Date: Sun, 19 Apr 1998 18:11:30 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/Teaser To: seaQuest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 My apologies to all of you...I was away on Spring Break when this episode hit the web and I totally spaced off sending it out. seaQuest 2047 "Legacy" By Melissa Beattie & Rachel Brody Friday, March 20, 1998 Publication Draft Based on "seaQuest DSV" and "seaQuest 2032". TEASER OPEN ON EXTERIOR UEO HEADQUARTERS It's a beautiful day in Portland, Oregon. The camera focuses in on the headquarters building. We slowly pull forward, toward the building. CUT TO MEETING ROOM One of the upper floors. The room is large, with nine people seated around a table as a tenth gives a speech. He is Doctor Jeff Leonard, a cross between a scientist and a bureaucrat, unremarkable in appearance. As he looks up from some notes he's holding, he takes a quick breath and prepares to finish his speech, looking somewhat discomfited. LEONARD (uncomfortably) To sum up, there are three points, I'd like to emphasize. (beat) One: the budget was, as you all know, already tight. Everyone nods. LEONARD (continuing, discomfort growing) Two: the research into the GELF "disease" has eaten up a large portion of that budget. The others nod, and we begin to get the feeling that they already know where this is heading...they just want Leonard to say it first, a fact that he is well aware of. LEONARD (exceedingly uncomfortably) Three: this program has not produced a single viable or useful result in reversing this "disease," nor does it appear that will happen in the near future. (beat) UEO regulations restricting genetic engineering, as well as the assumed destruction of all information pertaining to the so-called "Dark Age of Genetics," leave us without a shred of evidence on what the scientists who created the GELFs intended for them. The group nods. The camera takes in their reactions...all very serious, somber, contrite...and not a GELF among them. LEONARD (continuing) It's leaching funds that would be put to better use elsewhere. Jacqueline Desjardenes, a career politician in her mid-50s, who is sitting down the table, clears her throat, which attracts the others' attention. She speaks with a mild French-Canadian accent. DESJARDENES (helpfully interjecting) That's why we're canceling it, and putting that money where it's going to do some good. The other officials nod as Leonard and Desjardenes exchange glances. She smiles slightly, though none of the other officials notice. LEONARD Any other questions? No responses. He smiles tightly, looking only slightly relieved. LEONARD In that case, that will be all. He gathers up his things and goes back to the vacant chair next to Desjardenes. At the head of the table, the leader of the committee, Shawn Jansen, a man in his late 40s, stands. JANSEN (addressing all) You've all had time to review the budget proposal, and Doctor Leonard has explained the reasoning behind dropping the GELF research program. (beat, with a degree of finality) So, is everyone here ready to vote? Nods from the table. Leonard and Desjardenes exchange satisfied glances. His expression holds a question. She doesn't say a word, but her expression clearly says, "Everything is fine." JANSEN (satisfied) Then enter your vote on whether or not to approve this budget into your computer terminals. Each official hits one of the keys mounted in the table in front of their seat. Leonard does not, as he is only a consultant. A few seconds of silence. Jansen enters his own vote, then reads the results on the display set-up in front of his own chair. Desjardenes crosses her fingers under the table, while Leonard seems to be holding his breath. JANSEN (off the display) The budget passes, with a vote of nine for, none against. (looks up) Nice work, people. (beat) We'll reconvene tomorrow. On the agenda is the vote on the UEO standardized testing, as well as an approval of the proposed Intranet overhaul. He looks around, waiting for everyone to acknowledge this announcement. Once they do, he nods. JANSEN Then I declare this meeting adjourned. He stands. As soon as he's done so, the rest of the committee rises and files out of the room, until only Leonard and Desjardenes are left. Leonard looks uncomfortably at the door. LEONARD (under his breath) Damn. Desjardenes looks at him, slightly alarmed, then crosses to the door, which she shuts. She looks at Leonard, a tinge of suspicion in her expression. DESJARDENES (shaking her head) Doctor Leonard...I told you, this is part of a deal with the UEO. (beat) You agreed to assist us in proving what a waste of time and money the GELF project is. (beat, with a hint of danger) Don't go back on that now. The doctor is lost in thought for a moment, then he looks back at Desjardenes. LEONARD (sighs) Of course not. (beat, forces a smile) In fact, I've got to admit, it's going to be a relief to be taken off that project. (beat) Playing God with technology that wiped out an entire generation of an entire race in a matter of weeks... (shudders) It's enough to rattle anyone. (beat) Plus...the possibility that we're abandoning this too early-- DESJARDENES (sharply cutting him off) Does not exist, Doctor. (beat, warningly) Remember that. For a moment, it looks as though he is going to make an objection. Then he breaks the gaze that she has him in, and merely nods. LEONARD (reluctantly) It doesn't exist. DESJARDENES (smiles) Exactly. SLOW FADE TO EXTERIOR, SECTION SEVEN HEADQUARTERS It is a business complex, surrounding a small courtyard. One building is an apartment complex, while the other appears to be an office building. Caption reads: "Section Seven Headquarters." New line: "Location Classified." New line: "Two weeks later." CUT TO INTERROGATION ROOM Deep within the bowels of Section Seven Headquarters, Captain Lucas Wolenczak sits in a room. Alone. Handcuffed to a chair, unshaven, uniform mussed, and looking as though he's been in this room for several days. After a moment, the door opens, and a woman of about 36 enters. Her expression is set, hard, cold. Her hair, long and blonde, is twisted and swept back away from her face. Her features are clearly defined, with pale skin bereft of makeup--Colonel Cassandra Pike. Wolenczak looks up at the sound of her entry, but his expression holds no joy at seeing her. We switch to the captain's POV as she walks in, and for the first time, we see she wears a Section Seven uniform. The corridor lights frame her as she enters, casting a shadow that falls over the captain. OFF BOTH An almost neutral point of view, shifted slightly toward Wolenczak as Pike moves toward him, stopping and crouching down to eye level when she's naught but a few feet away. If he wanted to, he could knock her over with a well-placed kick. He makes no move to do so. OVER WOLENCZAK'S SHOULDER We are staring right into her eyes--a clear, pale blue shade that contains more emotion and pain than any person's eyes have a right to, frozen into a glacial core. PIKE (quietly) I've spoken to the regional director. The only response Wolenczak gives her is silence. PIKE (continuing) You're to stay here until it's no longer a risk to release you. Wolenczak whispers something so quietly as to be barely audible. Nonetheless, Pike hears it. PIKE (shakes her head) You're not going to die here, Captain. (beat) I assure you of that. She waits another moment, but he says nothing. So she stands. PIKE I'll send someone in to take you to your temporary living quarters. They should be here soon. Again, Wolenczak refrains from responding. Unwilling to push anymore at the moment, Pike turns and walks to the door. She knocks three times and presses her palm to an ID grid. A moment later, the door opens. She casts one last look back at Wolenczak, then puts the sight of this man behind her. She exits. PULL IN On Wolenczak. He makes no move to attempt to escape as she leaves. He's a man close to breaking, no trace of defiance in the exhausted, shadowed eyes. As the door closes, he is once again enclosed in darkness. FADE TO OPENING CREDITS END TEASER Date: Sun, 19 Apr 1998 18:00:38 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/Act 1 To: seaQuest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 ACT ONE FADE IN TO CALLANS' LIVING ROOM Eyes intent upon the vid, Lieutenant Commander Greg Callan sits on his couch, a clearly fascinated look on his face. As he watches, we switch to a POV shot, and see archival footage from a typical "Biography"-type of show. NARRATOR (O.S.) And, after creating the original saga, the "Great Maker," as he was called, went on to write and produce several