR, what? I'll just have to ask for a transfer. TAYLOR (surprised) What? (beat) But you love working with Burke...this is your dream job. DR. TAYLOR What, and you're not in your dream job now? (beat) Ed, you're chief engineer. You've dreamed of this for as long as we've known each other. TAYLOR Look, hon, it'd be a lot easier if I left. (beat) You know there's been some resentment about me...transferring in and then suddenly being made department head. (beat, chagrined) Although I'm not sure they'd welcome anyone but Callan with open arms. DR. TAYLOR (firmly) And you know you've more than proven your value in this refit. TAYLOR (upset) Laura, I'm not going to let you throw away a job you love just so I can-- (beat) Wait a minute. We're forgetting someone important. Dr. Taylor is obviously stumped. TAYLOR (excited) We'll call your brother. Comprehension dawns as Dr. Taylor nods her agreement. CUT TO WOLENCZAK'S OFFICE Wolenczak has three or four SEAPOCs and several good, old-fashioned clipboards on his desk and is comparing a couple of them. The hatch is open and Matthews approaches it, knocking once. WOLENCZAK (distracted) Yeah, c'mon in. MATTHEWS You wanted to see me, Captain? WOLENCZAK Yes, Commander. Seems we're invited to a party. He hands her a printout that she quickly scans. Her eyebrows raise. MATTHEWS They're kidding, right? WOLENCZAK That's the CNO's signature, Commander. You know Admiral Robinson as well as I do. Does that look like a joke to you? MATTHEWS Sorry I asked. (beat, looking at the message again) "Under way in 48 hours...dock at UEO Seabase Portland Sound no later than 1800 Thursday." (beat) Six days is cutting it close. We'll have to use the Nicaraguan Submarine Transit Lock. WOLENCZAK That was my understanding. I just hope we don't find the darn thing in Carolinan hands when we get there. I hear Tierra del Fuego is nasty this time of year. MATTHEWS I'll check into the intelligence reports before we get underway. (beat) And I'll move that senior staff briefing to tomorrow morning. No need to ruin anyone else's evening. (beat, noticing all the clutter on Wolenczak's desk) I know you're a genius, but can you really keep all those lists straight at once? Wolenczak runs a hand through his hair and leans back. WOLENCZAK (grinning) Multitasking at its finest. MATTHEWS You _do_ have section heads to take care of all that, you know. WOLENCZAK I know. But Bridger and Hudson both had a thing for keeping track of the little things. (beat) They said if you don't know what's going on on your own boat, you're not going to be able to run it very well. (beat) I still don't feel right if I don't know the details. (beat, with an edge) Like who's being assigned to my boat. MATTHEWS I still haven't managed to find out how Taylor got assigned here, with his wife already on staff. (beat, sighing) And I still haven't figured out which one of them we can spare. WOLENCZAK Well, Taylor's really gone above and beyond with the refit. He hasn't really even taken a leave, just a day off here and there. (beat) And Burke was in here yesterday singing Laura Taylor's praises. Says she's indispensable and if I let someone with her psychiatric training go, I'm nuts. Matthews grins at the remark. MATTHEWS And we're just going around in circles here, aren't we? As Wolenczak nods, his console beeps. Wolenczak punches a button. VOICE (over com) Captain? WOLENCZAK Yeah? VOICE (over com) I have an incoming vidlink transmission for you, Sir. WOLENCZAK Put it through. Wolenczak's console comes to life. On the screen is Bertram Arleigh. The attorney obviously hasn't changed his taste in clothes; he's wearing a burnt-orange jacket with a lime green shirt. ARLEIGH (on vidlink) Lucas, we've got a problem here. Off Wolenczak's surprised expression, we... CUT TO EXTERIOR EWS HEADQUARTERS Security guards patrol the grounds. Though it's late, light shows at many of the windows. CUT TO WALKER'S OFFICE Ted Walker is seated behind his desk, feet resting on the top of it. Andrea Berger, dressed in her "corporate assistant" garb, is seated across the desk from him. They're in the middle of a conversation. WALKER ...And be sure to bring something nice with you, Andie. We'll be going up to New York in the Lear jet for the Pulitzer banquet tomorrow night. BERGER (pouting) Teddy, you know I hate New York in the autumn. It's so damned cold and gray. WALKER (shrugging) Well, ten years ago they changed from doing it in the spring because _that_ was so cold and grey. (beat, smiling) And besides, this'll be worth it. I made a big donation to the Pulitzer fund this year, and we'll be sitting with one of the prize-winners at dinner. (beat) Oh, and are you free to come to the UEO Headquarters dedication with me next Sunday? BERGER (grinning unpleasantly) Do I get to take another shot at Hitchcock? Walker gets a little flustered. WALKER No, Andie...they'll have security guards all over the place. Worse than when Hitchcock was sworn in. You'd be caught before you could walk ten steps. (beat) This is just to get you familiar with the place. Give them time to get comfortable. Then...maybe...you'll get another chance. BERGER You know how I hate having to wait for presents, Teddy. (beat) But I guess I can do it. The two share a knowing look as we... CUT TO WOLENCZAK'S OFFICE Wolenczak and Arleigh are still discussing the "problem." Form the look on Wolenczak's face, the discussion isn't quite going as he had expected. WOLENCZAK (firmly) Bert, this isn't going to work. You're talking about going against years of naval tradition. ARLEIGH (leaning in toward the vidlink pickup) Sure. Just like the tradition that said women on board a ship were bad luck. Or the tradition of sacrificing a virgin onboard to appease the gods. (beat, a humorous gleam in his eye) Or have you been sacrificing any virgins lately onboard _seaQuest_? Matthews chuckles softly. Wolenczak looks over at her, his glare conveying a "not now" message to her. She subsides and tries to assume an air of professional disinterest, with only moderate success. Wolenczak sits on the edge of his desk, facing the vidlink screen. WOLENCZAK You're being ridiculous, Bert-- ARLEIGH (interrupting) And you're being stubborn. WOLENCZAK (firmly) Married couples do not serve together on UEO vessels. Period. ARLEIGH Says who? WOLENCZAK The UEO Personnel Manual. (beat, cutting in before Arleigh can respond) _Chapter_ 4, _Section_ 2, _Paragraph_ 11(a). Arleigh is about to say something, then stops and whistles. ARLEIGH Wow, Lucas. I've never known you to quote chapter and verse before. (beat, seriously) But before you do that, I suggest you take a look at the preceding paragraph. It deals with concurrent assignments and dependent care arrangements. WOLENCZAK I know that. It's part of the reason why the Taylors can't both stay. ARLEIGH (jumping on that concession) But what if they _don't_ have any kids, Captain? Wolenczak stops for a minute. He starts to say something, then stops again. ARLEIGH (continuing) If the personnel in question don't have any children, why shouldn't they be allowed to serve a concurrent tour? WOLENCZAK (doubtful) You realize that this won't be my decision, Bert? That I have to take it up with headquarters? ARLEIGH That's all these people are asking, Lucas. They'll accept whatever happens, but be honest. You lose either of them, you'll lose a valuable asset to your crew. MATTHEWS I have to agree, Sir. I'd rather we kept them both. Wolenczak looks at Matthews, then back at the vidlink. He nods once as he gets up and heads toward his chair. WOLENCZAK All right, you win. Against my own better judgment, I'll forward a request to keep them both on board, along with your arguments. (beat) On two conditions. ARLEIGH (cautiously) What conditions? Wolenczak sits down and leans his chair back, his hands behind his head. WOLENCZAK First, you explain to me why _you_ got involved in a personnel matter like this. ARLEIGH (uncomfortably) Well, um...it's a little complicated, Captain. WOLENCZAK Try me. ARLEIGH It's a..._family_ matter, Captain Wolenczak. Wolenczak and Matthews