Date: Thu, 30 Oct 1997 14:41:30 -0800 From: Vicky & Bob Subject: seaQuest 2047/season 2/epsiode 4/"Tempus Fugit"/teaser seaQuest 2047 "Tempus Fugit" Written By Melissa Beattie Publication Draft Thursday, October 16, 1997 Based on "seaQuest DSV" and "seaQuest 2032" Copyright 1997, 2047 staff. TEASER FADE IN TO PARK Caption reads: "San Diego Island, early evening". It is the later part of a lovely day on the island. The birds are singing, smog is at an all-time low, etc. The camera does a slow pan, letting the audience drink in Nature's splendor, before settling on a young man sitting on a park bench, reading a newspaper. We will come to know this skinny blond man as Max Braidwood. Max turns a page, and continues to read, a thoughtful expression on his face. Suddenly, we hear footsteps. Purposefully walking toward, in front of, and finally past Max is a man whose features aren't immediately recognizable, mainly because we can only see the torso and legs of the man, who is clad in civvies. However, Max looks up in time to see the person. As we watch, his expression changes from thoughtful, to shocked, then excited. He blinks and does a double take. MAX (amazed) Holy cow... The camera follows his gaze, and we finally see the identity of the passer-by. Captain Lucas Wolenczak. He's walking with a determined stride, keeping to the path, and paying little attention to his surroundings. He carries a small duffel bag, and seems almost grim. Max, on the other hand, is almost giddy. Reaching into his pocket, a wide smile on his face, he pulls out a cell phone and speaks into it. We cannot hear the response as anything other than a buzz. MAX It's me. (beat) Yeah, hi. Look... (laughs, not believing his luck) ...You'll never guess who's here. (beat, lowers voice conspiratorially) _Wolenczak_. (beat, laughs in disbelief) Yeah, I know... (beat, nods) I'm completely sure. Looks just like his picture. After another beat of silence, and a buzzing noise from the phone, a wide smile takes hold of Max's face. He deactivates the phone and begins pursuing Wolenczak. CUT TO _SEAQUEST_ BRIDGE All is quiet. A light crew is on, Lieutenant J.G. Tom Reede at helm, Commander Jessie Matthews in the command chair. Ensign Anne Morgan is making the rounds of aft stations, checking readings, etc. The rest of the stations are manned by extras. All are bored. REEDE (to room in general) Remind me again..._why_ are we out here? Matthews sighs. She's heard this before. REEDE (going on) I mean...the boat runs like a dream. We knew _that_ three days ago. (beat) Yet... (beat) ...We're still here. Matthews sighs, as bored as the rest but not about to show it. MATTHEWS (a gentle order) Cool it, Lieutenant. (beat) A shakedown is mandatory. You know that. A head pops up from beneath a console...Lieutenant Commander Ed Taylor. TAYLOR (teasingly) I think you're just jealous 'cause Trueman got leave and you didn't. Reede aims a glare at the engineer, who's hit the nail on the head. REEDE (denying it) I am not. (beat) She and the captain are as entitled to leave as anyone else. (beat, shrugs, off console) I just think the rest of us are entitled to a little fresh air and sunshine too. General chuckles from the crew. Matthews smiles, but that's all. MATTHEWS (wryly) "Fresh air and sunshine", huh? (beat, "innocently") You mean...like at a baseball game? Reede blushes lightly, caught. REEDE Well...yeah. I guess. (beat, sighs) The one year Charlie can get me front-row seats for the biggest game of the season...and I've gotta miss it. (beat) I _still_ don't know how she managed to get that weekend pass... (sighs again) Fate really kicked me in the teeth this time, huh? No one responds, knowing that Reede is just venting. Morgan looks over at Reede, and seems to be trying to figure out how to say something. MORGAN (hesitantly) Uh, the captain told me once that he always takes these days off...but last year, after everything that happened...he didn't get a chance. (shakes head) It was the fifteenth anniversary, too. REEDE (sighs) Yeah, I know. (beat) But Charlie was gonna get me into the Lasers _locker room_... General chuckles across the bridge. Matthews' smile is wry, with a trace of affectionate exasperation. MATTHEWS Tell you what, Reede...when you disappear, then mysteriously reappear somewhere else ten years later...I'll think about giving you a day off. (beat) Deal? Off Reede's rolling eyes, we... CUT TO PARK Wolenczak is a long way down the path, by now. Max, following him by walking through the grass, is grinning like an idiot, obviously getting a kick out of the "hunt". He dashes between bushes, making enough noise so that, even in his current state of mind, Wolenczak notices. The captain's eyes narrow, and he crosses to the bushes. His hand goes to his hip, where his sidearm would be, if he were in uniform. With a roll of his eyes, he recalls the weapon's absence. He goes a few paces more, and waits for Max to begin his dash to the next piece of foliage. Once the young man emerges, Wolenczak whirls around. WOLENCZAK (an order) Hold it! Max freezes in the open area, a sheepish expression on his face. He straightens up, and comes to something approximating "attention" as Wolenczak approaches. However, it's a wasted effort; the captain is too annoyed to notice. WOLENCZAK Why are you following me? There's a moment of silence as Max tries to find his voice. MAX (starstruck) Oh, wow... (beat, stuttering) I can't believe it. It's--it's really you! Wolenczak has had just about enough of Max's enthusiasm after the few sentences he's uttered. He sighs. Max doesn't notice. MAX (continues) I mean, you're a legend! A living legend! Max shakes his head, losing his cool. His voice reflects his sentiments..."this is my only chance, ever". MAX (continues) Can I please shake your hand? Without waiting for an answer, Max enthusiastically grabs Wolenczak's hand, and begins pumping. Wolenczak tolerates this for about a nanosecond, then reclaims his hand. He backs up a pace and looks at this guy like he's from outer space. WOLENCZAK (thrown off) Who _are_ you? MAX (just realizing Wolenczak might want to know) My name's Max Braidwood, and, well, I just wanted to say... (beat, ear-to-ear grin) ..._You_ are my hero. Wolenczak just looks at him. It's obvious he hadn't expected this. He's caught totally flat-footed. WOLENCZAK ("uh...") Thanks. Max beams. MAX (babbling like a brook) Yeah...and it's not just me. A whole bunch of my friends and I have this club, out of San Diego State--well, we used to be out of Stanford, but, it's kinda at the bottom of the ocean, you know... (beat, laughs nervously, trying to impress his idol) ...But, well, we've read everything about you, and about _seaQuest_--all three of 'em--and, well...um... Max trails off, remembering what he's there for. He sobers, and takes a more "formal" stance. MAX (continues) As vice president of the ACN-- WOLENCZAK (cutting him off, confused) The _who_? MAX The ACN. (beat, realizes) Uh, the Astrocybernuts. WOLENCZAK (repeating, disbelieving such a stupid name) "Astrocybernuts"? MAX (hopefully) Yeah. You ever hear of us? Wolenczak shakes his head. MAX (slightly deflated) Oh. (beat) Well, we're into all kinds of things...computers, engineering, space travel...we do it all. (beat, damps down) So, as vice president, I'd like to ask you to lecture at tonight's meeting. Lecturing a group of weirdoes like Max was _not_ the way Wolenczak had intended to spend the evening... WOLENCZAK (uncomfortably) Well, actually, I'm kinda tired tonight. I just got off my boat a half-hour ago, and I've got an early flight to Headquarters in the morning... Max senses that Wolenczak isn't too keen on this idea. MAX (trying to convince him) It really won't take long, just an hour or so... Wolenczak shakes his head. Max senses that he's losing his only chance. MAX (trying to explain) Uh...Captain Wolenczak...when we heard you'd be in town-- WOLENCZAK (angrily cutting him off) How did you know I was coming? Max blinks, and realizes he's _really_ made the captain angry, though he's not sure why. MAX (nervously) It's, uh, it's common knowledge. (shrugs) I mean...all of you come around this time... Max trails off uncertainly, but the mention of "all of you" gets Wolenczak's attention. His mouth sets in a hard line, and he nods for Max to continue. MAX (nervously) Uh, anyway, our leader sent us out to find you. (lowers voice conspiratorially) She _really_ wants to meet you, Captain. You're her hero. (beat, smiles humbly) You're a hero to all of us. This much flattery does soften Wolenczak a little, though not to the point of acceptance. Enough to cool him down, at least. WOLENCZAK (with humor) So she sent you to stalk me. MAX (sheepishly) Well...yeah. Kinda. (shrugs) You're a celebrity. We figured you'd be used to it. Wolenczak only smiles tightly. WOLENCZAK Thanks, uh, Max, but I'm busy. He begins to walk away, but Max steps in front of him, blocking his path. MAX