sequels, prequels, and eventually, an entire history of his universe. We turn back to Callan, his expression still thoughtful. With barely a glance, he reaches out with his right hand, and picks up a nearby cup of coffee, his coordination with the prosthetic clearly better than seen before. NARRATOR (O.S., continuing) It has been often said that-- The Narrator's voice is lost to the background as we hear the door slam open. We turn and see Kelly Callan storm into the room. Callan stares at her, shocked at her infuriated state. CALLAN (uncertainly) Kel-- She angrily grabs the remote and flips the station to CNN. Callan looks up at her, confused, but quickly turns back to the vid, as we hear: VOICE (O.S., surly) It's about time! We switch to his POV, then see on the vid the 30ish man who's just spoken, on the screen, dressed in casual clothes, with the words "Don McAyan, local resident" superimposed over the man's chest. MCAYAN (on-screen, continuing) That damned "research" fund was taking up too much of our tax money! And for what? (beat) Nothing! A brief switch back to Callan, taking in his total confusion, and a POV shot of him looking at Kelly, her body tense as a whip. REPORTER (O.S.) So, you don't think the so-called "GELF disease" poses any sort of threat? Callan's eyes get a touch wider as a terrible thought occurs to him...back to the screen. MCAYAN (on-screen) Not to people it doesn't! (beat) It doesn't affect me, why should I hafta pay for it? On the screen, we see him turning toward the crowd behind him, firing them up. MCAYAN (loudly) If the Daggers are so worried about this thing, I say, let _them_ pay for it! The crowd around him yells their assent. To their cheers, we switch back to Kelly as a very hard expression settle on her face. Her muscles tensing badly, she is clearly holding onto her control by a thread. Her hands are clenched into fists, and her teeth gritted. Behind her, Callan stands. CALLAN (from behind) Kelly? He reaches out to clasp her shoulder, but she jerks away angrily, and heads away from him, toward the door. KELLY (curtly) I need some air. And she yanks the door open and slams it shut again. Callan stares after her for a moment, then sighs heavily. He turns back to the vidscreen and sees McAyan and his crowd still talking...and something very like disgust crosses Callan's features. CALLAN (muttering) Goddamn idiots... (beat, sighing) Well...at least I'm here, instead of on the boat... (beat) I can at least try and help her get through this... (beat) Too bad I haven't the slightest idea of what to do... He shakes his head, then, turning his eyes skyward. CALLAN (half-jokingly) Y'know...I'd really appreciate a sign right about now. A moment of expectant silence...but there is, alas, no response, divine or otherwise. CALLAN (to self, vehemently) Nuts. He shakes his head, and then, from behind him, we hear another reporter speaking over more scenes from the streets. REPORTER (V.O.) ...You will recall that the first evidence of this disease was discovered almost out of nowhere by UEO medical personnel, to the strong response of many of her more influential citizens. The scene switches to show Wolenczak, one year younger, walking down a flight of stairs at the old capital. WOLENCZAK (on-screen, scathingly) It's typical of the so-called doctors of the Dark Age--create your soldiers, then throw them away when you don't need them anymore. (beat) Sometimes I think the Marxists were right--we _are_ just fuel for their war machines. A cut to Callan, with a definite idea dawning on his face. Then we... CUT TO WOLENCZAK'S OFFICE Our first sight is nothing more than a mountain of papers, SEAPOCs and disks, piled ten-high in places on the desk. After a moment, we hear the voice of Commander Jessie Matthews. MATTHEWS (O.C.) _Finally_! The camera moves upward, and we see Matthews clutching a vid disk. As she straightens: MATTHEWS (to self, grumbling) I cannot believe he didn't return this to me before he left...I don't care how late he was for his shuttle, he _still_ should've given me my Eric Clapton disc back... Just as she reaches the door, her PAL beeps. She sighs, and activates the device, before bringing it to her lips. MATTHEWS (into PAL) Matthews. What is it? NONCOM (over PAL) Commander, there's a call coming in for the captain. (beat) Again. Matthews sighs, and closes her eyes for a moment. MATTHEWS (irritated) All right, route it down here, please. NONCOM (over PAL) Yes, Sir. Matthews turns back into the room, all but wading through the paperwork. She glances at it, shaking her head. MATTHEWS (to self) They sure didn't tell you about all _this_ back in officer training... She turns from her perusal of the room toward the vidscreen, and arranges her face into a neutral expression. After a moment, the screen activates...and the face of Greg Callan greets her. Matthews' face breaks into a grin at the sight. MATTHEWS (warmly) Greg, how are you? How's rehab coming? Callan looks preoccupied, and speaks accordingly, all but squirming in his chair from anxiety. CALLAN (on screen, trying to be pleasant) Okay, Jessie, thanks. (beat) Where's the captain? MATTHEWS (dryly) That's what we'd _all_ like to know. (beat) He took off over two weeks ago...something about an old friend saying he needed some help. (shrugs) Well, you know the captain. He signed out on leave and took the first shuttle. (beat) The number he gave us hasn't panned out, and no one can find him. (almost incredulously) They've actually assigned us a Section Seven operative to help out. He arrives in a few hours (beat, realizing) Oh--you're not to repeat that. CALLAN (wryly) Repeat what? (sighs) Well, thanks anyway, Jessie...I'll have to figure out something else... He looks down, his disappointment tangible. She leans closer to the screen. MATTHEWS (concerned) Greg...what's wrong? (beat) I mean, I know I'm not the captain, but...you know I'll help you any way I can. He looks up at her, a smile tinged with sadness on his face. CALLAN (quietly) You've heard about the budget cuts. An "ah, _that_" look appears on her face. MATTHEWS (quietly) How's Kelly taking it? CALLAN (angrily, but not at her) How would _you_ take it? Matthews' eyebrows rise, conceding the point. CALLAN (continuing) It's her _life_, Jessie! (beat, loudly) These penny-pinching bastards have just taken away any hopes of knowing if she'll get this disease before it's too late! (beat, all but shouting) And for _what_?! A raise for some of the bureaucrats? Some kind of new biowarfare technique? Or maybe another laser platform-- MATTHEWS (cutting him off, firmly) Greg. He looks up at her. MATTHEWS (sighing) I can't promise much, you know that. (beat) But what I _can_ do...I will. A slight smile lifts the corners of his mouth. CALLAN Thanks, Commander. (beat) I really-- He cuts himself off as, from off screen behind him, we hear a door slam open. Callan turns and we see only his back. CALLAN (confused) Kelly? Once he's fully turned... CALLAN (shocked) Kelly! My God--what happened?! He leaves the screen's view, but we still hear him and Kelly talking, with intercuts as necessary to Matthews' increasingly concerned expression. KELLY (O.S., clearly irritated) I'm fine, Greg. CALLAN (O.S., quickly) You don't _look_ fine! KELLY (O.S., thinly) I _said_ I'm _fine_, Greg. (beat) Now get out of my way. I'll be in the bathroom getting myself cleaned up. A beat where we can hear a door being slammed shut somewhere off-camera. A brief look to Matthews, watching as her confusion and concern play over her expression. After a moment, a very agitated and concerned Callan reappears. CALLAN Do something _fast_, Commander. (beat) Before it's too late to stop this. He cuts the communication. As the screen goes to black, we switch back to Matthews and see her jaw set. MATTHEWS (quietly, to self) Why does this have to happen _now_... She reaches out to tap the intercom. NONCOM (over com) Bridge. MATTHEWS (firmly) Get me the secretary general's office. (beat, intensely) They will tell you you're jumping the chain of command, but do not stop insisting on speaking to her until you get her on the link. (beat, very intensely) Hitchcock and _no one else_. Got it? NONCOM (over com) Yes, Sir. (beat, unsurely) Sir...you realize this could take a while? MATTHEWS (tersely) Yes. (beat) Now get me the secretary general. NONCOM (over com) Yes, Sir. The intercom deactivates. Matthews sighs, looking around the office with its piles and clutter, and shakes her head. MATTHEWS (softly) Wolenczak...where the hell are you? She shakes her head once more, and walks out the hatch. CUT TO SECTION SEVEN APARTMENT SUITE A very airy, spacious