share a look, as both their eyebrows rise slowly. They look at the vidlink screen. WOLENCZAK (slowly) Family? ARLEIGH Yes, Captain, family. (beat) I _do_ have one. (beat, a little more confident) In fact, I'm surprised you didn't figure it out. I mean, it _is_ right there in her personnel record. MATTHEWS Doctor Taylor's? ARLEIGH (nodding) Well, Taylor's her married name. She grew up as Laura Arleigh. (beat) She's my kid sister. Wolenczak blinks for a moment, surprised. WOLENCZAK Your _kid_ sister? ARLEIGH Trust me, Captain. You don't want to know. Wolenczak looks at Matthews, who is stifling a laugh. His expression shows a desire to investigate this more...later. He nods and looks back at the vidlink. WOLENCZAK All right. The other thing, Advocate Arleigh, is simple. (beat, loudly) Don't you ever call me again wearing those colors. My eyes hurt just to _look_ at you. ARLEIGH (chuckling) You're just jealous because you can't pull this off with style, Lucas. (beat) I'll talk to you later, Captain. Oh, and thanks. WOLENCZAK (surprised) For what? ARLEIGH Being willing to listen. Arliegh terminates the vidlink. Wolenczak blinks for a second, then rests his head on his hands for a moment. MATTHEWS Headache, Sir? WOLENCZAK (nodding) Yeah. But I'm not sure if it's from having to look at Bert's wardrobe, or in anticipation of Admiral Robinson's reply to the call I'm going to make. MATTHEWS (nodding, in mock sympathy) Well, better you than me, Sir. Wolenczak looks up at her. WOLENCZAK Don't worry, XO. You'll get your shot. (beat) Just be sure that _your_ XO checks personnel files more thoroughly... Matthews looks at him guiltily for a moment, then laughs outright. CUT TO HITCHCOCK'S OFFICE Hitchock's office is full of boxes; very few personal items remain out. She's obviously ready to transfer everything to the new headquarters. Fall sunlight streams in through the blinds. Hitchcock is on vidlink with Carolinan Confederation President Eileen Ross. Her attitude is friendly, but in a forced way. Ross is playing on these feelings. ROSS (on vidlink) Madame Secretary, while I _am_ flattered by your invitation, I just don't see how I could possibly attend. HITCHCOCK Madame President, look at it this way. You appear at this, and your status as someone seeking peaceful coexistence is enhanced. (beat, seriously) You don't, and you'll forever confirm that you lead a rogue state, only interested in territorial expansion and conflict. ROSS (dropping all pretense) Oh, please, Katherine. You need me here. So I'll make it simple. (beat) What's in it for me? Hitchcock stares at the screen, amazed at Ross' brazen attitude. HITCHCOCK No, you've got it wrong, _Eileen_. (beat) I don't _need_ you. But deep down, despite everything you've done, I still believe there's hope that if we continue to talk, if we continue to try, someday, you'll realize that together, we're stronger than we are apart. Ross smiles, feeling superior at Hitchcock's reaction. ROSS (tsk-tsking) You are so naive. (beat, sighing) Still, the world expects us to make a show at trying to maintain the peace. So I'll be there. (beat) Provided, of course, you can ensure my security? I mean, haven't you had a number of attempts on your life since you came into office? I'd hate to be at risk because someone aimed at you and... (beat, rubbing it in) ...Missed. HITCHCOCK (reining in her anger) More likely I'll get hurt as collateral damage from an attempt aimed at you. But don't worry. You'll be safe. (beat) Have your security chief contact Admiral Robinson at the new complex to make arrangements for your visit. (beat) I won't say it's a pleasure...but I hope the next time we meet will be more pleasant. Before Ross can reply, Hitchcock terminates the vidlink. She sits down at her desk for a moment, and stares at the picture on the desk. It's a portrait from earlier days, of her, Ben Krieg and Jonathan Ford. HITCHCOCK Jonathan...I'm trying. But you never warned me it'd be this hard. FADE TO COMMERCIAL END ACT TWO Date: Sun, 05 Oct 1997 20:10:51 -0400 From: Matt Subject: CA-3 X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) ACT THREE OPEN ON EXTERIOR NAVAL HOSPITAL It's a bright, clear day outside, the previous day's rain having cleared the air. A number of patients and their guests or nurses are walking among the trees. As the camera pans among the trees, we come upon Callan and Kelly, sitting in the shade of one tree. Kelly has out a portable computer terminal, and is displaying the specs for the new prosthetic limbs, occasionally pointing out something to Callan, who sits there unresponsive, his eyes closed. KELLY (continuing to read from the screen) "...Synthimyomer muscle bundles...cadmium hydride batteries...foamed ceramic polymer skeleton." (beat, looking up at Callan) Greg, you've gotta admit the engineering behind these things is incredible. Callan shuts his eyes tighter, turning away from her in his wheelchair. Frustration overcoming her restraint, Kelly puts the terminal abruptly aside and stands over Callan. She turns the wheelchair toward her, forcing Callan to look at her. KELLY (furious) I have had enough of this, Gregory Scott Callan. I've had the rest of my family stolen from me...I'm _not_ giving you up without a fight. Callan opens his eyes. They look haunted and sunken, as he regards Kelly for a moment, then slides his gaze downward toward the portable terminal lying there. When he finally speaks, his voice is barely above a whisper. CALLAN What have you got to be angry about? You got what _you_ wanted. I'm beached, off _seaQuest_ forever, and now you've got me right where you want me. Kelly tries to say something, but he cuts her off. CALLAN (his voice rising angrily) Only this isn't the Greg Callan you wanted, is it? (beat) This Greg Callan can't stand by you anymore, his arms around you during a sunset. (beat, heavy with anger and fear) You want me to get these..._things_ attached to my body, to fix the broken toy. But if I do, whenever I touch you with them... (beat, cold and distant) ...You'll know it's not really me anymore. (beat, stifling a sob) _You'll know_!! Callan violently jabs at the wheelchair's controls, and starts to roll away. As he starts down the hill, the chair turns and topples over, spilling him onto the grass. KELLY Greg!! Horrified, she runs to him, trying to help him up. Screaming angrily, he tries to beat her off with his remaining arm. CALLAN Leave me alone! I don't want your help! (beat) I don't want you...I...don't...want... Kelly just lets his blows fall on her, holding him close. Quickly, he stops hitting her, and his arm wraps around her tightly. His anger turns to tears, and Callan collapses in her arms, sobbing. Kelly's tears soon mix with his. KELLY (crying) Please come back to me, Greg. I need you. CALLAN (the emotions pouring out) When that grenade went off, all I could think of in the last moment was that I wanted to hold you, just one last time... (beat) ...And when I woke up, I was so glad to be alive...until I...realized that I never will...be able to...be...able to... His voice trails off as the tears flow down his cheeks. KELLY Greg... CALLAN (through his sobs) I want so badly to hold you...and I never will again... He dissolves into tears, his head buried against Kelly's chest. Kelly looks up, crying, unsure of what to say. Instead, she lets him cry as she gently holds him close to her, rocking him. CUT TO SEAQUEST WARDROOM For the first time since _seaQuest_ reached Philadelphia, her senior staff are gathered in the wardroom. Some of the faces are not ones we're used to seeing here. Wolenczak, Matthews, Reede, Trueman and Morgan are in their usual places, as are Doctor Meridith Burke and Lieutenant Justin Riller. But Taylor fills Callan's place, and Goodwin is in the meeting, too. Several of those at the table look a bit worried. REEDE (shaking his head) ...And _I_ heard they're sending us straight into the Gulf of Mexico. Matthews looks over at him, ready to say something, when Wolenczak enters the room and sits at the head of the table. WOLENCZAK (with a grin) Dearly beloved, we