No, wait! (beat, sighs) Look, Sir...I know I haven't made a great impression, but...it would be such a high honor to hear you speak...we'd be the envy of every other organization out there! (smiles in near-rapturous speculation) One of the original _seaQuest_ crew... (shakes head, a smile taking over his face) ...Wow. Wolenczak looks even more uncomfortable. WOLENCZAK I'm sorry, but I really don't have the time. (beat) I've got an appointment. The refusal slowly sinks into Max over a few beats. His expression falls, and he looks at the ground. MAX (despondent) Oh. Okay, fine. I understand. (sighs) You've got more important things to do than address our little group...saving the world takes precedence, right? (beat, chuckles miserably) I guess we'll just hafta take a number, huh? A beat of silence, as Max sinks deeper into despondency. Without another word, he turns to go, looking totally depressed. As he leaves, we focus on Wolenczak. Somehow, Max's dashed hopes touch him, in a way he's not entirely sure of. Being the compassionate person he is... WOLENCZAK Max. Max turns slightly, his eyes dull with sadness. Wolenczak sighs. WOLENCZAK ("I'm gonna regret this...") What time do you want me there? Off Max's look of utter joy, and Wolenczak's resignation as Max drags him back along the path, we... FADE TO OPENING CREDITS END TEASER From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 4/"Tempus Fugit"/Act 1 ACT ONE FADE IN TO BAR The camera slowly pans around the large, crowded, seedy-looking room. The people there range from completely sober to tipsy to totally inebriated. As the camera moves, we see a large stage against the back wall, where a live band, Renegade, performs a loud, but very good, cover of "Run To You", originally done by Bryan Adams. The band is composed of: guitarist Doug Roberts, drummer Bill Bryant, bass guitarist Mat Williams, and keyboardist Wedge Jansen. After a good, long look at the guys, all of whom are somewhere in their thirties, we move to two young women, who are just sitting down at a table near the band. The camera moves closer...and we recognize Ensign Rebecca Trueman, and Chief Petty Officer Sara Percell. Trueman is obviously happy to be there. Percell, on the other hand, looks a little less comfortable. Trueman turns to her. Until contraindicated, both women are shouting to be heard. TRUEMAN (affectionately exasperated) Will you relax? Percell just looks at her blankly. PERCELL What? I can't hear you! Trueman moves closer to Percell, and practically screams in her ear. TRUEMAN I said, will you relax? PERCELL What? The music reaches its finale. The last chord reverbs throughout the room, and the audience--those who are still sober enough, at least--applauds, Trueman and Percell among them, though it's a bit hesitant on Percell's part. On stage, the band begins to put down their instruments, and move slightly. Doug moves up to the microphone. DOUG (into microphone) Hey...thank you. I'm glad you liked it. (looks at others, turns back to audience) We're gonna take a short break, then Renegade will be back. Stick around. He flashes a brilliant, toothpaste-ad grin, then leaves the stage, as a jukebox begins to blare. The others follow suit. As we switch back to Trueman and Percell's table, Trueman stands and saunters up to the stage, where Bill is just checking out a piece of equipment on his drums. Percell hangs back, not sure of what's going on. PERCELL (confused) Uh...Becca... As she trails off, we see that Trueman has made it all the way to the stage. As she does, Wedge and Mat catch sight of her. Wedge opens his mouth, ostensibly to greet her, but she shakes her head. Both Mat and Wedge stay silent, though both look confused. Trueman walks right up behind Bill, moves close to him, an inch away from him. TRUEMAN (yelling) Oh my God! Elvis! Bill's head jerks up in surprise. BILL Where? He looks around frantically, then spots Trueman. BILL (affectionate annoyance) Becca! She laughs, as do Wedge and Mat. Percell just looks at them, unsure of what's going on. Bill is still irritated, but there's no heat behind it. BILL (to self) Jeez...you have one sighting in a 7-11... (beat, to Trueman) Do you have to do that _every_ time? TRUEMAN (firmly) Yes. Bill rolls his eyes, but starts to laugh, along with the others...though Percell still looks incredibly confused. No one notices, as Bill gestures at her. BILL (rueful amusement) Becca Trueman, gentlemen... The name obviously strikes a chord with Mat and Wedge. The latter moves forward. WEDGE (mock-starstruck) Becca Trueman? (beat, significantly) _The_ Becca Trueman? (beat) The Siren of the Southwest?! As Wedge grabs her hand and begins pumping it, Trueman shoots a glare Bill's way. He shrugs. BILL (slightly guilty) I've sung you _their_ praises, so...I just figured I'd...you know...tell them about you. He shrugs again. Trueman disengages her hand, slightly annoyed but without heat. BILL (continuing, gestures to each in turn) These are Mat Williams, and Wedge Jansen. Trueman smiles at them, and pulls Percell forward. TRUEMAN (to Wedge and Mat) Hi. (gestures) Guys, this is Sara Percell. (to Percell, gestures at Bill) Sara, this is Bill Bryant, an old friend. Trueman nods as all shake hands with Percell, and exchange general hellos. Trueman and Bill get into a conversation, which we hear in the background, but don't focus on. Mat moves off; we stay with Wedge and Percell. PERCELL Wedge... (beat, considering) That's an unusual name...Is it foreign, or something? WEDGE (grins) Actually, it's from long, long ago, in a galaxy far, far away. (beat, chuckles) My folks are huge sci-fi fans, with _Star Wars_ as their absolute favorite. I've got a brother named Han, a sister named Leia, and a dog named Lando. PERCELL (surprised) No Luke? WEDGE (shrugs) That's Dad. Percell gets an "uh-_huh_" type of look on her face, but doesn't pursue the matter. Their conversation fades into the background as we focus on Bill and Trueman, who are standing near Percell and Wedge. From this angle, we see Mat standing nearby, talking to a young woman. TRUEMAN (grinning, off Mat and his companion) So they finally got married, huh? That's great! BILL Yeah, and Barry just got a deal with Arista-- DOUG'S VOICE (O.S.) Excuse me... Trueman and Bill turn, as do Wedge and Percell. Mat continues his conversation, with only a glance at Doug. DOUG (impatiently) Guys...we've got a meeting. Bill slaps his hand to his forehead. BILL (disbelieving) Oh, right! (gestures to Trueman and Percell) Have you met my friends? (points to each in turn) This is Becca Trueman, who I'm sure I've mentioned, and this is Sara Percell. (points to Doug) That's Doug Roberts...our guitarist. TRUEMAN (friendly) Bill's mentioned you. He says you're the best thing since Chet Atkins. Doug smiles perfunctorily. DOUG (to Trueman) Well, I do the best I can. (to band) Are you coming? Or do I plan the next set without you? Bill exchanges glances with Mat and Wedge. Both shrug slightly. Bill turns back to Doug. BILL Yeah. Sure. We'll be there in a minute. Doug nods to the band and exits. There is a moment of silence as they watch him thread through the crowd. TRUEMAN (acerbically) Great guy. BILL (sighs, to Trueman) Don't be too hard on him, Becca. He's been having a bad time of it lately. (beat, lowers voice) He just broke up with Liz. TRUEMAN (confused) Liz... (beat, remembers, shocked) His wife? (beat) That's too bad...but isn't he going a little overboard? Wedge chuckles. WEDGE He won't hit overboard till the divorce is final. After that... (shakes head) I'll be shocked if he only gets a tattoo, or something. CUT TO UNIVERSITY PARKING LOT Caption reads: "San Diego State University, Hardin Lecture Hall". It's early evening, after sundown, but before moonrise. We see a car pulling up to the door, which, other than the lightposts, is the only lit area of the campus that's visible. The passenger side door opens, and we see it's Wolenczak. He turns back toward the car, and we see Max in the driver's seat.. MAX Okay...it's room 302. Go up the stairs, and it's the first room on your right. WOLENCZAK (nods) Got it. Max drives away. We watch Wolenczak as he moves into the light. For the first time, we see he's still carrying the duffel bag. He looks down at it with regret. WOLENCZAK (as he opens door) Sorry, guys...but you've waited this long. I guess a few more hours won't hurt. He enters. CUT TO MAX'S CAR--EXTERIOR Max is pulling into a parking space. He gets out of the car, and looks around. The camera follows his gaze. No one's around. We return to Max, as happy as a dolphin in a fish hatchery. MAX (anticipatory) Oh, boy... He begins walking quickly toward the lecture hall, as we... CUT TO INTERIOR LECTURE HALL We are in a corridor, looking at a door number: 302. We then move back to Wolenczak, who looks as eager to enter the room as the mouse is to enter a snake's nest. Sighing, he enters. The camera follows him. CUT TO AUDITORIUM As Wolenczak