place, with fine furniture and artwork on the walls, this room would not look out of place in a four-star hotel. We take a moment to absorb this...then, we see the door open with a crash and watch two Section Seven guards shove Wolenczak into the room. He stumbles, but manages to catch himself on the back of a plush reclining chair. From the doorway, we hear: PIKE (O.S.) Welcome to your new home, Captain. She walks into the camera's range, and we see her standing over the prone captain, who offers her little resistance. PIKE (continuing) I think you'll like it here... (gestures out a window) A nice view of a garden... (gestures toward adjoining room) A big, soft bed... (off the vidscreen) Even a vidlink...keyed only to CNN and entertainment channels, of course. (beat, deliberately, and not at all a question) And it _will_ stay that way, won't it. She moves closer and closer to Wolenczak, almost close enough for him to strike her, should he choose to. He doesn't choose to, a fact that does not escape her notice. She smiles. PIKE Aren't you the cooperative one... She reaches out to touch his arm. He flinches away, eyes glaring up at her. A switch to Pike, and we see her smile has grown both larger and colder. PIKE (contemplatively) But, perhaps, not as cooperative as we'd like. She straightens, and looks over at the guards. PIKE (to guards) I want guards posted here round the clock. (to Wolenczak) You're free to move about the compound, Captain. (beat, off guards, significantly) But, if I were you, I wouldn't try moving _off_ the compound. (beat) You won't like what's out there. She turns and begins to leave. Wolenczak clears his throat, and, with his voice rough from disuse: WOLENCZAK Why... (beat, stronger) Why are you...doing this...? Pike turns to face him. PIKE (coldly) You have a history, Captain, of speaking up at exactly the wrong times. Of doing the least politically useful thing at those bad times. (beat) We _will_ correct that mistake. Again, she turns to leave. As she takes the final step toward the door: WOLENCZAK (calling) You realize...you're only hurting the UEO by doing this! PIKE (without turning) You realize...we don't care. That being said, the captain tries to play his trump card. WOLENCZAK You know I'll tell them when I get out of here. She turns, a slight, somewhat malicious smile gracing her features. PIKE Who said you were leaving? Wolenczak's eyes open just a bit wider. His mouth opens, clearly trying to produce a protest, but nothing comes. Pike watches in satisfaction. PIKE Now, be a good boy, and do something quiet. (off vidlink) Why don't you turn on the news? I believe your old friend Mister Matson will be talking about the new budget today. She turns and leaves, Wolenczak staring after her. Once the door closes, he looks toward the vid, then back at the floor, then, once again, toward the vid. After a moment, he sighs. WOLENCZAK (to self) Might as well...at least find out what day it is... He rises painfully to his feet and flips on the vid, which, naturally, has already been set to CNN. We hear the voice of anchorwoman Trista MacAllen over the various shots on the screen, beginning with two masses of people, clearly antagonizing each other. MACALLEN (V.O.) And, again today, both anti- and pro-GELF groups clashed throughout the UEO over the elimination of the research on the so-called "GELF disease" which wiped out all of the first generation over one year ago. We switch to the captain's expression of shock. WOLENCZAK (softly) Damn... Back to the screen. The groups are now embroiled in an all-out brawl. As more scenes of violence are shown, from other locations, we hear: MACALLEN (V.O.) Outbreaks of violence were widespread, with at least eighteen dead, and hundreds seriously wounded. A look of total sadness crosses Wolenczak's face as he watches. Back on the screen, we see a lone GELF woman fighting off three monotones, two men and a woman. The woman and one of the men hold her arms pinned behind her, while the second man launches blow after blow to her face and chest. After a moment, however, the man moves his arms away from his body, clearly taunting his victim. However, it works in a way that he'd not intended, for the woman manages to brace herself enough to launch a heel-push kick that hits her attacker in the ribs. _Hard_. We can all but hear bones crack. He falls, and the others, surprised and thrown off-balance, loosen their grip enough for her to break free of them, knocking both who'd held her out with only a few blows. As she stands over the one who'd been hitting her, a close-up is done of her face. Though she is bloodied, breathing hard, and full of rage, we are still able to recognize the woman as Kelly Callan. A brief look back at a completely shocked Wolenczak, then, another long look at Kelly's face... FADE TO COMMERCIAL END ACT ONE Date: Sun, 19 Apr 1998 18:02:09 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/Act 2 To: seaquest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 ACT TWO FADE IN TO CALLANS' LIVING ROOM We see Callan pacing in front of the deactivated vid, looking more nervous than a cowboy at a punk-rock concert. After a moment, the door to the bathroom opens, and Kelly, bruised but somewhat cleaned up, emerges. Callan turns on her. CALLAN What the hell happened to you out there?! Kelly shoots him a _look_. KELLY (sarcastically) I had a little run-in with a mechanical ricepicker. His expression sets even harder. CALLAN That's not funny, Kel. (beat) Look at you! You look terrible! KELLY (bitingly sarcastic) Really, Greg. Well, you sure know how to flatter a girl, now don't you?! (beat, grinning somewhat evilly) Besides, if you think this is bad, you should see the other guy. Her humor is not at all appreciated. He turns away from her, shaking his head. Sighing, she gestures toward the vid. KELLY You turned off the news. He whirls around, his eyes blazing with anger, and not a little fear. CALLAN You're damned right I did. (beat, angrily caustic) I never did like bloodsports, which is all they're showing right now. A moment of her throwing him an angry look, then we return to him, his expression reflecting concern and fury in equal measure. CALLAN (all but yelling) Dammit, Kelly...you could've been hurt! (beat) These jerks are serious! If anything, his concern adds fuel to her fire. KELLY (challengingly) Oh, and I'm not? (beat) I've got three people in mind who'll tell you I gave as good as I got. (beat) My parents taught me to fight, Greg. The same as they were taught. (beat, intensely) Because they knew. Even then, when we'd first gotten our freedom and citizenship, they _knew_ that someday, the fear of us that you people carry around would turn into rage. (beat, bitterly) And they were right. (beat, listing) The German economy plunged, so the Third Reich blamed the Jews, the Gypsies, and anyone who wasn't Aryan. The American unemployment rate skyrocketed in the last third of the twentieth century, so any immigrants, especially non-Caucasians, were blamed. Yugoslavia broke up, and each ethnic group blamed all the others for absolutely _everything_. After most of the west coast went down, they blamed the Talents, because they supposedly "knew about it, but let the mere mundanes be killed." (beat) And look at the death totals on those, Greg. Almost twelve million total in the Holocaust. Thousands in race riots and hate crimes in the Eighties and Nineties. They haven't even _found_ some of the mass graves that were dug in Serbia and Croatia yet. And almost every Talent in the world was killed or went into hiding after the lunatic fringe started their "cleansing" sprees. They've only been able to come out with relative safety in the past five years. (beat) And now... (gestures to self) ...It's _our_ turn. She sits down on the couch, and looks down at her hands, folded tightly in her lap. Her rage is all but spent, leaving room for sadness and despair to well up. KELLY (shakes head, quietly) You know, I haven't heard the term "Dagger" since I was eight years old. (beat, looks up at Callan) I've heard it all over the place tonight. Callan sits down next to her, and tries to put his arm around her shoulders, but she shrugs him off, edging a bit away from him. KELLY (distantly) You have no idea, what it's like...being hated, or shunned, just because of who and what you are. (beat) No idea, what it's like...being alone in a crowd of people. (beat) Of hearing the whispers. Not even hearing the words...just the sound of people talking behind your back...hearing about how it's only a matter of time before you "lose your veneer of control" and go berserk in the lab. Or