are gathered here today... His wisecrack has the desired effect...the tension eases. WOLENCZAK (continuing) Look, I know you've all been hearing a lot of scuttlebutt about why we're rushing the final checks on this boat. (beat) I've heard some of the speculation, and you can all rest assured that we're not going into battle. (beat, wryly) The pleasure of our company has been requested in Portland for the dedication of the new headquarters facility. We're being put on display. BURKE (getting directly to the point) How can they put us on display when the paint's barely dry? WOLENCZAK (shrugging) The powers that be want to make an impression. It's our job to make it. (beat) We'll be shipping out at 2200 tomorrow, so you'd better say your goodbyes to this town tonight. (beat) For those who haven't given me status reports on your departments, I'd like those by 0900 tomorrow. New crew will be checked in by 1200. (beat, looking around) If there are no questions... GOODWIN Just one, Sir. (beat) I'm not sure why I'm in on this meeting. I've got no department to be head of. WOLENCZAK (bluntly) You'll be taking Percell's place at sensors until she's back with us. (beat) I expect everyone, even my fighter pilots, to be able to make themselves useful on the bridge. This is a good chance for you to get some experience. Goodwin nods, looking thoughtful. WOLENCZAK Right, then. Dismissed. Matthews, Burke, Wolenczak and Taylor leave. MORGAN (to Trueman) That's cutting it close...I'll have to change my flight back from New York to tomorrow morning. (beat, checking her watch) And now I'd better get moving, or I won't be needing a flight back. TRUEMAN (teasing) Oh, so you _would_ mind if you missed your big date? MORGAN (grinning) Well...maybe a little. GOODWIN (drawling) Well, now, Ant...who managed to rope a spirited little filly like you into a date? Morgan looks up at Goodwin very seriously, but with a gleam in her eye. MORGAN (imitating Goodwin) Well, now, Mad Dog...how 'bout you drop the cowboy act? (beat) I thought cowboys went out when beef was banned. Goodwin looks startled for a moment, then laughs. GOODWIN (without the drawl) Come on, Ant. Give a guy a break. All fighter pilots have to have their...idiosyncrasies. Trueman laughs at this. TRUEMAN Idiosyncrasies? That's a Texas-sized word. Reede decides Goodwin's had more than his share of the attention. REEDE So just what _is_ this big date, Anne? MORGAN (shyly) Vince asked me to come to the Pulitzer banquet with him. (beat, quickly) He's getting an award for that piece he did on us, and it's really nice of him to ask me to be there... RILLER Anne...he likes you. MORGAN Well, of course he does. We've been keeping in touch and he's been just great to John, and- REEDE (cutting in, teasing) No, Anne...he _likes_ you. MORGAN (flustered) I...um...he... Trueman comes to Morgan's rescue. TRUEMAN If I were you, Anne, I'd get out of here _now_. These guys are merciless. (beat) But _promise_ to get us autographs. MORGAN (smiling again) I will! With a quick hug for Trueman, she leaves. REEDE (to Trueman) Actually, a date sounds like a good idea. (beat) Ed Taylor told me about a nice little place on the water, sounds perfect for a last evening in the city. Before Trueman can say anything, Goodwin speaks. GOODWIN Nah, what you need, Becca, is to paint the town. God only knows when we'll be here again. Might as well make it a night to remember. Reede turns to Goodwin. REEDE (snidely) And I suppose your idea of a night to remember includes getting extremely drunk and ending up in a hotel somewhere? GOODWIN (hotly) Well, it's a helluva lot more fun than sitting around watching the waves. REEDE You have no idea how to treat a woman, do you? Riller looks absolutely disgusted, while Trueman looks amused. RILLER C'mon, Becca, let's get out of here. He grabs Trueman by the arm and pulls her out the hatch. CUT TO PULITZER AWARDS BANQUET Journalism's biggest names are out in full force, as are the rich and powerful. We first see Walker and Berger chatting with someone. Berger's hair is up, and is dark chestnut brown today. She is wearing colored contact lenses, giving her hazel eyes. The two of them mill casually through the crowd, then stop, taking drinks from a passing waiter and looking about. WALKER (pointing surreptitiously) There's Vince Matson. (beat) I made sure we'd be at his table. (beat, staring a bit) Who's the woman with him? She looks familiar somehow... (beat, shrugging it off) Doesn't really look his type. Berger follows his gaze. A slow, predatory smile crosses her face. BERGER Well...there _is_ a God. (beat) That's my friend Ensign Morgan. From _seaQuest_. WALKER (panicking a bit) Oh no...We'd better get out of here. BERGER (determined) Nonsense. UEO doesn't even know my name yet. Except for you calling me Andie with that Percell woman listening. (beat) So tonight, my name's Alexandra LeMont. (beat, with an edge) Do you think you can remember that, Teddy? Walker nods slightly, still looking nervous. A voice comes over the PA. VOICE Ladies and gentlemen, dinner will be served shortly, if you'd like to please take your seats. The crowd begins a fairly organized shuffle over to their respective tables. We follow Berger and Walker to theirs, where Vince Matson is holding a chair for Morgan. He looks quite dashing in his tuxedo. Morgan's dress now fits quite nicely. It's deep green, simply cut, with beading around the neck and armholes. Her hair is up, but more elaborately so than her usual on-duty bun. Matson turns to Walker and holds out a hand. MATSON (as they shake) Ted. Good to see you. WALKER Likewise, Vince. Congratulations on your award. Your second, I believe? MATSON (smiling) That's right. But, hopefully, not my last. WALKER And who's this lovely lady with you? MATSON (smoothly) Anne Morgan, meet Ted Walker. Walker clasps Morgan's hand in both of his own. WALKER (turning on the charm) Ah, yes. The star of Vince's little expose on _seaQuest_. MORGAN (shyly) That's very kind of you, but I hardly think I was the star. BERGER Oh, don't be silly. It was the interview with you that gave the piece so much...heart. Walker drops Morgan's hand and puts an arm around Berger's shoulders. WALKER My date, Alexandra LeMont. Matson shakes Berger's hand. Morgan looks at her carefully, a puzzled expression on her face. MORGAN Don't I know you from somewhere? CUT TO COMMERCIAL END ACT THREE Date: Sun, 05 Oct 1997 20:18:16 -0400 From: Matt Subject: "Consenting Adults" (Act 4) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) ACT FOUR OPEN ON PULITZER AWARDS BANQUET All is as before. BERGER (off-handedly) No, I don't believe we've met before. MORGAN (shaking her head) You just seem familiar to me somehow. BERGER (smiling) I've been told I have one of those faces that's familiar to everyone. Morgan appears to accept the explanation, but during the conversation, she occasionally gives Berger a quizzical glance, as if still trying to place her. WALKER (to Morgan) I understand you've had quite a few adventures since you've been aboard _seaQuest_. MATSON (politely, but with just a hint of an edge) Of course, EWS was even involved in a couple of them. Walker acknowledges Matson's comment with a raised eyebrow, nothing more. BERGER And you, Vince...you've been reporting on several of those adventures. I didn't realize you were working for UEO Public Relations now. MATSON (good-natured) Touche. (beat) And I think you know my answer...I'm not. (beat) But _seaQuest_ is one hell of a good story. BERGER (archly, indicating Morgan) And do you get...inside information? MORGAN (a bit defensive) Vince has _never_ asked me-- BERGER ("sweetly") Calm down, Ensign. (beat) But...I'm curious. Rumor has it that you were...abducted...by some kind of terrorist. Yet I never saw anything to that effect on the news. (beat, pointedly) Why is that? MORGAN (stiffly) The incident is still under investigation. (beat) Until UEO issues a report, all the particulars are classified. (beat, a little friendlier) Vince knows as much about it as you seem to, and he respects our friendship