enters, we see that the lights are very dim. No one is in there except Wolenczak himself. The captain looks confused. WOLENCZAK (on edge) Hello? The camera slowly pans around the auditorium, revealing just how big, and dark, and empty it is. Unconsciously, his hand goes to his hip, again searching for the holstered gun that his civvies lack. He is clearly getting nervous, waiting for some kind of ambush...his very Hudsonian paranoia coming into play. He takes a few steps further in, his eyes darting right and left, looking for some kind of trap. MAX (O.S) Hey... Wolenczak whirls, unconsciously falling into a defensive stance. He relaxes ever-so-slightly at seeing Max standing behind him. Max looks a little nervous at Wolenczak's reaction. MAX (taken aback) Whoa...you guys sure react quick... WOLENCZAK (quickly) Yeah. Comes with the territory. Where is everyone? Max looks rather chagrined. MAX That's what I came to tell you... (beat) They, uh, they changed the location of the meeting on me. (sighs) The president wanted to do something special in your honor. Wolenczak looks like he would sell his soul and his favorite computer to get out of this. MAX But...I can get you there before the meeting starts... (chuckles) Actually, I don't think they'd start without you. You're the keynote speaker. (beat, shrugs) Actually...you're the _only_ speaker, but... He trails off, realizing he's wasting time. MAX Never mind. (gestures) We'd better go. He leaves. With a heavenward gaze and a world-weary sigh, Wolenczak follows. CUT TO _SEAQUEST_ REC ROOM Reede is sitting in front of a vidscreen. It shows a baseball game, between the Lasers and Padres...the one he was supposed go to. A caption in the corner says it's the top of the seventh, with two outs, and a new Lasers batter, LaForge, is up. The Padres' pitcher, Lolas, winds up. REEDE (to LaForge) C'mon...hit it outta the park... The pitch comes. The batter swings...and misses. UMPIRE (on the vid) Stee-rike one! This doesn't please Reede. He groans, just as Taylor comes and sits down next to him. The engineer eyes Reede, then the game, then Reede again. TAYLOR (casually) Problem, Reede? Reede shrugs, not paying attention to anything but the game. Taylor turns back to the game, just as we hear: UMPIRE (on the vid) Stee-rike two! Reede groans, Taylor chuckles. On the vid, we see Lolas wind up...and the pitch...and a swing and a miss. REEDE (quietly) Damn... TAYLOR It's just a game, Reede. (beat) Besides, it's not much of a surprise--LaForge _always_ strikes out. Reede shoots him a look as the announcers begin talking about the seventh inning stretch. TAYLOR (talking over announcer) Relax. So you could've been there tonight. So what? A huge round of applause is coming from the vid. It's loud enough to attract the attention of both Reede and Taylor. They turn, and the camera sees what they do: two announcers who are practically giddy with excitement. ANNOUNCER And, we're fortunate enough to have with us tonight, as a guest of Commissioner of Baseball Brent Johanson, perhaps the greatest San Diego Padre first baseman in the history of the franchise... The camera switches to show a distinguished-looking octagenarian, smiling and waving in a field-level box seat just past the third-base dugout. The shot stays put until indicated. ANNOUNCER (continuing) The great Tony Gwynn! The camera pulls back enough to show the people sitting around him. One row back, slightly to the left, is a man of about forty years, who is smiling madly. We switch back to Reede just in time to see his expression fall and shatter on the deck. REEDE (shocked) I don't--I don't believe it. Taylor looks at him, concerned. TAYLOR What? What's wrong? Reede is silent for a moment, then he looks up. REEDE That guy...the one near Tony Gwynn...that was Charlie. (shakes head in disbelief) I woulda been right behind him... He sinks into his chair, and puts his head in his hands. Taylor looks at the great first baseman, waving away, then back at Reede. He puts a hand on Reede's shoulder. TAYLOR (patting Reede's shoulder) There, there... CUT TO MAX'S CAR--EXTERIOR We focus on the car braking and coming to a stop. Max and Wolenczak exit the car. We move in to a close-up of Wolenczak's surprised expression, hold for a moment, then switch to a pan of the area...an airstrip in the middle of nowhere. As the pan continues, we see it's not _totally_ deserted...there is a small plane on the runway. WOLENCZAK What--? MAX (trying to reassure) Don't worry...the strip's ours. (off Wolenczak's look, shrugs) A lot of stuff was pretty much abandoned after California went down...we got a good deal on it. (looks at watch) I'll tell you more about it when we're in the air. Wolenczak just stares as Max begins moving toward the plane. After a beat, Max realizes Wolenczak isn't following. He turns to the captain. MAX (calling) Come on! Were gonna be late! Wolenczak doesn't move. Max begins doubling back. As he does so, we can see that Wolenczak isn't sure if he should be laughing or beating Max's head in. MAX C'mon...what's the problem? Wolenczak is beginning to chuckle disbelievingly. WOLENCZAK (through laughter) I can't leave the island...I've got something to do. (beat, sobers) Look, Max...I'm sorry, but there's no way I can do this. I'll lecture your group some other time. Max isn't pleased. In fact...he's closer to frantic. Wolenczak begins moving back toward the car. Max follows. MAX (as he catches up) No, Captain...you have to come tonight. They are at the car by this time. Wolenczak begins opening the passenger door. WOLENCZAK (trying to placate, but firmly) Max...the next time-- MAX (cutting him off, sharply) Will be too late! (shakes head) No. It has to be tonight. Wolenczak is a little confused...and very suspicious. WOLENCZAK Why tonight? Max is looking down, shaking his head. He seems to be struggling with something. After a moment, he sighs, and looks up. His expression is of resigned determination. MAX (sincerely) I'm really sorry, Sir...I wish I didn't have to do it like this, but... He trails off, and, faster than one would expect, he pulls a small pistol out of a pocket, and fires a stun blast at the unsuspecting Wolenczak. The captain crumples to the ground. Max goes over to him, picks him up under the arms, and begins dragging him away, toward the plane. FADE TO COMMERCIAL END ACT ONE From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 4/"Tempus Fugit"/Act 2 ACT TWO OPEN ON HITCHCOCK'S OFFICE Secretary General Katherine Hitchcock is sitting at her desk, doing paperwork. We watch her for a moment, then her intercom beeps. She reaches over and hits the button without looking up. HITCHCOCK (into com) Yes? VOICE (over com) You have a call, Madame Secretary. It's your husband...again. Hitchcock sighs in exasperation. HITCHCOCK (into com) Put him through. On her vidscreen, an image of Ben Krieg appears. He is haggard, pale, and obviously ill. KRIEG Katie...I'm dying. Hitchcock just looks at him sideways. KRIEG (picking up on her mood) No, Katie, I mean it...look at this. (holds up thermometer) Thirty-nine degrees Celsius! Another degree, and I'm unconscious! HITCHCOCK Ben...you have the flu. In a few days, you'll be fine. KRIEG (skeptically) Right. (beat) That's what they said to President Harding...and look what happened to him! He died of pneumonia! Hitchcock just looks at him, affectionate exasperation turning into annoyance. HITCHCOCK (trying to contain her feelings, failing) Ben...I've got a lot to do...do you need anything, or are you just calling to complain? Krieg shrugs slightly, and looks down a bit. KRIEG Well...I _was_ kinda wondering... He trails off, and Hitchcock sighs, knowing she's about to be asked for something. HITCHCOCK Yes? Krieg looks up, and starts giving her a "helpless" look. KRIEG I want some tomato soup. HITCHCOCK ("you bothered me for _that_?") We have some in the cupboard. Krieg shakes his head. KRIEG No we don't. HITCHCOCK (mildly annoyed) Ben, _yes_ we do. I just bought some! KRIEG That's tomato soup with _noodles_. I'm in the mood for _plain_ tomato. Hitchcock just looks at him for a moment, then: HITCHCOCK (slowly, deliberately, trying not to explode) If you don't want the noodles, just pull them out. KRIEG (whining) But there's still a _noodle_ flavor in the soup... Hitchcock looks heavenward for a moment. KRIEG (continuing, whining) And the noodles stick to everything, and... Hitchcock's eyes close. She's really trying to be sympathetic, but Ben's pushing it... KRIEG (continuing, whining) And then the soup's cold by the time I get to it, and you know how I hate cold soup-- Three...Two...One...BANG! HITCHCOCK (loudly) Fine! I'll bring you the damned soup! A sly grin lights up Krieg's face, the sparkle comes back to his eye, and he's once again the sweet swindler we all know and love. KRIEG Thanks, Sweetheart. HITCHCOCK (realizing she's been tricked) Ben-- KRIEG (cutting her off) See you tonight, Darlin'. He cuts