worse...how you don't really have any skill at what you do, you're just filling a quota. (beat, bitterly) Just a "token GELF." (shakes head) No matter how good you prove you are...they _always_ say that. (beat) Always. She falls silent, staring at the wall in front of her, looking very much alone. We take a glance back at Callan, and see just how helpless he feels, totally unable to truly understand her feelings, but wanting desperately to help. He sighs quietly, then hesitantly reaches out, and places his hand--his "real" hand--on top of hers. CALLAN (quietly) I'm sorry. She looks back at him, sadness and confusion evident. KELLY Sorry for what? He half shrugs, and looks down at the floor. CALLAN (searching for words) I'm sorry...I'm sorry that the rest of us have treated you so badly. (beat) I'm sorry...that we can't all get over this damned "race" thing. (beat) And...most of all, I'm sorry that you got hurt by all of this, and that I never even realized how badly. She smiles slightly, and reaches over to clasp his hand in both of hers. KELLY It's not your fault. (beat, quietly) But thank you. He shrugs, smiling at her tenderly. CALLAN You're welcome. There is a beat of slightly awkward silence. CALLAN ("innocently") So...I don't suppose you're in the mood for a late dinner? She chuckles, the first truly amused sound she's made in awhile. KELLY (dryly) Not really, no. (beat) Actually...if it's all the same to you...it's been quite a day. I just want to go to bed. CALLAN (nods) Sure. No problem. (beat) I'll be in soon. She nods, rises, and walks into the adjoining bedroom. He looks after her, and waits until the door is closed. He then picks up the remote, and flips the vid back on. The screen's first image is that of yet another clash between demonstrators. We switch back to Callan, in time to see his expression fall. Then we... CUT TO EXTERIOR _SEAQUEST_-- CGI A dark shuttle with Section Seven markings approaches the _seaQuest_ docking bay. CUT TO DOCKING BAY At the airlock, Matthews waits, Lieutenant Justin Riller at her side. Both look uncomfortable. MATTHEWS (quietly) So...how's everyone taking the news? (beat) About Section Seven's coming aboard? Riller shrugs. RILLER As well as can be expected. (beat) No one's real thrilled about it, but... (shrugs) It's not like we've got a choice. MATTHEWS (nods) Yeah, tell me about it. (beat) I thought Reede would go ballistic when Admiral Robinson announced it on the Bridge... Riller inclines his head, conceding the point. RILLER Right. (beat, seriously) I'll have to watch him... Matthews looks at him sharply, but says nothing. Any further conversation, however, is cut off as the airlock cycles. MATTHEWS (softly) Well...here we go... The lock finishes cycling and then opens. A man's silhouette is seen, a solid black form against the light from inside the bay. After a moment, he steps out of the lock, and we see him clearly for the first time. A tall, lean, dark-haired man wearing wire-rimmed glasses steps toward Matthews and Riller, smiling broadly. Riller stares at him, his face showing recognition of the man. RILLER (delightedly shocked) Jack? The agent--Jack Harriman--smiles even more broadly as Riller comes toward him. Note: Harriman speaks with a mild Canadian accent. HARRIMAN (warmly) Good to see you, Justin! (beat) Don't tell me they're letting you run this tug while your captain's away? Riller grins at the other, and extends his hand. They shake hands warmly, and Riller turns to Matthews, who's been watching in amusement. RILLER Actually... (off Matthews) This is Commander Jessie Matthews, our XO and acting captain. (off Harriman) Commander, this here is one of the best pilots I've ever met. Major Jack Harriman. Matthews smiles politely and offers her hand to the major, who takes it. MATTHEWS (as they shake hands) So...you're a hot pilot, huh? They stop shaking hands, and begin walking toward the corridor outside the bay. HARRIMAN (With a touch of pride) Yes, Sir. At this point, they have reached the doorway, and exit the bay. As they do so: CUT TO PASSAGEWAY OUTSIDE DOCKING BAY Riller, Harriman, and Matthews walk together down the corridor, as the major continues: HARRIMAN (continuing) But I haven't kept in practice as much as I should, what with the... (beat, considers) ...Unpredictability of my assignments. (beat) However...I _have_ heard of your pilots, Lieutenant Reede and Commander Goodwin. I'd love to meet them. (beat, with a glance to Riller, mildly) Justin here talks about them all the time... Matthews glances over at Riller, seeming ever-so-slightly uncomfortable at the implications of that statement, but lets it go with a polite smile. MATTHEWS I see. (beat) Well...you'll meet them at the briefing. (uncomfortable beat, changing the subject) Now, if you'd like, Lieutenant Riller can take you to your quarters. HARRIMAN (quickly) Uh...actually, Commander...I'd like to hold off on that, if I may. (beat) I'd like to convene a meeting of your senior staff, as soon as possible. To go over what they've found on Captain Wolenczak's whereabouts. MATTHEWS (shrugs) I don't think that'll be a problem. There's a briefing scheduled for twenty minutes from now, for that purpose. She smiles slyly at him, and the major just shakes his head. HARRIMAN I should've known better than to underestimate you. I mean, we all know _that's_ a fatal error-- just ask those pirates who tried to hijack the boat! Matthews bristles slightly at the mention of that particular incident, though Harriman doesn't seem to notice. HARRIMAN (continuing) Great job there, by the way. MATTHEWS (extremely uncomfortably) Thank you. There is a beat of awkward silence, and then she sighs slightly. MATTHEWS (to Riller) Well...I'm sure you can keep your old friend entertained for the twenty minutes it should take to get everyone to the conference room? I need to grab my files from my desk. Riller grins. RILLER I doubt that'll be a problem, Commander. Matthews smiles back. MATTHEWS (wryly) Just don't have the rest of us make _too_ poor a showing in your stories, all right, Lieutenant? Riller flushes slightly, and Harriman laughs. A quick look at the slightly impish expression on Matthews' face, as we... CUT TO WARDROOM The senior staff in its entirety is there, with Matthews at the head of the table, Riller to her right, Harriman to her right, with Lieutenant Commander Ed Taylor next to Riller, Lieutenant (j.g.) Tom Reede next to Taylor, and Ensign Anne Morgan next to Reede. Next to Harriman sits Doctor Meridith Burke, with Lieutenant Commander William Goodwin next to her, Ensign Rebecca Trueman next to him, and Chief Petty Officer Sara Percell on the end. All seem to listen to Harriman politely, with the exception of Reede. We take a short glance at him, enough to notice that his eyes and expression are quite cold as he looks upon the major. After that, we switch back to Harriman wrapping up a meeting that seems to have gone nowhere. HARRIMAN (finishing up) ...Any questions? There are none. Matthews nods and stands. MATTHEWS (to all) All right, people. I want your reports compiled and copies delivered to both myself and Major Harriman by 1900 tonight. Clear? Murmured assents and nods. MATTHEWS In that case...dismissed. Everyone stands, and begins filing out of the room, with the exception of Harriman, Matthews, and Riller, all of whom begin to converse quietly. However, as the others pass them: HARRIMAN (calling) Commander Goodwin? Lieutenant Reede? Both officers stop, and turn toward the major, Goodwin appearing curious, Reede quite wary. HARRIMAN A moment of your time, please? He beckons them forward, and both go, albeit reluctantly in Reede's case. Harriman smiles a bit shyly at them. HARRIMAN I've been told you two are the hottest pilots on the boat. Reede merely nods coolly, while Goodwin smiles. GOODWIN (confidently) You heard right. The major nods slightly. HARRIMAN As it happens...I'm pretty good at the stick myself. (beat, proudly) I still hold a few records-- REEDE (cutting him off, coldly) Excuse me, is there a point to this? (beat) Because I have some reports to compile. (beat) Sir. The icy reaction catches Harriman off-guard--this is not the attitude he's used to. HARRIMAN (slightly confused) Uh...actually, I was just going to ask if either of you would be interested in a few run-throughs in the simulator later tonight. (beat) Say...2100? Goodwin grins wolfishly. GOODWIN Love to. (beat, to Reede) How `bout you, Reede? In the mood to teach this desk-driver a few tricks of the trade? Reede just stares coolly first at Goodwin, then turns the arctic freeze on Harriman. REEDE (coldly) Not a chance. And he