enough not to push for details. The mood at the table is getting tense; Matson attempts to defuse it. MATSON (grinning) You should have seen Anne with that black eye, though..._very_ attractive! They laugh as a waitress begins to serve their salads. CUT TO EXTERIOR _SEAQUEST_ Under the glare of mercury arc lamps, the _seaQuest_ sits dockside. Last minute preparations are in progress for the boat to ship out; supplies are loaded aboard. CUT TO WOLENCZAK'S OFFICE The captain is busy working on the pile of reports that any command generates: final inspection approvals, duty rosters, personnel awards, and more are stacked about seven inches high in the inbox on the corner of his desk. Wolenczak finishes looking at one folder, signs the paper inside it, closes it, and deposits it into the outbox. With a sigh, he grabs the next report as there is a knock on the hatch. WOLENCZAK (not looking up) Come in. The hatch opens, and Taylor walks in, carrying a few more reports. He steps inside the door and waits for the captain to acknowledge him, but Wolenczak is engrossed in the report he's reading. Finally, Taylor clears his throat. WOLENCZAK (still not looking up) Sorry, Commander, but I need to finish this report. Just tell me what you have. Taylor crosses over to his desk. TAYLOR The evening duty section muster. (beat, drops folder into the tray) The results of the propulsion plant certification tests. We were able to sustain 110 percent of rated power for fifteen minutes with no problems. (beat, drops another folder into the tray) And the latest stuff from the admin office for your signature. Taylor drops the remaining folders into the inbox as Wolenczak continues to read. WOLENCZAK (still reading) So what's still left before we get underway? TAYLOR Some personnel transfers, some paint is still wet in spots, and final power distribution system tests. I've scheduled those for 0400, to minimize disruptions to the crew. Wolenczak nods, then looks up at Taylor. WOLENCZAK Well, it sounds like you have everything pretty well in hand, Commander. Carry on. TAYLOR Aye, Sir. Taylor turns to exit as Wolenczak signs the report and drops it into his out basket, then grabs the next folder in the stack. As he reads it, his eyes widen a bit, and he looks up. WOLENCZAK Commander Taylor, belay that! (beat, standing) Would you please step in here? Taylor steps back through the hatch and closes it behind him. Wolenczak crosses to him, waving the folder at Taylor. WOLENCZAK Would you please explain to me the meaning of _this_? TAYLOR I would think it's pretty straightforward, Sir. I've requested a transfer off of _seaQuest_. WOLENCZAK Why? TAYLOR Personal reasons, Sir. Wolenczak looks at Taylor, expecting him to elaborate. Taylor just stares back. After a moment, Wolenczak reaches a decision. He crosses quickly over to his desk and activates a vidlink call to MedBay. The vidlink screen opens to show the duty nurses' station in MedBay. Fraley, a fresh-faced young orderly is working on some paperwork. He looks over at the screen, sees it is the captain, and immediately jumps to attention. Taylor stifles a grin at this. FRALEY Captain, Sir. I apologize, Sir. I didn't know it was you, Sir. WOLENCZAK That's quite all right, Corpsman... FRALEY Fraley, Sir. Hospitalman Apprentice Fraley, Sir. Wolenczak is a bit bemused. WOLENCZAK At ease, Fraley. I need you to track down Doctor Taylor and ask her to report to my office immediately. FRALEY Aye, Sir! I'll get right on it, Sir. Fraley turns and leaves the MedBay, leaving the vidlink activated. A few seconds later, he returns, embarrassed. Sheeplishly, he reaches up to terminate the vidlink. The screen is replaced with the words "Transmission Ended." Wolenczak turns back to Taylor. WOLENCZAK Sit down and relax, Commander. I had wanted to talk to you and your wife together anyway. (beat, wryly) You just forced the issue a little sooner than I was ready for. TAYLOR (taking a seat) I apologize for that, but we both know that I'm only in this job as long as Greg Callan is gone. _seaQuest_ is his baby, and-- WOLENCZAK (interrupting) And he's going to want to come back. I know that. (beat, sitting in chair across from Taylor) But the fact is, Commander Callan was severely injured in the incident, and when, or even _if_, he'll return hasn't been determined. And if he does come back, it may not be in the same role as head of Engineering. (beat, leaning in) A lot is still up in the air, Commander, and I'd rather we concentrated on getting this boat back underway and ready to serve again. For that, I need _you_. Here and now. Taylor is about to reply whene there is a knock on the hatch. Before Wolenczak can reply, the hatch opens and Doctor Taylor rushes in, wearing a pair of sweats and carrying an emergency medical pack. DR. TAYLOR Captain, are you all right? She rushes over to Wolenczak and immediately starts to check his pulse. DR. TAYLOR You feel fine. (beat, puzzled) Where's the emergency? WOLENCZAK (equally puzzled) What emergency? DR. TAYLOR Corpsman Fraley ran in to the gym, claiming you had called about an emergency in your office, and needed me there now. So I jumped off the treadmill and ran over here. Taylor starts to chuckle in the background, as Wolenczak closes his eyes. Pinching the bridge of his nose with one hand, he slumps wearily down into the chair. WOLENCZAK (sighing) Please, God, save us from eager young sailors. (beat) I told him that I needed to you to report here right away. I just wanted to talk to you and your husband together. DR. TAYLOR No emergency? Wolenczak and Taylor both shake their heads. DR. TAYLOR (continuing) I'll kill him. TAYLOR (amused) I don't know, he did get you here immediately. He may have been a little...overly enthusiastic to please... Doctor Taylor hmph's once in amusement at that, as Taylor continues. TAYLOR (continuing) ...But he seems like a good kid. WOLENCZAK Well, however he got you here, it worked. Have a seat, Doctor. Wolenczak indicates a chair next to her husband. Doctor Taylor moves over to it and sits. Without thinking, her hand seeks out her husband's, who clasps hers gladly. WOLENCZAK All right. First off, I want you to know that I am extremely pleased with the work both of you are doing on board. (beat) I've already mentioned this to you, Commander. And Doctor Burke can't seem to sing your praises enough...and has threatened me with bodily harm if I let you go. DR. TAYLOR (smiling) Well, I'm sure Meredith will be able to survive without me, Captain. You see, my request for transfer is already on your desk. Wolenczak and Taylor both look at her, surprised. Wolenczak gets up and goes over to his desk. Quickly rifling through the stack in his inbox, he finds the folder with her transfer request. He takes it out of the pile, and along with Taylor's, carries it back with him to the chairs. WOLENCZAK By the regs, I'm supposed to forward these up to UEO HQ immediately. But the regs don't say _how_ I'm supposed to get them there...and since we're sailing for the new HQ tomorrow, I'll hold onto these awhile. (beat) That said, you might want to reconsider these. I talked earlier today with Admiral Robinson, and he _reluctantly_ agreed that the regulations could be interpreted to let you both be assigned here. (beat, seriously) But, and I can't stress this enough, this is an experiment. If I find it's not working, then I won't have a choice but to put one of you on the beach. (beat) If that happens, then, unfortunately, you're my choice to go, Doctor. I can afford to lose my backup medical, but I need a chief engineer. The Taylors look at each other and nod. TAYLOR That's fair enough, Captain. We appreciate you taking a chance on us. We'll do our best to ensure you won't regret it. WOLENCZAK See that you don't. (beat) Oh, and next time, I would prefer you come talk to me before you bring in a lawyer. Doctor Taylor stands up slowly, a confused look on her face. DR. TAYLOR (puzzled) Lawyer? (beat, dawning comprehension) Oh, no...he called? Wolenczak just nods. Doctor Taylor groans and hides her face in embarrassment. Taylor