the channel at his end. Hitchcock just looks at the blank screen for a few moments, then shakes her head in disbelief. HITCHCOCK (thinking aloud) How does he do that? There is a knock at her door. Hitchcock looks up. HITCHCOCK Come in. The door opens, revealing Lieutenant Jack Tendrament, aide to Chief of Naval Operations Admiral Wallace Robinson. He enters, and stands in front of her. TENDRAMENT Madame Secretary...Admiral Robinson has just called. He says Captain Wolenczak hasn't shown up for his debriefing on the..._affair_ at the Pulitzers. The admiral thought you might know where he is, given your...personal relationship with the captain. This takes Hitchcock by surprise. She is naturally concerned. HITCHCOCK Did his flight leave from San Diego? TENDRAMENT Yes, Madame Secretary, but... (beat, gives her a handheld computer) ...According to the passenger manifest, he wasn't aboard her. HITCHCOCK Maybe he missed his flight. Have you checked any of the later ones? TENDRAMENT (nods) Yes, Madame Secretary...he wasn't on any of them. In fact... (beat, looks around for hidden listeners) ...According to the registry...Captain Wolenczak never checked into the hotel in San Diego. There is a short beat as this sinks in. Then: HITCHCOCK Get me _seaQuest_. Tendrament nods, and leaves the office. CUT TO _SEAQUEST_ BRIDGE We see mechanical parts, trailing wires, and the like, on the deck. We follow the path up to the helm station, where Reede and Taylor are. Their hands are inside the disassembled console, obviously trying to fix something. They continue to work as they talk quietly. REEDE (sighs) I tell you...I'm having the worst luck of my life! Taylor rolls his eyes. REEDE (scoffing, off Taylor's eye rolling) Easy for _you_ to say. TAYLOR (amused) I didn't say anything. (beat) Look...things aren't going your way. It happens, you get over it. (beat, off console) Now let's get back to work. They can only drive the boat so long with the auxiliary helm before someone in engineering gets cranky. You know how big a pain it is. Reede nods, and we watch them work for a moment. Then, we see Matthews, looking over their shoulders. MATTHEWS Status report. Neither man looks up as Taylor responds. TAYLOR It was just a damaged relay, like I'd thought. All we're doing now is checking to see if there are any other problems. Matthews nods and walks away. REEDE (under his breath) Is she gonna ask us that _every_ two minutes? TAYLOR (chuckling mirthlessly) Probably. (beat, sobers) She's bored, just like the rest of us. We're all-- Taylor cuts himself off as the extra at communications speaks up. COMMUNICATIONS OFFICER Commander Matthews, we're being hailed... (beat) It's the secretary general. TAYLOR (muttering, to self) Well, this could liven things up... Matthews shoots him a look, then turns to the communications officer. MATTHEWS Put her on. While the communications officer pushes buttons, Matthews sits down in the command chair. A few seconds later, Hitchcock appears on the screen, looking somewhat uncomfortable. HITCHCOCK (a greeting) Commander. MATTHEWS (acknowledging) Madame Secretary. What can I do for you? HITCHCOCK Actually, I was looking for Captain Wolenczak. Is he aboard? Everyone on the Bridge is starting to look confused, Matthews no exception. MATTHEWS (slowly) He should've been at Headquarters this morning. HITCHCOCK He never checked into his hotel last night. (beat) I'd hoped he'd never left for some reason, but... (sighs) It would appear the captain is missing. MATTHEWS Madame Secretary...permission to make a slight course deviation? Hitchcock smiles wryly. HITCHCOCK Say, toward San Diego Island? (beat, shakes head) No, that would be too obvious...we don't want to let whoever took him know we're on to them. There is a short beat, where something very disquieting occurs to Matthews. MATTHEWS So...we _are_ assuming he was taken against his will. Hitchcock's expression begins to darken. HITCHCOCK (dangerously) Are you suggesting otherwise? MATTHEWS No, Ma'am. However... (beat, uncomfortably) You must admit, some might see it that way. HITCHCOCK (sighs) Naturally... (beat, an idea occurring) Commander...it's been awhile since your senior staff has had shore leave, hasn't it? Matthews looks at her in confusion. MATTHEWS Madame Secretary...we've just returned to active duty-- Hitchcock looks at her sharply. HITCHCOCK (icily) Commander, perhaps you didn't hear me correctly. (beat, deliberately) It's been too long since your senior staff has had leave. Matthews looks at her oddly, but after a moment, nods slowly. MATTHEWS (getting it) Yes, Ma'am. HITCHCOCK (satisfied) I trust you'll rectify that, Commander. Good day. Hitchcock's image disappears from the screen. Matthews turns to Reede and Taylor. MATTHEWS (to Reede) You heard the woman. Reede stares at Matthews for a moment, confused. REEDE Commander? MATTHEWS You wanted leave? You've got it. (off console, to Taylor) Commander, I trust you can finish the console without the lieutenant's assistance. Taylor looks at Reede for a moment, then to Matthews. TAYLOR (bemused) Of course. Matthews nods, and Reede scrambles to his feet. REEDE (thrilled) Yes, Sir! He begins to leave the bridge, excited over this unexpected "treat". MATTHEWS Lieutenant. Reede freezes in his tracks. Slowly, he turns to Matthews. MATTHEWS Finding the captain's whereabouts is paramount, Mister Reede, not goofing off in San Diego. Is that clear? REEDE (in a hurry) Yes, Sir. MATTHEWS (not quite convinced) Rendezvous with Trueman when you arrive. (beat, thought occurs) Oh, and take Lieutenant Commander Goodwin with you. Reede's expression falls through the deck. REEDE (disbelieving) Goodwin? Matthews just looks at him. MATTHEWS Is there a problem with your assignment, Lieutenant? If so... (gestures to Taylor) I'm sure Commander Taylor would be pleased to get off the boat for a little while. Reede looks from Matthews to Taylor, who is grinning eagerly. Reede then sighs. REEDE (resigned) No, Sir. No problem. (beat) Request permission to leave the bridge, Sir. MATTHEWS Granted. Reede begins to walk away. TAYLOR (calling) Enjoy your leave! Reede throws him a look. However, as he exits, we see Lieutenant Justin Riller take him aside, saying something we can't hear. We stay with Taylor, who turns to Matthews and sighs. TAYLOR (mock-wistfully) You know...I really _would've_ liked to go back to the island... Matthews throws a sideways glance at him. MATTHEWS (mildly exasperated) We're trying to find Captain Wolenczak, Taylor, not find a good time. TAYLOR ("innocently") I just wanted to go to a baseball game. Matthews glares at him. Taylor chuckles and as he returns to work, we... CUT TO SHACK It is a dimly lit, unfurnished place with the walls in shadow. We are looking at a wooden door. After a moment, it opens, and we see brighter--though still rather dim--light flood the room. Three people enter: two conscious, the other, slung between them, obviously not. The two conscious people--Joe and Chris--drag the unconscious one into the room. As we move in on the insensate one, we recognize him as Wolenczak. Joe looks down at the captain. JOE Still out...what the hell did Max shoot him with anyway? CHRIS (shrugs) Not a clue. ..but he'd better be up by tonight, or we're all gonna be screwed... They drag Wolenczak around for a moment, looking for a place to put him. After a moment, Joe shrugs and points to a random spot. JOE Good as place as any, right? Chris doesn't have an objection, so they pull Wolenczak to the spot and gently lower him to the floor. CHRIS Come on... We hear them leave, but stay on Wolenczak. We move in close....and see that he is _not_ moving in the slightest bit. A good long look at him, then... FADE TO COMMERCIAL END ACT TWO From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 4/"Tempus Fugit"/Act 3 ACT THREE FADE IN TO SHACK We are still tight in on Wolenczak. However, a moment after we first see him, his eyes begin to move beneath his eyelids. His lids then flutter, and he slowly awakens, blinking at the dim light. WOLENCZAK (dazed) Wha...? He begins moving, trying to sit up, moaning as he does so. WOLENCZAK (moaning) I'd forgotten what a number those stun blasts do on you... Painfully, he gets to his feet, and looks around. The camera begins to pan around, seeing what the captain sees. There are large objects against the walls, covered with sheets. No furniture can be seen beyond a few utilitarian metal chairs. The dim light is provided by a single lightbulb in the center of the low ceiling. There are no windows, and only the door we saw earlier. A very claustrophobic setting, all in all. WOLENCZAK (wryly) Good thing Tim's not here... (beat) And he thought the _aquatubes_ were bad... Wolenczak begins moving around the room, examining the covered objects. After a moment, he touches one of the sheets, then gently tugs on one. It falls away easily, revealing a large, advanced computer system. Wolenczak stares at it in