storms out, without so much as a backward glance. Goodwin, Harriman, Riller, and Matthews all look at each other. HARRIMAN (confused) Did I say something wrong? Matthews' lips set into a hard line. MATTHEWS No idea. (beat) Yet. And she stalks out of the room. The three remaining officers stare after her. HARRIMAN (mildly) Interesting crew you have here... CUT TO PASSAGEWAY Reede walks quickly, Matthews rapidly coming up behind him. MATTHEWS (calling from behind) Lieutenant! Reede pays no attention, only continues to walk away. Matthews' jaw only tightens, and she increases her speed to nearly a sprint to catch up with him. Grabbing onto his arm, she stops him. MATTHEWS (angrily) You want to tell me what that was all about, Lieutenant? REEDE (acting innocent) Sir? It only makes her more furious. MATTHEWS (snaps) Don't play that game with _me_, Mister. (beat) You were disrespectful to Major Harriman back there. (beat) In case you're unaware of this fact, a rank of major is the equivalent to a lieutenant commander. (beat, deliberately) In other words..._he outranks you_. (beat) So. You had better have a _damned_ good reason for your conduct, Lieutenant, or I'll bust you so far back down in the ranks, a _cabin boy_ will be your superior officer! We take a glance at Reede, and see that his expression has become even harder. REEDE (intensely) Commander, Section Seven is nothing but a nest of vipers, just waiting to strike the first unsuspecting creature to fall into its trap. (beat) They thrive in the shadows...they--they live on secrets and conspiracies and lies... (beat) They're lying to us right now, in fact. Matthews looks at him skeptically, clearly wondering if he's gone off the deep end. MATTHEWS They are? Reede sighs in frustration. REEDE Yes! (beat) Assigning an agent to the boat of a missing and presumed AWOL officer? Especially one as high-profile as this? (shakes head) Not a chance. They'd keep it as quiet as possible, probably not even telling us the guy was Section Seven, just a new officer. Then, they'd use their little spy network to locate the officer, send in a recon team with instructions to capture and detain until the team could be extracted. (beat) No. There's gotta be an ulterior motive here. (sighs) I just don't know what. Matthews looks at him, and after a moment, quietly sighs. MATTHEWS All right. (beat) While I agree that there probably is something else up, we _do_ have the obligation to be courteous to the major, for now at least. (beat) If you can find anything out that's suspicious, let me know, and I'll send him packing. I don't much like Section Seven myself. (beat) But, unless and until you find something wrong... She trails off warningly, and he nods. REEDE (finishing her thought) ...I have to behave around him. Is that what you're saying? She nods. MATTHEWS Exactly. REEDE (nods) Yes, Sir. He salutes her, and begins to walk away. But before he can: MATTHEWS Lieutenant? Reede turns back around. MATTHEWS (curiously) You seem to be familiar with Section Seven. REEDE (quietly) Yeah. I am. (beat, bitterly) My grandfather's the Regional Director. He turns away, and exits. We see Matthews' surprised expression, then we... FADE TO COMMERCIAL END ACT TWO Date: Sun, 19 Apr 1998 18:02:44 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/Act 3 To: seaQuest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 ACT THREE FADE IN TO SECTION SEVEN APARTMENT SUITE Wolenczak paces the apartment like a caged animal, the vid tuned to the news. In the background, we can hear Vince Matson doing a live report from one of the riots. MATSON (on-screen) I'm telling you, Trista, things are getting pretty bad out here in Portland. The secretary general is in closed conference with her advisors, and a general assembly meeting will be held later today as this crisis continues. If possible, my crew and I will be there to cover it. The screen switches back to an image of MacAllen, who is clearly confused. MACALLEN (on-screen, perplexed) "If possible"? What does that mean, Vince? (beat) We'd been told that representatives from the press will be allowed into the chambers. A switch back to Matson. In the background, we can hear a buzz that, during the course of Matson's line, becomes clearer. It is the shouts and cries of a crazed mob. MATSON (on-screen) It means that my crew and I may not be able to _get_ to the chambers, due to the rioting. Someone off-screen catches his attention. He looks toward them, then, after a moment, nods. MATSON (on-screen) As you can hear, the rioters are coming closer. (beat) We'll transmit as long as we can, but we may have to pull out soon. The mob is close enough that we can hear some of their chants--by the anti-GELF rhetoric they scream, it's clear which side they're on. MATSON (on-screen, yelling above the growing noise) All of Portland, as well as New York City, Dublin, Paris, San Diego, and several other major metropolitan areas in the UEO, are dealing with these riots. They are as intense and dangerous as the Watts and LA riots last century, and the Cape Quest riots that took place on and off throughout the late 2020s. (beat) If you are in the vicinity of any of these riots, the Office of the Secretary General is advising that you remain in your homes, and do not venture out for _any_ reason...I repeat, do _not_-- And his report is swallowed up by the noise of the rioters. We see them turn a corner, onto the street directly behind Matson. MATSON (shouting to crew) Okay, pull back to the van! Now! (beat, to MacAllen) I'll report back as soon as we find somewhere reasonably safe. For the moment, this is Vince Matson, reporting for CNN. The screen goes black, and we cut back to a very worried looking MacAllen. MACALLEN (on-screen, recovering) Well...we now go to correspondent Susan Cole, standing by in New York City. Susan? As the image begins to change, the screen is shut off. We cut back to Wolenczak, and see him try for a moment to contain his rage...then, shaking with the effort, he whirls around, slams the door open, and storms out of the room, clearly looking to force-feed someone hell. CUT TO SECTION SEVEN COURTYARD We see Wolenczak storming through the small garden area, his expression furious as a thundercloud and twice as powerful. His headlong stride across the path is so all-consuming that he passes Pike sitting on a wooden bench, reading a small handheld computer. As he passes: PIKE (without looking up) You're late. The sound of her voice throws him off-stride. He lurches to a stop, turns, and starts at her. WOLENCZAK (confused) Late? Pike nods, still reading the tiny screen she works on. After a moment, she puts it down beside her. PIKE Late. (beat) You should've found me here over an hour ago. (off computer) Since it was taking so long for you to find me, I figured I'd get a little work done in the meantime. (beat) So...what do you want? Wolenczak's lips press themselves into a thin line. WOLENCZAK (angrily) I want to speak with whoever's in charge of this damned place. (beat) In fact, I _demand_ to speak to them! She merely looks up at him. PIKE (calmly) You're not really in a position to demand anything, Captain. Don't you think? He glares at her. Then, for the first time, she cracks a tiny smile, one with real humor behind it. PIKE Relax, Captain. The C.O. is on his way. (beat) We expected you to demand to speak with him a long time ago. (beat, deliberately) You know...during our little chat. Despite a strong attempt at control, the mere mention of the time they spent together causes the captain to look quite ill. It doesn't escape her notice. She rises, and moves closer to him. PIKE Don't worry, Captain...that part of all this is over with. (beat) Unless you show us you haven't learned from that lesson. She reaches out to pat his arm, and we see how tightly his muscles clench under her touch. Another cold smile. PIKE The General arrives in approximately one hour. (beat, a "suggestion") Why don't you go and get cleaned up, Captain? With that, she walks past him. He bristles, and we see his hands clench into fists. WOLENCZAK (quietly) Dammit all... And he walks back the way he came, toward the apartment he'd been placed in. CUT TO DOCTOR'S OFFICE WAITING ROOM We see Callan pacing the room, looking like he's ready to climb the walls. He goes up to the nurse at the desk. His adjustment to his prosthetic leg is obviously going well, as he walks quite naturally. CALLAN Excuse me again... The nurse looks at him, her expression reflecting annoyance. NURSE Yes, Mister Callan? (beat) If you're going to ask if your wife is through with her exam yet, the answer is still no. (beat) If you're