stands up and puts his arm around his wife. TAYLOR (sheepishly) That was my idea, Captain. But my brother-in-law told us he couldn't get involved, that he would be taking advantage of a friendship. WOLENCZAK I wouldn't go _that_ far. But the new interpretation was _his idea_. DR. TAYLOR (looking up) His idea? That sneaky... WOLENCZAK Well, I suppose that's why he's a lawyer. (beat) When you call him, tell him I said hello... (beat) ...And tell him to swing by Brooks Brothers next time he needs a new suit. Doctor Taylor starts to chuckle at that. TAYLOR My brother-in-law? Never. (beat, offering handshake to Wolenczak) Thank you again, Sir. Wolenczak accepts the handshake. WOLENCZAK You're welcome. (beat, indicating desk) Now get back to work. I've got to finish all of this tonight. The Taylors smile as they exit, hand in hand. Wolenczak watches them leave, shaking his head, then heads back to his desk. Just as he sits down, his intercom sounds. Wolenczak glares at it, then switches it on. WOLENCZAK (gruffly) Captain speaking. This had better be good. DUTY OFFICER (over com) Sorry to bother you Sir, but you have an incoming vidlink call-- WOLENCZAK (exasperated) I've got a ton of paperwork to catch up on here. (beat, running one hand through his hair) Please give whoever it is my apologies and take a message. DUTY OFFICER (over com, hesitantly) Sir, you may want to take this call. It's from Kelly Callan. Wolenczak looks up thoughtfully at that, and sits back in his chair, remembering his last conversation with Kelly. DUTY OFFICER (over com) Sir? WOLENCZAK (sighing) Patch it through. DUTY OFFICER (over com) Aye, Sir. Wolenczak shuts down the intercom and faces the vidlink screen. Quickly an image of Kelly Callan pops up. She looks incredibly distraught. Wolenczak notices this immediately. WOLENCZAK (concerned) Kelly, is everything okay? KELLY (fighting back tears) Lucas, I'm losing him. And I don't know what to do... (beat) I need your help. Wolenczak stands up, a look of deep concern on his face, as we... CUT TO PULITZER AWARDS BANQUET The dinner has ended. A jazz band plays at moderate volume. Matson and Morgan are on the floor. MATSON (teasing) So, Anne...having fun yet? She looks up at him, grinning. MORGAN I didn't think I'd like being in this kind of a crowd. But it's been really a lovely evening, Vince. Thanks. MATSON (carefully) You look really beautiful tonight. (beat, more seriously) Look, Anne, you've got to know by now how I feel about-- Matson is cut off as someone taps him on the shoulder. As he turns to accept more congratulations on his award, the camera pans to Berger and Walker at their table. BERGER (agitated) I think she's playing games with us. WALKER Who? Morgan? BERGER (nodding) She knows who I am. She's just messing with me. WALKER (passively) You sure, Andie? I mean, you _do_ look different tonight. BERGER (shortly) Well, _I'd_ recognize me. She looks over to Morgan and Matson on the dance floor, as the camera pans back over to them. Matson's attention is back on Morgan. MATSON Now...where was I...oh yeah... (beat, smiling) I've enjoyed the evening, too, Anne. A lot. (beat) Mainly because you're here with me. Morgan looks up at him sharply, embarrassed. MORGAN Vince, I-- MATSON Look, Anne, I'm not asking you to forget David. I know you can't. I don't _want_ you to. But I _am_ asking you to think about me. (beat, wistfully) I think about you. (beat) A lot. Before Morgan is able to respond to his statement, Matson bends down and kisses her. When he finishes, Morgan steps back from him. MORGAN Vince...I _do_ think about you. (beat, smiling) Can't help it...John talks about you all the time. Mentioning her son jogs Morgan's memory; she checks her watch. MORGAN (continuing) And I promised I'd call him right about now. (beat) It was so nice of you to bring him along...he's having the time of his life watching movies in our room. But I really do need to check on him. She exits, and the camera follows Matson to their table. WALKER (genially) Lost your date? MATSON (shrugging) She had to make a phone call. Berger gives Walker an "I told you so" look. BERGER I think I'll just excuse myself for a moment, too. She exits quickly. CUT TO LADIES' LOUNGE Typical of big hotels, this lounge features soft colors and overstuffed chairs. Morgan is seated in one of them, her back to us, facing a vidlink unit. Otherwise, the room is empty. Morgan begins to punch in the number for her room, when Berger walks up behind her, putting a gun in her back. BERGER (icily) Thought you'd turn me in, did you? Morgan sits absolutely still. MORGAN (stumped) Turn you in? BERGER (derisively) Don't play innocent with me, Annie. You were turning me over to security, weren't you? Thought you'd get another medal for catching the woman who tried to steal the Outrider? Morgan turns her head just a bit, enough to catch Berger in her peripheral vision. We can see the pieces fitting into place as she finally realizes why Berger looked so familiar. MORGAN (stunned) It _is_ you! And now it's Berger's turn to put things together...Morgan really _hadn't_ recognized her. But now she's got to follow through. BERGER You have a habit of getting in my way, Annie. I think it's time to stop that, don't you? Morgan makes no response. BERGER (looking around) But this is too public. Let's go somewhere and be alone, shall we? (coldly) Get up. Berger grabs Morgan's upper arm and pulls her to her feet, never moving the gun. She begins walking Morgan out the door. CUT TO HALLWAY Berger pushes Morgan into a service elevator. CUT TO HOTEL BASEMENT We are looking at elevator doors, as they begin to open. Berger begins forcing Morgan out of the elevator, but her high heel catches in the track for the door. She stumbles slightly, and Morgan siezes the opportunity, jerking herself from Berger's grasp. Morgan grabs Berger's right wrist, slamming the back of her hand against the wall and causing her to drop the gun. Morgan kicks the gun down the hallway and starts to run in the opposite direction, ducking as Berger tries to grab her. Berger starts to retrieve the gun, but stops as a door down the hallway opens and a hotel busboy emerges. Berger swears softly to herself, then takes off after Morgan. CUT TO KITCHEN This is not the main kitchen of the hotel, rather a secondary one used for catering. It's deserted. Morgan enters, out of breath, and looks around quickly. She spies a door on the far end and exits. Moments later, Berger comes through the room. She takes a moment to fling open cupboard doors, then leaves through the same door Morgan took. CUT TO STORAGE AREA Morgan is in the hotel's main storage area. Shelves of packaged food line the walls; there are doors on both the left and right of Morgan. She tries the one on the right; it's locked. As Morgan moves to the one on the left, she hears Berger's approaching footsteps. Quickly, she opens the door and enters, closing it behind her. CUT TO WINE CELLAR Racks of wine bottles fill the room, and there is no exit other than the one Morgan entered through. There is a large freezer door at the far end of the room, and Morgan quickly inspects it. She pulls a long metal locking pin from the handle and pulls the lever open the door. Inside are large beer kegs. Morgan grabs a fire extinguisher from the wall in the main room, then, still holding the pin from the door handle. MORGAN (under her breath) Now if she'll just take the bait... Morgan takes off one of her shoes and leaves it at the entrance to the cooler. She then steps behind the wine rack to the left, behind the open door of the cooler. Seconds later, Berger enters the room. She spots the open door. BERGER Stupid woman...got herself trapped in a dead end. (beat, viciously) Serves her right. (beat, sweetly) Come on out, Annie. Let's chat. Berger approaches the open cooler, seeing the shoe. BERGER You've got to be cold in there. Come on out, hon. There's no reply. Berger smiles cruelly. BERGER Have it your way, then. Berger starts to enter the cooler. As she does, Morgan swings the cooler door shut. It hits Berger, who