shock...with perhaps a trace of envy. WOLENCZAK Whoa... (beat) This is on par with the Navy... He flips a switch, and the machine obediently lights up. Wolenczak smiles and goes to the keyboard. He types for a few moments, then a menu comes up on the screen. WOLENCZAK (satisfied) Now we're getting somewhere... As he types some more, the lights from the screen playing off his face, we... CUT TO SHUTTLE Lieutenant Commander William Goodwin is piloting, Reede is in the copilot's seat. Both wear headsets. They are both watching their boards, silently. Then: REEDE (casually) So...how're the folks doing under Boss Ross? Goodwin shoots him a _look_. GOODWIN Excuse me? REEDE ("confused") Didn't Texas join the Confederation? GOODWIN (annoyed) Yes. There is a beat of expectant silence. REEDE (prompting) Well...? Goodwin sighs in total annoyance. GOODWIN (shortly) They're gonna move. REEDE (feigning shock) Really? (beat) But I thought you Texans prided yourselves in being able to tough out anything! Goodwin's getting more and more irritated as Reede goes on. REEDE (continuing) But, then again...with that independent spirit you all seem to have down there... Goodwin's had enough. GOODWIN Look, if you've absolutely gotta know, my mom's gonna be working with damn yankees. Okay? Reede blinks, totally taken aback by this. His shock turns to mild offense. REEDE "Damn yankees"?! (miffed) Like you're in a position to criticize... Goodwin looks at Reede in mild confusion. GOODWIN What're you talking about? She's the new choreographer for the musical revival of "Damn Yankees" they're doing on Broadway! Understanding dawns on Reede's face. GOODWIN (continues) So, they've gotta move to New York. Reede's expression has turned somewhat chagrined. REEDE Oh. (beat) Can she get me front-row seats? Goodwin shoots him another _look_. Then, one of the displays changes. Reede flips a switch, and a voice comes over the com. COM OPERATOR (over com) Incoming shuttle, this is C&C, San Diego. Please identify. REEDE (into headset) This is UEO shuttle MR-8 requesting clearance to dock. Goodwin shoots Reede a puzzled look. GOODWIN MR- _8_? I thought we only used odd numbers. Reede raises a hand for silence. COM OPERATOR (over com) Granted, MR-8. Feeding data to your nav systems. You're in slot 94. REEDE (into headset) Copy, C&C. Thanks. He flips off the com and turns to Goodwin. REEDE You're right, we usually use odd numbers. But when the captain saw this one, he asked it be designated MR-8, instead. GOODWIN Why? REEDE He said something about MR-7 being cursed. (shrugs) You figure it out. GOODWIN I'd rather figure out where he is. REEDE (nods) Yeah... He turns his attention back to piloting his craft. CUT TO BAR Same bar, same band, and Trueman and Percell are just sitting down at the same table as before. Only the fact that they and the band are in different clothes shows that it's a different night. The band is just finishing up "Take it Easy" by the Eagles. After a smattering of applause: DOUG Well, that's all for the first set folks, but stick around, Renegade has two more coming your way! The band leaves the stage and--with the exception of Doug, head straight to Trueman and Percell's table. However, after that brief image, we cut back to Doug, adjusting some of his equipment. We stay tight on him in a head-and-shoulders shot, just long enough to see a female hand land gently on his shoulder. He whirls, startled. DOUG (annoyed) What? As he sees who it is--a shyly smiling young woman--his face softens to joyful shock. DOUG (stammering) L--Liz? The woman--Liz--nods. LIZ (softly) Hi. (beat, hesitantly) I was wondering...could we talk? A grin spreads over Doug's face--clearly, he'd give himself to the Chaodai for a chance to talk with her. We follow them as they walk away from the stage, but stop as they pass near Trueman and Percell's table, and stay with them, while Doug and Liz are swallowed by the crowd. From the looks on their faces, all are amused by the tale Bill is telling. BILL (laughing while he speaks) ...So then, he grabs me by the collar, shoves me up against the wall, and threatens to kill me if I ever went near Becca again! All laugh. TRUEMAN (laughing) Actually...I think Justin's exact words were: "If you ever so much as look at her again, I'll rip your face off and feed it to you!" (beat) Man, did he feel stupid after I told him we'd gone to high school together! All laugh harder. PERCELL (to Trueman) I'll have to ask him about that when I get back. TRUEMAN (firmly) Definitely. (beat) You know, you've told me just about everything you've been doing... (listing) The new vid disks...the classic Mickey Mouse watch from your parents...the safari...the flight from the East coast... (slightly teasing) ...Your new friend Mark... (beat, pointedly) But, you haven't mentioned when you're coming back to _seaQuest_. There is a beat of silence as Percell considers her answer. PERCELL I'm not sure...I mean, I miss you guys a lot, but... (beat, sighs) I think I just need some more time to myself. (beat) But...soon. (beat, lighter) In the meantime, I can always hang out with these guys, right? All three nod. WEDGE Sure! (beat, grins widely) We love groupies! All laugh again. As they do so, we see a figure walk up behind Wedge and Mat. Bill is able to see him. BILL (mildly surprised) Oh...hi Doug. (looks at others, unsurely) Did we have a meeting, or something? Doug shakes his head, grinning like an astronaut given free reign over the _Enterprise_. DOUG No. (beat) Guys...I've gotta leave. Looks of confusion are exchanged. BILL (stunned) You do? (beat) Since when? DOUG Well...since now. (beat, lowers voice) Look...Liz and I are back together...kinda. (beat) We just need to go somewhere quiet and talk. (beat) It's only for tonight! (beat, earnestly) I mean...you know she's the best thing that's ever happened to me...and the worst thing was losing her. Don't make me give up the chance to get that happiness back. Bill exchanges glances with Mat and Wedge. After a moment, both Wedge and Mat nod. Bill turns back to Doug. BILL (nods, sighs) Go. (musters up a smile) Best of luck to you--and remember, we've got a gig at The Hawk's Nest tomorrow at eight. DOUG (nods) Right. (sincere) Thanks. He walks away, the camera follows him until we see Liz join him. Doug puts his arm around Liz's shoulder. The perfect couple. WEDGE (shakes head) Han and Leia, eat your heart out! There is a moment of silence. BILL (checks watch) Okay, guys, we've got ten minutes to figure out what in hell we're doing for the next couple of sets. WEDGE (shrugs) I can switch to guitar. We've all ready done "Peaceful Easy Feeling," and that's the only one I can't do. MAT Yeah, and I can help you on the backups, but...what about a lead? The three again exchange glances, then, practically as one, turn to Trueman. At once, she knows what they want. TRUEMAN ("snowball's chance in hell") Oh, no... The following exchange is done rapid-fire, point/counterpoint. BILL Becca, come on! We were in a band in high school! You were fantastic! TRUEMAN St. John's, Arizona was a long time ago, and a long way away from here and now. I haven't sung in public since I went to the Academy! BILL (encouragint) It's like riding a bike! You never forget how! TRUEMAN I only know country. BILL We know rockabilly, and I still remember the old country stuff we used to do! What we don't know, we'll fake! Becca... (beat, pleading) ...We need your help here. (beat, idea occurs) Unless... He begins to turn to Percell, obviously about to ask if she sings. Trueman's expression could be best described as horror. TRUEMAN (before the question can be asked) No! All eyes turn to her. Trueman sighs in resignation. TRUEMAN (reluctantly) I mean...I want to do it. The band members smile. Bill, back to business, pulls out a notepad and pen. BILL Okay then... (begins writing) I'm thinking "Old Time Rock 'n' Roll" to start with... He begins making a list as we... CUT TO SHACK All is as before. Wolenczak is typing for a few more moments, then stops, looking curiously at the screen. WOLENCZAK (to self) sQ folder... (beat) This could be it... He types in a few more commands, and the folder opens...we go tight on the computer screen...where a picture of the second _seaQuest_'s original command staff appears. We then switch to Wolenczak, whose expression is a mixture of confusion, curiosity, sadness, and perhaps a bit of homesickness. WOLENCZAK (softly) Hi, guys... He takes a deep breath and shakes off the emotions. Going back to the keyboard, he begins to type--but then the door to the shack slams open. Wolenczak turns, the camera goes with him. A dark-haired, steely-looking woman in her late thirties--Sue Faulkner, we will learn--stands, silhouetted in soft (though blindingly bright in comparison to the near-darkness of the shack) moonlight. Faulkner walks in. As she does, we see the gun strapped to her hip, which her hand comfortably rests upon. She keeps the