going to ask if your wife will be able to go to work today, the answer is still no. (beat) If you're going to ask if your wife has stopped insisting that you dragged her here for no reason, that she's fine, and that the reason she threw up this morning was just a delayed reaction to her fight last night, the answer is still no. (beat) Any other questions, Mister Callan? He smiles a bit sheepishly. CALLAN No, Ma'am. The nurse nods, satisfied. NURSE Good. (beat, gestures to chairs) Then why don't you sit over there, until the doctor is through with her? (beat) I doubt it'll be _too_ much longer. He nods, and goes over to sit down. Grabbing the nearest magazine, he begins absently flipping through it, not really looking at the pages. CALLAN (muttering) C'mon...c'mon all ready... A few more page flips...then, he takes a second look at what he's looking at. He then turns bright red. CALLAN Uh-oh... KELLY (O.S., mildly) The Sports Illustrated Swimsuit Edition? Callan turns an even brighter shade of crimson as Kelly walks over to him. She looks down at one of the pictures, a woman wearing a bright yellow one-piece, outlined in neon orange. She shakes her head, and looks back at her husband. KELLY Whoever designed this one was either color-blind or an idiot. He grins at her, though there is more than a touch of concern in his eyes. CALLAN So...what did the doctor say? Kelly shrugs. KELLY He's got some tests to run, but, at the moment, he's guessing it's just stress. (beat) He could do them here, except for my... (wryly) Unusual bloodtype. (beat) The lab's backed up, so he won't know for a couple of days. I can't go to work until then, though. CALLAN (sighs) And...did he say anything about... (off bruises) ...That? She half-smiles sadly. KELLY Not really. (beat, bleakly) He saw the news. Callan looks down, and sighs quietly. CALLAN I'm sorry. KELLY I know. (beat, heavily) Let's just go home. He nods, and, as he slides an arm around her shoulders, they leave the room. CUT TO BRIDGE The usual crew is up: Trueman at communications, Reede at helm, and Riller in command. Percell sits at one of the computer terminals, hacking away. Everyone will shoot glances in her direction, but know enough not to interrupt her. We stay on her, watching her type intently, then we see a shadow fall over her as someone steps up behind her. HARRIMAN (O.S. from behind) Morning, Chief. Percell nods a response, but doesn't look away from her screen. Harriman, innocently enough, looks down at the screen as well, watching the codes as they scroll up the screen. After a moment, he gives a low whistle of approval. HARRIMAN Whoa... (beat) You, Chief, are a master hacker. She flashes him a quick grin, then turns back to the screen. PERCELL (somewhat absently) Thanks. HARRIMAN You're welcome. He stares a bit longer. HARRIMAN (innocently) So...what's the hardest system you've ever hacked into? She shrugs. PERCELL Dunno... (beat) At the moment, this one. He nods. HARRIMAN Uh-huh. (beat) Ever tried the DefenseNet? For the first time, her typing slows a bit. PERCELL (surprised) The _UEO_ DefenseNet? HARRIMAN (nonchalantly) Yeah. (beat) Ever tried it? She stops typing entirely, staring up at him in shock. PERCELL (stammering) N-- No! Never. HARRIMAN (surprised) Really? (beat) That's odd...in our division, all our people are taught hacking skills, but only the real advanced ones could crack systems like the DefenseNet, or some of the secure government lines... (beat, off screen) Like the ones you're hacking into now. She looks at him with wide eyes, her expression mirroring her anger and shock. It doesn't go unnoticed. HARRIMAN (off her screen) When I interned, I made the rounds of the section...including the hacking division. I recognized some of the codes. (beat) Not many people outside the section would be able to go this far in. (beat, a slight smile) Congratulations. He clasps her shoulder, and squeezes it warmly for a brief moment. HARRIMAN ("innocently") So...ever think about transferring to Section Seven? She glares up at him. PERCELL (with finality) No. She shrugs his hand off, and resumes her hacking. He sighs. At this point, we alter the camera angle to the major's POV, and see Riller in the foreground, looking somewhat confused by the exchange he's just witnessed. In the background, we see Trueman look similarly confused...and we see Reede looking about ready to blow a gasket. A look back to Harriman, who seems a bit surprised by the looks he's getting. HARRIMAN (confused) What? What is it? Riller walks over to the major, and we tighten the shot so that we see only them. RILLER (quietly) Jack...why don't you go and talk to Morgan? She knows some people who might be able to help with the search... HARRIMAN (shakes head) I've got an appointment to talk to her in about an hour. I talked to Goodwin just before I got up here, and I'll be seeing Doctor Burke after I'm through with Morgan. He isn't getting it. Riller sighs. RILLER Jack...you're harassing the Bridge crew. (beat) I think it'd be better if you left. The major looks downright apologetic here, however, he's also clearly immovable. HARRIMAN Sorry, Justin...but I have a job to do. (beat) I have to talk to the rest of your senior officers. (beat) Now. Riller's lips set into a hard line. RILLER (angrily) Yes, Sir. Riller turns away, and returns to the command chair. The major sighs, and looks around for a moment. HARRIMAN (to self) Might as well get this one over with... He walks down to the Helm station, where Reede sits. The lieutenant bristles, but doesn't look at the other. REEDE (all but snarling) What do you want. (beat) Sir. The major sighs. HARRIMAN Lieutenant Reede...you seem to have some kind of problem with me. REEDE Damn right I do. The exchange is drawing attention left and right. Harriman's lips press themselves together tightly. HARRIMAN (thinly) Tell me...is it me you don't like? (off Section Seven insignia) Or this? For the first time, Reede turns around, eyes alight with raging fire. Harriman blinks taken a bit aback. We go back to Reede...whose volume rises as the scene progresses. REEDE (intensely) Both. (beat) I told the commander you were nothing but vipers. All of you in your little spy ring. (beat) But I was wrong. (beat) You're more like a trap-door spider, waiting to counter everything we do. HARRIMAN (attempting to be reasonable) Well...I don't really think-- REEDE (cutting him off, angrily) I don't care what you think. (beat) My grandfather is one of you, did you know that? (beat, not letting him answer) He's as big a bastard as they come, and so were all the operatives and other "associates" of his that I had to deal with at all those "formal functions" I was forced into as a kid. (beat) Would you like to hear about some of the conversations I had to listen to? (beat, listing) New techniques in "the art of extracting information." Stories about assassinations. About interrogations. (beat, getting louder) All those things that you people are trying to "protect" the UEO from knowing, are the bedtime stories I got as a child! (beat, all but yelling) My damned grandfather didn't even come home for his son's funeral during the war! Harriman looks totally thrown by all of this. Clearly, he is fumbling for words. HARRIMAN Lieutenant...I-- REEDE (cutting him off, still loudly) You what? (beat) Don't you dare say you're sorry, because we both know you aren't. (beat) My father was KIA in 2042. They buried him in Arlington, with full honors. It was actually a pretty high-profile event in the military, as funerals go... (beat) Which is why my grandfather couldn't make it. (beat) Even the head of Section Seven is too secret a position outside of the military to really be seen anywhere during wartime. A funeral like my dad's would've been too open. (beat) And my aunt and uncle were both in the section. So they couldn't come either. (beat) They barely even acknowledged my father had existed. (beat, bitterly) Or anyone else in the family. He takes a deep breath, and shakes his head. His volume drops, but his tone only intensifies. REEDE (finishing) So, no, Major. I _don't_ like Section Seven. (beat) And I especially don't like its members. He turns away, back toward his station. Harriman only looks stunned, and even somewhat saddened by the lieutenant's words. He turns to see the others staring at him, mostly in anger. Harriman looks at the deck for a few moments, and we see a shadow fall over him. RILLER (O.S.) Jack...I really think this can wait. Harriman nods, and leaves. We take a quick glance at Reede, staring at the screen in front of him, but seeing only the past. CUT TO SECTION SEVEN