swings out at it viciously with an arm. As she does, Morgan moves from behind the rack and aims the nozzle of the fire extinguisher. As the cooler door swings past her, she squeezes the trigger on the extinguisher, firing a blast of carbon dioxide into Berger's face. Surprised and blinded, Berger staggers backward into the cooler. Morgan drops the extinguisher, quickly grabs the door, and slams it shut, dropping the locking pin home. Breathing hard, Morgan leans her back against the cooler and slides down to sit. From inside, we hear a loud thumping as Berger bangs on the door, trying to find an exit. MORGAN (smiling) Just try to stay cool, Alexandra. (beat) Or whatever your name is. Morgan looks over and finds her purse. Moving over to it, she opens it and finds her PAL. She activates it. MORGAN (into PAL) _seaQuest_, this is Ensign Morgan. Come in please. (beat) _seaQuest_, this is Ensign Morgan. Come in please. RILLER (over PAL) This is _seaQuest_. What can I do for you, Ensign? MORGAN Lieutenant, could you please patch me through to the local UEO security office? RILLER (over PAL, puzzled) Not a problem, Ensign. (beat) But what's this about? Morgan looks back at the cooler, where Berger is still pounding on the door. MORGAN (smiling broadly) I'll explain it when I get back, Lieutenant. (beat) Let's just say that this time, the big one didn't get away. In fact, I've got this one on ice. CUT TO PULITZER AWARDS BANQUET Matson and Walker are making small talk at their table when Morgan approaches and sits down. MATSON You were gone awhile, Anne...was John okay? MORGAN He's fine. WALKER (concerned) Did you see Alexandra anywhere? She went out right after you... MORGAN (levelly) She...ummm...caught a cold and had to go. WALKER (confused) A cold? (beat) I'd better go see what's wrong. MORGAN (still smoothly) You might look in the front lobby. Walker exits hurriedly. Matson gives Morgan a long look. MATSON All right. What's up, Anne? MORGAN (innocently) Why Vince, what makes you think something's up? MATSON (sipping his drink) A few simple facts. (beat) You were gone a long time; Alexandra's not back... (beat, pointing) ...And you seem to have lost a slipper, Cinderella. Morgan looks down and sees that her shoeless foot is showing under her dress. She looks up at Vince, and makes a quick decision. MORGAN Vince, how fast can you get a camera crew here? Matson looks at her, uncomprehending. MORGAN (grinning now) Oh, come on, Vince...you're in a roomful of journalists, and you're about to scoop them all again. (beat) There's a UEO security team out there. They just arrested the woman who abducted a team from _seaQuest_ not long ago. Matson looks more than a little surprised as she begins to tell him what happened, and we... FADE TO COMMERCIAL END ACT FOUR Date: Sun, 05 Oct 1997 20:19:10 -0400 From: Matt Subject: "Consenting Adults" (Act 5) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com X-Mailer: QUALCOMM Windows Eudora Pro Version 3.0.3 (32) ACT FIVE OPEN ON EXTERIOR NAVAL HOSPITAL It's late morning, as people move in groups of two and three toward and away from the main building. CUT TO CALLAN'S HOSPITAL ROOM Callan is again lying on his bed, his head turned away, staring out the window. He's alone with his thoughts and fears, and the occasional tear runs down his cheek. Behind him, the door opens and Kelly looks in on him. She's just as ragged emotionally as he is at this point, but is still trying. She quietly steps into the room. KELLY (tentatively) Greg? He doesn't answer. She walks over to Callan's bed, and sits down on the edge of it. KELLY Greg, there's someone here to see you. CALLAN (bitterly) Tell them to go away. I don't want to see any more specialists, all come to see the "poor broken man." (beat, defeated) Tell him the show's over. WOLENCZAK (O.S.) That's a shame. I even brought popcorn. Callan looks over at Wolenczak, standing in the doorway. His gaze shifts angrily toward Kelly, his face showing a deep sense of betrayal. KELLY (defensive) What else was I to do, Greg? You won't listen to the doctors, you won't listen to the engineers... (beat, sadly) You won't even listen to me. (beat, a little angrily) I told you I would fight for you...and that means using everyone I can to bring you back to me. CALLAN (angry) You just don't understand. The _me_ you wanted doesn't exist anymore. (beat) He never will. Kelly looks plaintively toward Wolenczak, who walks over to the bed. WOLENCZAK Kelly, give us a couple of minutes alone. She nods and gets up to leave. But before she goes, she moves up toward Callan and leans over to kiss him gently on the cheek. He doesn't acknowledge it, and shudders as she finishes. KELLY (whispering) I will always love you, Gregory Callan. Never forget it. She turns and walks out. Wolenczak watches her as she leaves, then turns back to look at Callan. WOLENCZAK That is one incredible lady. CALLAN Yes she is. She deserves the best...certainly she deserves better than a cripple. WOLENCZAK (angrily) Belay that, Commander. (beat, shaking his head) You know, Greg, you are really starting to try my patience. You never gave up like this in the face of a challenge before. (beat, walking around the bed to face him) Jonathan Ford thought _you_ were the man to bring _seaQuest_ to life, Greg. And whether you admit it or not, there's more of _you_ in her than of anyone else. (beat) You've overcome attacks, betrayal, and separation. CALLAN That was different. WOLENCZAK How was it different, Greg? Because it was the ship, and not you? CALLAN (bluntly) You don't understand. WOLENCZAK (shrugging) You're right. I don't. (beat) So explain it to me, Greg. How is this different? Callan looks over at Wolenczak, torn between retreating from the pain, and having someone to share it with who might understand. Closing his eyes, he nods once, then starts to talk, his voice barely above a ragged whisper. CALLAN God, where to begin... (beat) I joined the UEO during the war, Lucas. I knew the numbers, that 30 percent of the people who served were hurt or killed. But that was all right, we were fighting _for_ something. It was worth the risk. And it was just me, so if anything happened, no one else would be hurt. (beat) Well, I got lucky. By the time I got through the Academy and to the fleet, the war was nearing its end. Yeah, I got hurt, but not so badly. So I let myself relax, and believe I was safe. (beat) I believed I could let someone else in, to share my life. And when Kelly agreed, it was as if a new universe opened up for me. It was like...my soul was complete. (beat) I helped build _seaQuest_, but this was going to be it, Lucas. One last tour, and then we were going to be together, finally. (beat, his voice rising) Our chance got taken away from us, Lucas. And for what? Nothing. No noble cause, no fight for what was right. No, my life was destroyed because some mad woman wanted something we had. (beat, truly angry) She stole my future from me, and she got _away_ with it. Callan fights back tears as he clenches his fist and hits the bed with it twice. His eyes tightly shut, he takes in a shuddering breath and continues. CALLAN All the time we were separated, we talked on the vidlink...and always ended it the same way. She'd touch her right hand to the pickup, and I'd put my...left...to cover hers. It was our way of saying we were connected. (beat, the tears flowing) That link is lost. Forever...even my wedding band is gone. And she knows that. (beat) I can feel it from her, every time she is near me. The love is gone, replaced with horror and pity for what I've been turned into...half a man. (beat, the words coming in gasps between sobs) She...deserves more...I never...wanted to hurt her...and I've hurt her so much...it's my fault... Callan has dissolved into tears, sobbing as he turns away from Wolenczak. For a moment, the captain is at a loss for how to respond, but then he lets his instincts guide him. He circles around the bed and moves close to Callan, reaching out for and holding his hand. Callan grabs onto Wolenczak's hand as a drowning man grasps at a