door open, and we can see two others guarding it. FAULKNER (satisfied) Good. You're up. (looks at computer, dryly) I see you've made yourself at home. WOLENCZAK Who are you? FAULKNER (quickly) Irrelevant. Wolenczak is getting annoyed... WOLENCZAK (quickly, a bit of an edge) Where am I? FAULKNER Also irrelevant. Wolenczak has now moved past annoyance, and is heading toward anger at a fast clip. WOLENCZAK (hard-edged) What _is_ relevant?! Faulkner smiles slightly. FAULKNER The fact that you're here. That's all that matters. Wolenczak digests this. WOLENCZAK Why? Faulkner tilts her head slightly, but doesn't answer. She stares at the captain, who is extremely discomfited. WOLENCZAK What do you want from me? Faulkner merely shakes her head. FAULKNER You really don't understand, do you? Wolenczak is _totally_ lost here... WOLENCZAK (absolutely flummoxed) Understand what? Faulkner sighs. FAULKNER Well, perhaps we can help you. (beat, to self) It's always this way isn't it? The... (mimes quotation marks) ..."Chosen One" ... (stops miming) ...Never seems to quite get it... (beat, to Wolenczak, wryly) Well, I guess the name's right, anyway... Wolenczak is as confused as a philosophy major in an advanced physics course. WOLENCZAK What are you talking about? FAULKNER (simply) You, of course. Wolenczak just stares blankly. FAULKNER (explaining) They said you gave them hope, Captain. And they said they'd return for you. Things are starting to click for the captain...and he begins to lose a bit of color, and is struck speechless for a moment. WOLENCZAK (stunned) How...? FAULKNER You said it in your personal log...as well as in the report you gave Bridger and his staff. (beat) The _unofficial_ one. (beat) These things have a way of being overheard (shrugs) Anyway, they took you once, then returned you. (beat) There's every reason to think they'll come back for you...if you send the right signal. There is a pause, as Wolenczak begins to recoup from his shock. WOLENCZAK (slowly) So...you want me to send that signal. FAULKNER (nods) Exactly. (beat) We've sent it several times ourselves, but we haven't gotten a response, so... (shrugs) ...Here you are. Wolenczak nods, looking like he's not sure if he should be laughing or running away screaming. WOLENCZAK (prompting) And here would be... A wry smile takes over her face. FAULKNER Let's just say I'm a history buff. Wolenczak looks at her, a "more, please" expression on his face. Faulkner's smile widens. FAULKNER (gestures outside) Welcome to Roswell, Captain. With a slight nod, she exits, closing the door, and restoring the shack to dimness. Wolenczak turns back to the computer, and sees the picture still on the monitor. A look of pure pain flits across his face, and he closes his eyes... CUT TO HYPERION OCEAN--PAST (B&W/FLASHBACK, STOCK CGI "SPLASHDOWN") The KrayTax mothership explodes. CUT TO SHACK The captain's eyes snap open, wide with fear. He gasps slightly. WOLENCZAK (whispers, almost desperately) No... Not again... FADE TO COMMERCIAL END ACT THREE From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 4/"Tempus Fugit"/Act 4 ACT FOUR FADE IN TO BAR Trueman is onstage, just finishing up "Blame it on Your...Heart", as it was once sung by Patty Loveless. The audience applauds enthusiastically after it ends, with several people holding lit matches and lighters aloft. Wedge turns to Trueman. WEDGE Looks like they want an encore, Becca. (to audience) Is that right? The audience responds enthusiastically in the affirmative. Trueman is pleased, and a bit surprised. The band turns to each other, Trueman included. They are firing off suggestions right and left. MAT Wanna try "Oklahoma Borderline"? WEDGE Nah...How 'bout "Passionate Kisses"? MAT No..."My Next Broken Heart"? BILL Wait...I got it. (turns to Trueman) Remember that JoDee Messina song we used to do? Trueman thinks for a moment, then she remembers. TRUEMAN (vehemently) No. Uh-uh. No way. BILL (confused) But, Becca...you used to love that one! You sound great singing it! TRUEMAN (stating the obvious) Bill..."Heads _Carolina_, Tails California"?! (beat) They'd hang me for treason BILL (awkwardly) Oh. (beat, weakly) "Heads North Dakota, Tails California"? Trueman and the others just shoot him a _look_. BILL (sighs) All right...then what? An idea dawns on Trueman, and she smiles. TRUEMAN I've got it... CUT TO BAR PARKING LOT We see Reede and Goodwin getting out of a taxi. They talk as they walk up to the door. Reede is a bit put off by the small, seedy joint. REEDE (doubtfully) You sure this is the place? GOODWIN (nods) Yeah. I've been here before...I once tried to drink my way around San Diego. Reede is bemused by this. REEDE Did it work? GOODWIN (shrugs) I dunno...I only remember the first few places. After that...it's all a blur. (points to the bar) But this place...this was the first one my buddy and I hit. (beat, fondly) They had this singer... At this point, the first few strains of music are heard. GOODWIN I wonder... CUT TO BAR Trueman is on stage, just beginning the vocals to "You Can Feel Bad", also once sung by Patty Loveless. (Note: any conversation or action takes place while she continues to sing. Also, any parts of the song written are in the foreground, the rest of the song is in the background to whatever action is being done.) During the first verse, Goodwin and Reede enter. Their jaws drop as they recognize Trueman, which occurs just as she enters the chorus. TRUEMAN (singing) "You can feel bad if it makes you feel better. Picture me cryin' readin' all your love letters; Walkin' around in your old sweaters. Baby you can feel bad if it makes you feel, better." Quick cut back to Percell, who has noticed Reede and Goodwin out of the corner of her eye. She begins to sidle over through the dense crowd, as Trueman goes into the second verse By the end of it, Percell has made it over to Reede and Goodwin. As Trueman reenters the chorus in the background: PERCELL (to Reede, teasing) Hey, sailor! Buy me a drink? Reede whips around, the spell of Trueman's song interrupted for the moment. He smiles widely, and gives her a brief, friendly hug. Then they turn back to Trueman, who's entering the bridge. TRUEMAN (continuing, singing) Yeah, take another look at these tears I'm cryin', They're not fallin' on your shoulders, They're fallin' on mine. And I've seen this comin' for a long, long time... And I'll be just fine...yeah... You can feel bad if it makes you feel better. Picture me cryin' readin' all your love letters; Walkin' around in your old sweaters, baby You can feel bad if it makes you feel better. If it makes you feel...somethin' If it makes you feel... Better." The audience erupts in as much applause as is physically possible. We go back to Percell and Reede and Goodwin. Goodwin looks at the other two. GOODWIN (wryly) Well...she's no Patty Loveless...but she ain't bad! All three grin, and begin to head for the stage, where Trueman is saying good-bye to the band. We stay on the stage as she does so. She greets Reede and Percell as they arrive at the stage. However, just as she begins to turn to Bill, we hear the sound of a glass hitting the floor. Everyone turns, and we see Goodwin looking rather sheepishly at a broken bottle of beer. An obviously drunk man is also looking at the bottle, with the brew slowly gurgling out of the smashed glass. The man has two friends nearby, and they also look at the bottle. We stay on him during Goodwin's line. GOODWIN (apologetically) Hey, man...I'm real sorry 'bout that... We see the drunk getting very red-faced...he looks up and sees Goodwin. DRUNK (snarls) You did that on purpose! Goodwin is totally taken aback by this reaction...he holds up his right hand for peace. GOODWIN (trying to be reasonable) Sir, I-- The drunk looks intently at Goodwin's class ring. DRUNK Navy boy, huh? GOODWIN (unsurely) Uh, yes, Sir. Lieutenant Commander William Goodwin. The drunk nods, and tries to draw himself up proudly. He fails miserably. As he speaks, Goodwin makes appropriate gestures, attempting to calm this obviously plastered man. DRUNK (feigning interest, traces of belligerence) Really? (beat) Well, _I_ am Sergeant Frank Winchester. (beat, significantly) United States division, UEO Army. (beat, looks down at Goodwin) And _I_ say, you did that on purpose. (beat, to drinking buddies) Typical Navy brat...thinks he can do whatever he wants... (beat) Well...we'll see about that... (beat, to Goodwin, goading) C'mon, pup...lay one on me. Goodwin hangs back, refusing to be pushed. DRUNK (mocking) Well...guess the Navy ain't makin' 'em the way they used to. (to buddies) Eh, guys? (to Goodwin) But, then again...maybe it's just _some_ of 'em... (calculated beat) Where's that accent from, pup? GOODWIN (calmly, coolly) Dallas, Texas, Sir. The drunk nods, and turns to his buddies. DRUNK (mock wistful) Ah, Texas...home of the Alamo...the Cowboys... (beat, looks directly at Goodwin) ...The Carolinans... Goodwin's just beginning