APARTMENT SUITE Wolenczak has gone back to pacing in front of the vid. MacAllen remains on-screen, talking to correspondents around the world. MACALLEN (on-screen) Thank you, Alex. (beat) Our next report is from... She listens to her prompter, and then breaks out into a relieved smile. MACALLEN (containing) From Vince Matson in Portland. Good to have you back, Vince. Wolenczak sighs in relief as Matson's image comes up on the screen, albeit looking somewhat mussed, and sporting a few bruises. MATSON (on-screen) Glad to be here. (beat) I'd like to just quickly thank a friend out there for teaching me a little of her Tai Chi and Aikido--it came in handy. (beat, back to business) Anyhow, we're at a somewhat more secure location with a large security presence... Anything else Matson was going to say is relegated to the background as the apartment door suddenly opens. Wolenczak turns suddenly, hand going down toward his hip, forgetting his prisoner status. Pike enters. PIKE (coolly polite) Captain. (beat, gestures off-screen) The general is here. A tall, stocky man of approximately seventy-five enters the room, surveying the captain with hooded eyes. GENERAL REEDE (to Pike, looking at Wolenczak) That will be all, Cassandra. You're dismissed. She nods and quietly exits. The general continues measuring Wolenczak up. After a moment, the general nods. GENERAL REEDE (calmly) Captain Wolenczak. My name is General Alan Reede. The name does not go unnoticed by the captain. His eyes narrow in suspicion. We stay on the captain... GENERAL REEDE (continuing, O.S.) I believe you know my grandson. And as Wolenczak's eyes widen in shock, we... FADE TO COMMERCIAL END ACT THREE Date: Sun, 19 Apr 1998 18:03:20 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/act 4 To: seaQuest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 ACT FOUR FADE IN TO SECTION SEVEN APARTMENT SUITE All is as before. General Reede walks over to the couch and sits. He then gestures to the chair across from him. GENERAL REEDE Please...sit down, Captain. Slowly, warily, Wolenczak sits down across from the general. WOLENCZAK (shocked) You're Lieutenant Reede's grandfather? GENERAL REEDE (wryly) I believe that's what I said. He pauses a beat, and then shifts slightly in his seat, looking ever-so-slightly uncomfortable. GENERAL REEDE You know...I never got to thank you, all those years ago, for handling that whole Avatar fiasco. Wolenczak chuckles humorlessly at the mention. WOLENCZAK I had nothing to do with it. Doctor Smith was the one who handled it. (beat, ironically) It'll be a little hard to thank her. The general half-shrugs, conceding the point. GENERAL REEDE (uncomfortably) Yes, well... (beat, shrugs) I'm afraid there's not much I can do about that. (uncomfortable beat) Well, getting back to the business at hand... WOLENCZAK (jumping in) You're holding me here to keep me quiet, aren't you. The general blinks in surprise. GENERAL REEDE (confused) "To keep you quiet"? (beat) Quiet about what? WOLENCZAK (angrily) Oh, you know what! (beat, sarcastically) The rioting over the budget cut--does it ring a bell? The general smiles slightly. GENERAL REEDE Ah. (beat) That. (beat, curiously) You really think we'd lock a valuable member of our Navy up when we need every officer on land to help control the crowds? (beat, shakes head) That's not exactly a sound strategy, now is it? WOLENCZAK (countering) It is if you think I might do something to incite them. (beat) Or maybe even help them. The general looks taken aback by this. GENERAL REEDE (slowly) Captain...are you saying that you would _help_ escalate this madness? (beat, shocked) That you would not stay neutral? (beat) That you'd allow yourself to cause more death and destruction of the innocent and their property? (shakes head, stunned) I can't...I can't believe that. (beat) How would you be able to sleep at night? Wolenczak's jaw tightens. WOLENCZAK (tightly) The same way you do. The general looks up sharply. WOLENCZAK (continuing, exasperated) Cut the crap, General. I already know what you're trying to do. GENERAL REEDE (curiously) Do you? (beat, deliberately) Do you really? WOLENCZAK (annoyed) Yes. (beat) Your Ms. Pike told me about my penchant for bad political decisions, because I feel they're the right things to do. (beat) Telling the world that the budget cuts are a mistake, and that the GELF research project needs to be reinstated, would probably be a very bad move politically. The general chuckles. GENERAL REEDE (bemusedly) Quite. The general sighs, and spreads his hands helplessly. GENERAL REEDE Captain...you must realize that we are on very uncertain ground here. (beat) Hitchcock is under fire from all sides on everything from dealing with the Carolinans to her negotiations with a local Portland labor union who's been picketing her mansion. Any public dissension by anyone--especially someone as high profile as yourself--could be enough to topple her. (beat) I know you wouldn't want to see that. (beat, sighs) We...borrowed...you so we could try and show you our side of the story. WOLENCZAK (sarcastically) What, you couldn't have just talked to me?! (beat, shakes head) No way in hell do I believe this. GENERAL REEDE (quickly) And no way in hell you would've believed us if we'd just told you. (beat) Your...distrust of our section is almost legendary. (beat) You know...you and your Commander Ford nearly destroyed the section with those allegations of brutalizing GELFs fifteen years ago. (beat) That was actually _NorPac_. (beat, shrugs) Yes, it was still Section Seven, and yes, it was still the same general who went from NorPac to UEO until 2021 when I was installed. (shakes head) But you still caused a _major_ problem for us. (beat, mildly) Did you know that there was talk of arranging an...accident for you and your commander? (beat) Unofficially, of course. Wolenczak's eyes narrow in fury. WOLENCZAK (angrily) I'm not surprised. The general smiles slightly. GENERAL REEDE Well, I stopped it, of course. (beat, dryly) You _are_ still alive. (beat, sighs) And I'd like to keep you that way. WOLENCZAK (scoffing) Right. Sure. (beat, intensely) I'm sure you would. (beat) But, you see...I'm not going to stop telling people what I think. (beat) I was always taught to lead by the courage of my convictions, and I'd like to think I do. The general nods, with a small half-smile. GENERAL REEDE Yes...that _was_ one of Oliver's favorite sayings... Wolenczak looks at him sharply, surprised by the mention--and the familiarity the general seems to have had with a certain captain... WOLENCZAK (suspiciously) You knew Captain Hudson? The general smiles ruefully. GENERAL REEDE Of course. (beat) He hated my guts. A wry smile from the captain. WOLENCZAK (wryly) I always knew he had good taste. The general's eyebrows go up at the insolence, but allows it to pass. GENERAL REEDE Yes, well... (beat) He needed my blessing to get a certain then-commander into an XO's position on the _Pegasus_. Wolenczak looks like he could be knocked over by an electron by this news. WOLENCZAK (stunned, stammering) He-- Why I-- (beat, recovering enough to speak) I knew he pulled strings for me, but...I thought I'd gotten _Pegasus_ on my own... The captain trails off, shaking his head, as the general watches calmly, almost as though he were waiting to let Wolenczak absorb the blow. After a moment: GENERAL REEDE (quietly) Well...maybe I shouldn't get into that. (beat) The point was, Oliver told me that you were a good officer, and a strong man. (beat) I can see he was correct on both counts. (sighs) You realize you're causing us a great many problems. WOLENCZAK (chuckles slightly) That's what my parents used to say. The general nods, and rises. GENERAL REEDE (regretfully) Captain...I'm afraid you give me no choice in this matter. He moves away toward the door, Wolenczak following him with his eyes. The general knocks on the door. It opens, and a guard stands in the doorway. A brief whispered conference, then the guard nods, and moves off camera. The general turns back to Wolenczak. GENERAL REEDE (officially) Captain Wolenczak, you are to remain here, in this room, until one of my aides arrives. (beat) I'll be going to my office, to arrange for your release. Wolenczak blinks in surprise. WOLENCZAK (incredulously) You're...you're releasing me? GENERAL REEDE (shrugs) Well, I'm obviously not going to be able to convince you not to speak up. (beat) I'll be releasing you into the custody of my aide and, once the paperwork is complete...we'll have you back onto your boat in a day. Wolenczak is totally blown away by this sudden turn. However...his suspicions are not entirely