lifeline. Wolenczak looks at Callan, his demeanor carefully schooled to avoid any pity. His words are gentle, but to the point. WOLENCZAK Greg, it's not _your_ fault. You're the victim of an attack, a vicious attack. (beat) You can go for years, thinking it was your fault, that you could have avoided it, or done something to stop it. And maybe there was something you _could_ have done. (beat) Greg, instead you were willing to give your life to save another. Could you have lived with yourself if you hadn't done anything ...and Anne Morgan was killed? Callan opens his eyes at that, and looks over at Wolenczak, who nods. WOLENCZAK Greg, your actions saved her life...and by all rights, you _should_ have died. (beat) If Tim O'Neill was here, he'd probably say that God saved you for a reason...and I think, this time, I'd agree with him. (beat, looking toward the door) And I think she's outside, wondering if she's ever going to get her husband back. CALLAN (sadly) But I'm not the husband she wanted. WOLENCZAK (snapping at him) How do you know that? Has she said that? (beat) That lady out there is willing to live to the vows she gave you on the day you two were married. She knows the truth, that the spark that is Greg Callan doesn't need arms or legs...just the heart and soul he always had. (beat) Don't let that be stolen from you as well. CALLAN (looking toward the door) But how can I be the husband she deserves...? WOLENCZAK You improvise, you experiment...If you two love each other as much as I know you do, you'll find ways... (beat) And you aren't useless to anyone else, either. You lost an arm and a leg...you didn't lose your mind. There are solutions to engineering problems we haven't even dreamed about in there. (beat) And as long as I'm on _seaQuest_, you'll always have a place there...if you want it. Callan looks up at Wolenczak, his face a model of conflicting emotions. But in his eyes, for the first time in a long time, we see something...hope. WOLENCZAK (continuing) I have to get back to the boat now. But I'll be in touch, and I'll be back to visit as our schedule permits. (beat) In the meantime, you concentrate on getting your life together. Wolenczak squeezes Callan's hand one last time, then heads for the door. As he gets there, Callan calls out to him. CALLAN (tentatively) Captain, thank you... Callan searches for the words, as Wolenczak smiles. WOLENCZAK It's all right, Commander. I understand. He opens the door and exits. Callan lies back on the bed, and stares at the ceiling, thinking. After a moment, there is a knock on the door, and Kelly opens it and looks in on him. KELLY (tentatively) Can I come in? Callan looks over at Kelly, and for the first time, we see him smile at her. It's a weak smile, and one couched in pain, but it's definite. Kelly sees this, and smiles back as her tears start to fall. CALLAN (concerned) Kelly, are you okay? Did I do something wrong? Kelly rushes over to him and hugs him, crying. KELLY No, honey. Nothing's wrong. In fact, everything's right again. (beat, smiling through the tears) I'll always be here for you, Greg. No matter what. (beat, mock gruff) You better get that through your thick skull, honey. I'm here to stay. Callan pauses a moment, looking at her carefully. He shifts his weight, then raises his right hand in a mirror image of the gesture they used to share. CALLAN Promise? Kelly's tears run freely now, as she smiles and raises her _left_ hand to match his gesture. This time, however, their fingertips touch on all five fingers. KELLY Promise. She leans in, and tenderly kisses Callan, who accepts the kiss and then melts into it. The camera pans to the window for a moment, then we... CUT TO _SEAQUEST_ PASSAGEWAY Morgan, in off-duty clothing, is walking toward us, humming one of the melodies she danced to the previous evening. Goodwin rounds a corner and runs smack into her. MORGAN (teasing) I don't remember there being a bulkhead here... GOODWIN (giving as good as he gets) I wonder how an ant got loose in a submarine... MORGAN You think you're pretty clever, giving me a nickname like that, don't you? GOODWIN If the shoe fits... MORGAN Well, if I'm the Ant, that must make you the Grasshopper, right? GOODWIN (puzzled) The who? MORGAN You know, the old fable...the Ant works and the Grasshopper just plays all the time. GOODWIN ("offended") I work! MORGAN (teasing) You work hard at getting Rebecca Trueman's attention, I'll grant you that. Goodwin affects a heartbroken demeanor. GOODWIN It's just that you'll never even give me the time of day, Ant. MORGAN And I'd say it's time I got into uniform, Grasshopper. Morgan begins to walk away, and Goodwin calls after her. GOODWIN Well, did you at least have fun on your big date? Morgan turns back to him. A slow smile crosses her face. MORGAN Fun? You could call it that... She turns and walks away. CUT TO WOLENCZAK'S OFFICE Wolenczak, Burke, and Matthews are there. WOLENCZAK ...Anyway, I think...I _hope_ I convinced him that we miss him and he'll have a place with us when he's able to resume it. BURKE Well, from what I've read on the topic, they're giving Greg the best possible prosthetics. MATTHEWS So you think he really can come back some day? Wolenczak considers her question, but before he's able to respond, his intercom beeps. He activates it. WOLENCZAK Yes? TRUEMAN (over com) Sir, you might want to turn on WNN. Wolenczak activates the vidscreen. As it comes to life, we see Matson, dressed in his tuxedo, with the words "taped earlier" scrolling across the bottom. MATSON (onscreen) ...The woman, whose name is actually Andrea Berger, is listed as a security specialist for EWS. Spokesmen for the company deny any knowledge of her connection with the death of noted research scientist Doctor Brian Alexander. Wolenczak, Matthews, and Burke exchange stunned glances. CUT TO NAVAL MEDICAL CENTER Callan is lying in his hospital bed; Kelly is once again seated beside him. They, too, are watching the report. MATSON (onscreen) In addition to the death of Alexander, Berger is also accused of the attemped murder of Lieutenant Commander Gregory Callan, chief engineer of _seaQuest_. (beat) Berger was identified by Ensign Anne Morgan, _seaQuest_ science officer. Kelly looks over at Callan, who is transfixed by what he's hearing. KELLY (softly) Greg... (beat, struggling for words) They've caught her. _Morgan_ caught her. Now, maybe we can see that woman pay for what she did to you. Callan turns slowly to Kelly and nods, an expression of cautious hope on his face. CUT TO _SEAQUEST_ REC ROOM Various crew are gathered around the vidscreen here. Among them are Trueman, Reede, and Goodwin. MATSON (onscreen) A guest at the Pulitzer Awards banquet, Berger was seated at the same table as this reporter and Ensign Morgan. When Morgan recognized Berger, she was able to apprehend her, then called in a UEO security team, who has just driven away. (beat) Berger will be held in maximum security at Riker's Island Penal Facility pending her arraignment. (beat) This is Vince Matson, reporting live from the Pulitzer Awards banquet. The scene on the vidscreen cuts to an news anchor. ANCHOR (onscreen) Again, that report was made late last night. Additional details on the accusations against Berger are still coming in. We will keep you informed. Reede gets up and snaps off the unit. TRUEMAN I can't believe it... (beat, grinning at the other two) What is it with Anne Morgan and saving the day? They laugh as we... CUT TO EXTERIOR _SEAQUEST_--CGI _seaQuest_ is working its way toward an undersea facility. A great circular lock is cut into the sea wall, surrounded with navigational lights. As the vessel approaches, a series of lights on the seafloor light up in sequence, blinking in a pattern that draws toward the opening. CUT TO BRIDGE The bridge crew is on station, with Reede at the helm, Goodwin at sensors, and Riller at the tactical station. Matthews has the con, while Morgan is seated at a new science station toward the rear of the bridge. MATTHEWS (into mike) Nicaraguan Tunnel, this is _seaQuest_. Request permission to enter