to get upset...which the drunk notices. DRUNK So...have _y'all_ taught President Ross to two-step yet? (beat) I'd think you should...you're dancing to _her_ tune well enough. He and his buddies begin to laugh raucously. Goodwin does too. While the Sergeant is laughing, however...Goodwin lands a solid right hook to the man's jaw. It's loud enough that the band, Trueman, Percell and Reede all turn...just in time to see the sergeant and his men start to go after Goodwin. REEDE (groaning) Oh, no... (beat, exchanges glances with Percell) Come on... Trueman turns to Bill. TRUEMAN Catch ya later, Bill. She jumps off the stage, and lands next to Reede, who grabs her arm. REEDE (shakes head) Uh-uh. No way. Trueman just looks at him. REEDE (a gentle rebuke) Do you really want to break your promise again? A look of horrified rage crosses Trueman's face. TRUEMAN (viciously) Justin... (beat, absolutely furious) How _dare_ he... (beat, dead serious) I'll _kill_ him... As Trueman fumes, Percell turns to Reede. PERCELL Shouldn't we help him? REEDE (shrugs) Why bother? We turn back to where Goodwin was fighting. One man is out on the floor, the other two--one the sergeant--are still assaulting him, but are staggering. As we watch, the second man is knocked out, with the sergeant the only one still fighting. REEDE (continuing, O.S.) He seems to be doing pretty well on his own. A few moments later, Goodwin lands a uppercut that knocks the sergeant out cold. GOODWIN (to the unconscious sergeant) Don't mess with Texas. As Percell, Reede, and Trueman exchange glances, we... CUT TO SHACK Our first sight is of Faulkner's enraged expression. FAULKNER (yelling) What do you mean, "no"?! The camera pulls back to reveal Wolenczak, flanked by two armed guards. The captain is the picture of calm. WOLENCZAK (evenly) I mean, no, I won't send the signal. Faulkner looks at her people for a moment. FAULKNER (to guards, looking at Wolenczak) Out. Close the door. The guards leave, closing the door behind them. We stay on the seething Faulkner and the calm Wolenczak. She grabs him by the arm, and shoves him into the nearest chair. FAULKNER (angrily, looking straight at him) All right, Wolenczak. I want you to tell me what in _hell_ you're trying to pull. WOLENCZAK (evenly) I'm trying to keep the planet from being invaded. She just _looks_ at him. FAULKNER (skeptically) Right. WOLENCZAK (earnestly) It's the truth. (beat) It wasn't even _those_ aliens who took us! FAULKNER (sharply) That's immaterial, Captain. This signal should attract the attention of anyone watching us. Then, they'll come, they'll see you, and that'll be that. Wolenczak looks at her, his expression one of total shock. WOLENCZAK (totally blown away) You'd deliberately-- (cuts self off, still shocked) You don't know what they did to us--hell, _I_ don't know what they did! FAULKNER (quickly) Then how can you judge them? WOLENCZAK (listing, getting more intense every second) They kidnapped us. They tricked us into fighting for the wrong side. They killed our people! Faulkner stares at him, a calm, penetrating gaze. FAULKNER (eerily calm) How would you know that? (beat) I mean, you can't remember what happened... (beat, looking at him intently) Can you? Wolenczak looks at her...their eyes meet for a moment, then we hear a: DISTORTED SCREAM We see Wolenczak's alarmed reaction, staying tight on the wide blue eyes, then... CUT TO LARGE ROOM (B&W/FLASHBACK) We see only shadows on a bulkhead. There is a woman's silhouette, being restrained by two others who are obviously Stormers. A third silhouette, another Stormer, is beating the woman viciously. We see one blow...another...then a brief look at a pair of wide, terrified young eyes...those of 18 year-old Lucas Wolenczak. We STAY TIGHT on Lucas' eyes as we hear the woman scream in pain. We cut back to the bulkhead, and see that the assault has only gotten worse, with the Stormer slashing her with his claws as often as merely hitting her. In between blows, we go tighter and tighter onto Lucas' horror-filled eyes. After a few more blows, the woman's silhouette falls to the deck, unmoving. Another cut to Lucas, then, for the first time, the Stormers come into view. The one who'd been assaulting the woman looks at Lucas, then turns behind him. STORMER Prepare another. The two other Stormers nod, and pick up the woman. As they do so, we can finally see her: Doctor Wendy Smith, battered and bleeding from several deep wounds. We cut to Lucas, to catch his horrified reaction, then a cut back to Smith, being dragged away. However, as we watch, she picks her head up, and looks straight at Lucas with pained eyes. We STAY TIGHT on her face, as we see her open her mouth to speak. FAULKNER (V.O.) Well, can you? CUT TO SHACK All is as before. Wolenczak snaps out of it, though he's still very shaky. WOLENCZAK (out of it) Can I? (beat, remembers) Oh...I guess I... Faulkner rolls her eyes in annoyance, and moves away from Wolenczak slightly, folding her arms and looking down at him. FAULKNER (slightly condescending) Look, Wolenczak...just because you found Scott Keller in a downed ship doesn't mean the others are dead too. (beat, shrugs) It was probably just an accident, anyway. Wolenczak--who's by now recovered slightly--looks at her. WOLENCZAK (quietly, intensely) Commander Keller had second and third degree burns over 90 percent of his body. He was barely alive when we found him. He barely lasted an hour after we got him out of that pod! FAULKNER (shrugs) So, what does that prove? It was a tragedy. WOLENCZAK (hotly) It was an execution! (beat, calmer) The engineers said the ship he was in had been rigged so its heat shields would degrade after it hit atmosphere. No...they meant for him to die. (beat, bitterly) It's something they'd go for...letting him escape just to kill him before he could get home. Faulkner merely looks at him. FAULKNER ("innocently") Really? (beat) Now how would you know anything about them, if you can't remember them? (beat) I mean...it'd take a long time to know what they were really like...what they'd "go for". (beat) Am I right? She's got him boxed into a corner with that logic...so she thinks. WOLENCZAK That's not it at all... He is interrupted as we hear the: HEAVY THUD OF A BODY as it hits a metal deck. Wolenczak's eyes open wide, and we... CUT TO CELL (B&W/FLASHBACK) We see 18-year-old Lucas standing in the cell, backed up against the far bulkhead. We then see someone--a male--shoved into the cell, too. The man falls to the deck, lifts himself like doing a pushup, then manages to flip himself onto his back. As Lucas looks down at him, we recognize the man as Sensor Chief Miguel Ortiz, bloodied, beaten, but very much alive. We go TIGHT on Lucas' concerned expression. WOLENCZAK (V.O.) He was hurt... CUT TO SHACK All is as before. Wolenczak's eyes are distant. WOLENCZAK (continuing) That's all I can remember...he was hurt, and Wendy was hurt... He trails off, his eyes focusing on Faulkner, who's still watching him intently. WOLENCZAK (shaky, but demanding) What's happening? What are you doing to me?! Who are you?! FAULKNER (exasperated) We've been over this-- WOLENCZAK (cutting her off, shouting, angrily demanding) Answer me! Who are you?! What are you doing to me?! Faulkner, completely unruffled, looks at the irate captain for a moment, then sighs. FAULKNER (calmly) My name is Sue Faulkner, Captain, although I doubt it will be for much longer. And I'm not doing anything to you. Wolenczak looks at her a beat, his face reflecting denial because she has to be lying...and traces of fear because she might not be. WOLENCZAK (almost to self) No...no...no... (to Faulkner, stuttering) You have to--you have to be projecting this into my head or something-- FAULKNER (rolls eyes, sarcastically) Yeah, right, Wolenczak. (beat) I've got all the Talent of a lamp post, okay? He looks at her...and the traces of fear begin to grow. WOLENCZAK (shaking near-whisper) But...Professor LeConte erased our memories... FAULKNER (wryly) Obviously, he did a lousy job of it. (beat) Whatever you're seeing...it's got nothing to do with me. The fear hits him flush in the face, and he looks away from her, inextricably caught in this web of almost-memory. He pays no attention to Faulkner. FAULKNER (to self, sighing) Aw, hell... And, without further ado, she pulls her gun and fires. Wolenczak drops before he knows what's hit him. Sighing, she goes to the door and opens it. The two guards walk in. FAULKNER (off Wolenczak) He is not the one. The guards nod, and pick up Wolenczak's still form. As they begin to drag him away, we... CUT TO EXTERIOR EXECUTIVE MANSION The first rays of sunlight are just appearing over the horizon. There is the sound of birds quietly chirping, and a light wind. All very calm and peaceful. Then we hear a door slam open, then closed, and a mostly asleep Benjamin Krieg stumbles out, wearing pajama bottoms and holding a robe, which he shoulders into as he walks. He is clearly _not_ a morning person. He comes down from the porch, then stops dead in his tracks, all traces of sleep replaced by shock. KRIEG (whispers) Oh my God... We switch to a POV shot, and see Wolenczak, lying crumpled in front of the gate, security personnel surrounding him. FADE TO COMMERCIAL END ACT FOUR From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 4/"Tempus Fugit"/Act 5 (end) ACT FIVE FADE IN TO MEDBAY Caption reads: "Two days later". A rather exasperated Doctor Meridith Burke is attending to the minor injuries Goodwin suffered in his fight. He is in the middle of a story. GOODWIN ...Yeah, well, that bouncer won't be walkin' right for a week, lemme tell you! BURKE (chuckling slightly) No, I'd guess not. (beat) Bet the commander was mad, though. Goodwin starts to chuckle, but she grabs his chin, keeping his head from moving. GOODWIN Yeah, well...it'll never be said that ol' Bright Eyes doesn't have a big lung capacity. (beat, fondly) 'Course...it's nothing compared to Becca... Burke's eyebrows go up knowingly, though Goodwin doesn't notice. GOODWIN (continuing) Yeah...Becca's got one hell of a set of pipes... (beat, wolfishly) I love that in a woman. (beat, idea hitting) Say...you sing, Doc? Burke gives him a death look as she releases him. BURKE ("casually") You know...black and blue suits you, Goodwin... (beat) I wish you'd wear it more often. CUT TO CREW'S MESS Trueman and Reede are getting a bite to eat. Both are back in uniform. REEDE So, they think it was Sue Faulkner's group who took the captain? Trueman nods. TRUEMAN They're all ready starting an investigation, but... (beat, shrugs) According to everything I've heard...she and her group have just...disappeared. REEDE Musta fallen through the cracks. (beat) Well, at least the captain's okay. TRUEMAN Yeah. (beat, dryly) Maybe the group got abducted. Reede rolls his eyes. REEDE You know, my cousin John gave me a book that Faulkner wrote... (beat, shakes head) He was really into her stuff for awhile. (beat) Me, I always knew that group of hers was nuts... TRUEMAN (joking) Don't you mean "Astrocybernuts"? Both laugh. Right at this point, Lieutenant Justin Riller comes up to their table. RILLER What's so funny? Trueman immediately gets up, stone-faced. Riller and Reede are both confused about the abrupt change. RILLER (surprised) Becca? What's-- TRUEMAN (cutting him off, coolly furious) Justin, do me a favor, and listen to me. (beat) I am a big girl. I make my own decisions. And you have _no right_ to interfere. (beat, dangerously) Don't you _ever_ tell someone to "look out" for me again. She storms off. Off Riller's stunned and slightly hurt and angry reaction, we... CUT TO PARK It's a grey day in San Diego, with storm clouds on the horizon, rapidly moving in. We see Wolenczak walking along the same path, in the same park as before. He is carrying a duffel bag--not the one he'd had before--and his somber mood closely matches the weather. As we watch, he follows the path up a hill, one that faces out to the turbulent sea. Once he is almost there, we... CUT TO HILLTOP We hear waves break on shore as we pan around. A few bushes of yellow roses protect two, small white crosses that are driven into the ground, facing the ocean. Many of the buds and flowers are dead--killed by an early frost, shriveled and limp. As we focus on the roses, we see Wolenczak's hand reach out and lightly touch one. The bud breaks, falling to the ground. We then switch to Wolenczak, who looks at the roses sadly. He closes his eyes for a moment, then moves so he is in front of the two crosses. We see the thunderheads behind him, their rapid pace blocking more and more milky daylight. He kneels down and pulls first a book of matches and then two candles in plastic holders from his duffel bag, quickly lights them, and places one in front of each cross. (Note: the left cross signifies Smith, the right one, Ortiz.) WOLENCZAK (softly, to the left cross) Hi, Wendy. (softly, to the right cross) Hey, Miguel. Happy birthday. (beat) I, uh, I had something for you, but...I ran into a few problems getting here. (beat, to both) I know...I missed all three days last year, and two of 'em already this year. It's just that...everything's been so busy lately... (sighs) Well, you probably don't want to listen to my problems... (beat, to the right cross) I met your niece and nephew, Julia and Carlos, last year. They're great kids...they take after their uncle. (to the left cross) Wendy, I really could've used you to talk to these past few years... He trails off and sighs, knowing he's just "making conversation". He stands, turns, and stares out to sea, where the waters are getting choppier as the seconds pass, though Wolenczak isn't really seeing it. Unless otherwise indicated, he's speaking to both Wendy and Miguel now. WOLENCZAK I remember the first time I saw this place... (beat) Captain Bridger performed a short service, and then we all just...stood around. None of us really knew what to say...and then, Tim just...starting singing real softly... (sings) "Amazing Grace...How sweet the sound..." Distant lightning flashes and thunder quietly rumbles. Wolenczak chuckles ruefully. WOLENCZAK Well, he did it better than I could. (beat) He, uh, he tried to do it again a few months later, but...he, uh, he just couldn't finish it... With a frustrated sigh, he turns around and looks at the two markers. WOLENCZAK I don't know--maybe he never accepted that you guys were dead. Tony never did... (beat, shakes head) The others...McGath ordered us not to talk about it with anyone, and most of us decided we couldn't talk about it among ourselves, so... (beat, sighs) I guess most of us just wanted to forget...and then, when Jim died, everybody got distracted with that...then Tim left the service...and Tony... He trails off, his breathing not entirely steady. He stops and takes a few deep breaths. After a moment: WOLENCZAK (resuming) And then Tony died, and I... (beat, sighs) Everything just kinda fell apart somewhere, and I wish I knew how to fix it. There is a beat of silence as the winds pick up, and begin to toss his hair. WOLENCZAK I don't even know what _I_ thought about everything...Bridger practically said you were dead...I figured it was too hard for him to really talk about Hyperion, and whenever he _did_ talk about you it was always like you were dead. So, I guess I just accepted it...until now, that is. The thunder is louder, closer, and any daylight that made it through before is gone. Lightning flashes at random behind him, and the thunder follows it almost immediately. WOLENCZAK I don't know...maybe she was lying to me...maybe she was just...doing something in my head but...maybe she wasn't. (beat, shakes head) I'm not sure which one I'd rather. I mean, I'd like to remember, but... (almost haunted) ...Those images... CUT TO LARGE ROOM (B&W/FLASHBACK) A battered Wendy Smith is on the receiving end of a vicious blow from a Stormer. CUT TO CELL (B&W/FLASHBACK) A badly beaten Miguel Ortiz is thrown to the floor of the cell. CUT TO HILLTOP All is as before. Wolenczak shakes his head to clear it, his face reflecting the horror that's still knotting him up inside. He closes his eyes in pain for a moment, then opens them with a sigh. WOLENCZAK (ruefully) You know, it seems like every time I get over something, Someone decides to hit me with a new, huge problem... The loudest crack of thunder thus far sounds. WOLENCZAK I know. I should probably be grateful I didn't have to deal with this, too. But... (beat, the anger begins to build) ...With Macronesia, and Tony...that was my choice. I wanted to forget... (beat) ...So I did. There is a beat of silence as his anger grows. His voice rises in volume as he speaks. A light rain has begun to fall, and grows in intensity as he speaks. WOLENCZAK (continuing, the rage rising) With this...I didn't ask anyone to erase or block or to do whatever they did to my memories. They just _did_ it. I never had a chance to deal with this, because someone decided it was too much of a risk to know whether or not our friends were dead! He looks upward, seeing not the raging storm, but the stars they hide. Lightning illuminates him as he speaks. WOLENCZAK (furious, yelling) What's so important about that?! A loud blast of thunder, then: WOLENCZAK (literally screaming at the clouds, above the storm) Why won't you let me remember, damn you?! As the storm reaches full force, we look at him, standing alone in the now monsoon-level rain, with nature venting her own tremendous fury upon the earth. WOLENCZAK (just above a whisper) Why won't you let me remember? He looks down, a solid shadow silhouetted against the dark storm. We switch to a POV shot, and see the candles flicker and die from the rain. We then go back to Wolenczak, who slowly sinks back to his knees, and bows his head, his anger, for the moment, vented. As the storm continues to unleash its wrath onto him, we... FADE TO BLACK THE END