the transit. VOICE (over com, with a slight accent) _seaQuest_, this is NTA control. Permission granted. Welcome aboard, please follow the blue navigation lamps, and enjoy your journey. MATTHEWS Thank you, NTA control. _seaQuest_ out. (beat) Take her in, Lieutenant Reede. Steady as she goes. REEDE Aye, Sir. Reede touches some controls on his console, and the image on the view screen shows the tunnel entrance approaching slowly. The entrance irises open, showing a miles-long tunnel through the rock. REEDE (checking readouts) We have entered the tunnel. Welcome to the Pacific Ocean. GOODWIN (smiling) Well, at least we'll have some breathing room from the Carolinans. RILLER (unhappy) Not for long, I'll bet. Wolenczak enters the bridge, crossing to Matthews. WOLENCZAK What's our status? MATTHEWS On course and about an hour ahead of schedule, Captain. We should clear the tunnel exit in... (beat, checking readouts) ...Thirty-five minutes. WOLENCZAK (nodding) Carry on, then. Wolenczak looks around, then crosses to Morgan. WOLENCZAK (nonchalantly) So, you had an eventful trip, Ensign. MORGAN (smiling slightly) You could say that. (beat) Sir. Wolenczak looks around, then leans in to talk to Morgan. WOLENCZAK (quietly) Seriously, you did some good work there. (beat) Anne, why haven't you contacted Greg Callan? Morgan is a little surprised by the question and sits back a moment, thinking. Finally, she turns to Wolenczak. MORGAN I could say I didn't know he was seeing visitors...but that's not the truth. (beat, looking away) The truth is, I wasn't sure how he'd deal with seeing me. It should have been me hurt or killed, and because of Greg, I was lucky. (beat) How is he doing, Lucas? WOLENCZAK (sighing) Better...but he thinks he's no good to any of us anymore. (beat) Look, I can't force you to talk to the Callans...but you might drop him a line every once in a while, and let him know what's happening...keep in touch as a shipmate... (beat) ...And as a friend. MORGAN I can do that... (beat) Lucas, I need to talk with you. WOLENCZAK Oh? About what? Morgan looks at him, debating whether or not to tell him. Her bravery weakens and she turns away, busying herself with the console. MORGAN About...about the manning for the new science labs. I have some ideas. Wolenczak nods, his smile drooping a little, as if he were hoping the subject would have been different. WOLENCZAK Well, contact my yeoman for a time, and bring your recommendations. (beat, an awkward pause) I have to get back to my office. Carry on, Ensign. MORGAN Aye, Captain. Wolenczak turns and leaves. As he reaches the exit, Morgan turns her head slightly and watches him exit, as she bites her lower lip. CUT TO NEW UEO HEADQUARTERS It's a glorious fall evening, the sky partly cloudy above the assembled crowd. A large dais sits on one side of the reflecting pool, while the crowd sit in chairs set up on the lawn across from them. The sun is setting over the Pacific behind the crowd, its salmon-colored rays painting the buildings and clouds in broad, ruddy hues. At the dais, various dignitaries from the UEO's member confederations are seated in three rows of chairs behind the podium. Also in the rows are Elaine Ross and her chief of staff, Gary DeLano, seated next to UEO's defense minister, Andrew Langson, and Admiral Robinson, wearing his dress white uniform. On both sides of the reflecting pool, the crew of _seaQuest_, all in dress whites, are lined up, standing at parade rest. At their head stands Captain Wolenczak. Hitchcock stands at the dais in a gown of white, her hair swept back in an elaborate bun. She is standing in front of the crowd, a spotlight picking her out. She glances at the teleprompter, and speaks in a clear, strong voice. HITCHCOCK A little over a year ago, the UEO lost a great leader. A man of vision and strength, he had hoped to bring this world forward from the remnants of war to a new peace, a new vision of freedom. (beat) In a cowardly act that to this day echoes in our souls, he was lost. He, and a number of innocents, were destroyed in an act that the perpetrators hoped would bury the dream forever. She looks over the crowd, as Elaine Ross shifts in her seat a bit uncomfortably. HITCHCOCK A year later, we meet here today to celebrate the completion of one of his dreams. A new center for peace, rising here overlooking the ocean Jonathan Ford loved. It stands as a testament to his dream, and to the failures of those who would attack the visions Jonathan left us with. CUT TO NAVAL HOSPITAL PROSTHETICS LAB As Hitchcock's speech continues over, we see Callan seated calmly in the lab. His left arm is exposed, and a metal seating ring and post has been attached to his stump. Kelly is seated next to him, holding his right hand. Doty approaches with a cart, its contents covered with a green sterile sheet. HITCHCOCK (voice over) Over the last year, our resolve has been tested in the fire of conflict and controversy. But we have survived, and that survival is the key to our future. Doty uncovers the tray, revealing a prosthetic left arm. He lifts it up and carries it over to Callan. HITCHCOCK (continuing, voice over) We have proven again and again, through this year, that there is no cost we will not bear, no sacrifice we will not make, no price _we will not pay_ in defense of the vision we hold dear: the free future of humanity. Doty looks at Callan, who glances quickly at Kelly, a nervous look on his face. She says something, her face a sign of encouragement. Callan turns to Doty and nods. Doty brings the arm up in contact with the post and seating ring, and locks it into place. HITCHCOCK (continuing, voice over) But even as we defend what we believe, we must take care not to become that which we defend against. While eternal vigilance is the price of freedom, we must temper that vigilance with a compassion for those who defend, as well as those who are defended. (beat) Today, I promise you, those who sacrifice something of their lives to defend us shall never be forgotten, even after there service is done. We will always do right by them, _no matter the cost_. Doty waves a sensor over the arm, ensuring it is working properly. He turns to Callan and says something, nodding. Callan looks at the arm, concentrating. At first, nothing happens, while sweat starts to bead on Callan's forehead. Then, imperceptibly, the fingers of the prosthetic start to twitch, and then slowly move into a fist. As they move, Kelly holds her hands over her mouth, tears of joy on her face. Callan looks over at her, a great smile forming, as she throws her arm around him and hugs him. CUT TO RIKER'S ISLAND PENAL FACILITY As Hitchcock's speech continues, we see Andrea Berger, wearing a prison jumpsuit, lying back on her bunk. She's watching the speech on the vidscreen, her face a blank mask, but her eyes burning with anger. HITCHCOCK (voice over) Even now, those who have attacked us are finding themselves defeated, or worse. And those who would attack us find our continued existence frustrating. (beat) What they don't understand is that the UEO doesn't depend on a single individual. (beat, emphatic) While a strong leader can influence our direction, we are the _sum_ of our people, all working toward a set of common principles. Berger closes her eyes, her mind already calmly searching through the ways to escape her prison. CUT TO UEO HQ HITCHCOCK (smiling) Today, we celebrate the legacy of one of our leaders in the dedication of this campus. Next week, we begin the process of choosing the next leader for UEO, the leader who will carry on the vision. (beat) While I have made no secret about my desire to be that leader, I also will step aside willingly if the citizens of Earth wish to choose another. That is our way. We will survive, and adapt to the times, and to the leader. (beat) The United Earth Oceans Organization will survive, and will continue to be the strong, true defender of freedom for this planet. (beat) We have been given a sacred trust by the people of Earth. We will not fail them. (beat) We will never fail them. FADE TO BLACK THE END