quieted... WOLENCZAK What's the catch? The general just smiles. GENERAL REEDE Good day, Captain. He walks out the door, closing it firmly. We switch back to see a very uncomfortable Wolenczak, then... CUT TO CREW'S MESS Reede sits alone at a table, picking at his dinner. We watch him for a few moments, toying with his fork, then see a tray slide onto the table next to him. GOODWIN (O.S.) Mind if I join you? REEDE (belligerently) Yes. GOODWIN Oh. And he sits down across from Reede anyway. The lieutenant sighs. REEDE (angrily) Look, the wake was over five years ago, okay? (beat) So you don't have to give me your sympathies. Goodwin shrugs, and begins digging into his dinner. GOODWIN Wasn't planning on it. Reede looks at him askance. REEDE (slightly confused) You weren't. Goodwin shakes his head. GOODWIN Uh-uh. A moment as the lieutenant commander shovels food down his throat, and the lieutenant stares at him. REEDE (totally perplexed) Then what are you doing here? Another shrug from Goodwin. GOODWIN (off tray) Eating supper. REEDE (getting exasperated) I can see that. (beat) So's everyone else. GOODWIN (nods) Yep. Everyone's eating in here. (off Reede's tray) `Cept you. (beat) But, I guess not everybody's hungry at suppertime, right? REEDE (totally lost) Uh...guess not... GOODWIN (satisfied nod) Right. (beat) People I guess are different everywhere, right? (beat) Even people in the same organizations. It all suddenly clicks in for Reede. REEDE (exasperatedly) If you're going to tell me that not everybody in Section Seven is evil incarnate, I can tell you right now I won't believe it. Goodwin sighs. GOODWIN Aw, c'mon now... (beat, teasingly, with a heavy accent) Some of `em are real nice fellers. REEDE (angrily) Go to hell. (beat, snidely) Sir. He stabs at a carrot on his plate, and stuffs it into his mouth. Goodwin sighs. GOODWIN (dropping the act) Look, Reede, I'm not gonna tell you that your grandpa wasn't a jerk, because he was. (beat) But this Harriman fella...he seems okay. (beat, trying to be reasonable) You can't judge everybody because they're part of a group. (beat, gestures to self) I'm Texan, but I'm with the UEO. (beat) I can tell you--that's pretty unusual. Reede just shoots him a glance. REEDE (coldly) Thank you for the morality lesson, Lieutenant Commander. He rises from his chair. REEDE (continuing) I'll be sure to take it under advisement. He turns and leaves. We go back to Goodwin, who sighs quietly. GOODWIN (to self, sadly) That boy's in for nothing but trouble... CUT TO HARRIMAN'S QUARTERS The major sits at a desk, reading over a few reports. After a moment, he nods to himself, and keys the vidlink. He types in a code, sits up straight, and waits. After a moment, Pike appears on the screen. PIKE (on-screen) Report. HARRIMAN They don't have the slightest idea where he is, Colonel. (beat) I also checked in with our friend on-board...he says the leaks have been minimized, and that most of the encounters were, as he put it, "dumb luck." (beat, sighs) It's safe to proceed. She nods. PIKE (on-screen) Good. (beat, suspiciously) Was that a note of reluctance in your voice, Major? (beat) You know this is necessary. He sighs quietly. HARRIMAN (regretfully) Yes, Sir. PIKE (on-screen, satisfied) Good. (beat) Compile your report, then come home. Pike out. The screen snaps off. One last, small sigh from Harriman, as we... CUT TO SECTION SEVEN OFFICE We see Pike just straightening up from speaking into a vidscreen. She pulls out her PAL, and types a short code. After a moment: GENERAL REEDE (over PAL) Reede here. PIKE Major Harriman's reported it's safe to proceed, Sir. GENERAL REEDE (over PAL) Good. (beat) Has Lieutenant Logan arrived yet? PIKE Yes, Sir. She gestures to someone off-screen. After a moment, a tall, thin man--Lieutenant David Logan-- moves next to her. LOGAN Here, General. GENERAL REEDE (over PAL) I trust Pike has briefed you? Logan glances at her before he answers. LOGAN Yes, Sir. (beat) But, I was discussing a possible problem-- GENERAL REEDE (over PAL) Yes, yes, the blocks that already exist in his mind will probably make it a bit harder on you. I know that. (beat, coldly) However, I don't see the problem, Lieutenant. (beat) I realize you don't want your Talent known, but I can assure you, doing a thorough job on Wolenczak will be the best way to keep your abilities hidden. We see Logan sigh in defeat, and nod. LOGAN (quietly) I'll be there promptly, General. GENERAL REEDE (over PAL, satisfied) Good man. (beat) Oh--but do be careful. I'm told the captain has become unstable in the past...we wouldn't want to damage one of our finest, would we? LOGAN No, Sir. Of course not. GENERAL REEDE (over PAL) Anytime you're ready, Lieutenant. (beat) Reede out. The PAL goes dead. Logan looks up, and Pike gestures toward the door. PIKE Right this way, Lieutenant. She opens the door, revealing a pair of soldiers guarding the room across the hall--one of whom is the same guard the general spoke to earlier. She nods, and that door is opened, revealing Wolenczak, still sitting in the chair. Logan hesitates at the door, but, at a pointed look from Pike, enters. As the door closes, we... FADE TO COMMERCIAL END ACT FOUR Date: Sun, 19 Apr 1998 18:03:50 -0700 From: Vicky & Bob Subject: seaQuest 2047/season 2/episode 12/"Legacy"/Act 5 (end) To: seaQuest_2047@midnight.postino.com X-Mailer: Microsoft Outlook Express 4.72.2106.4 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V4.72.2106.4 ACT FIVE FADE IN TO EXTERIOR _SEAQUEST_--CGI Establishing shot. The boat cruises through the water. Caption reads: "One day later." CUT TO DOCKING BAY Harriman and Riller walk into the bay together, with Harriman carrying his luggage. As they reach the lock, the major turns, and offers his hand to Riller. HARRIMAN (as they shake hands) Well, Justin...it was good to see you again, for a few days, at least. RILLER Same here, Jack. (beat) So, where you off to next? Harriman shrugs. HARRIMAN No idea. Riller just looks at him, clearly surprised. Harriman chuckles. HARRIMAN (amused) I told you the job was unpredictable. (beat) I could be headed for San Diego, or Portland, or Paris for all I know. (beat) The riots are still going on...they need every hand they can get. RILLER (sighs) Yeah, tell me about it. (beat) You think this...meeting, or whatever it is will help any? The major shrugs. HARRIMAN I dunno. Maybe. (beat) Ford did leave his estate to the UEO, and there's enough money right there to fund the research for at least five years...so long as Hitchcock can convince the budget committee to use the stored funds...it might work. _And_ it'll calm everybody down. (chuckles) Maybe then I'll finally get a few days' leave. I could sure use it. Riller grins. RILLER ("fat chance") Good luck. Both chuckle at that, then a noncom comes up to them. NONCOM (to Harriman) Major, the captain's launch has just docked. You can board at any time. RILLER Thank you, Seaman. The noncom salutes, then leaves. Riller and Harriman are silent for a long moment, then Riller again offers his hand. RILLER Take care, old friend. (beat) I'll see you on the `Nex, okay? Harriman takes the extended hand. HARRIMAN You bet. He releases Riller's hand, then turns to walk away. However, Riller's voice stops him. RILLER (from behind) Jack. Harriman turns, a questioning look on his face. RILLER (continuing) What was your real mission here? Though it's clear Harriman is about to deny it, it's just as clear that there'd be no point. So, instead, the major quirks a small grin. HARRIMAN Just...seeing a friend, is all. (beat) Later, Justin. And he turns and enters the lock. Riller sighs as it cycles. RILLER (to self, muttering) I knew it wouldn't be that easy... He sighs, and glances down at his watch. His eyes narrow as he sees the time. RILLER (to self) Hurry it up, Commander...you're gonna be late... Just as he finishes the sentence, Matthews comes running up. MATTHEWS (slightly breathless) Is he here yet? Riller nods. RILLER His launch just docked. MATTHEWS Good. (beat) I was up on the bridge, when the captain hailed us... (shakes head) Everyone just kinda stared at him for a minute... She trails off as a smiling, healthy-looking Wolenczak comes through the airlock WOLENCZAK (warmly) Commander, Lieutenant. Good to see you both. MATTHEWS Likewise, Sir. (beat, flummoxed) Captain...where have you been? Wolenczak sighs quietly, and looks away. WOLENCZAK I can't tell you that. (beat) Top secret, you know...all I can say is I was at a conference of a bunch of high-level politicians and practically beaten over the head with more double-talk than anyone should ever have to deal with. (beat, winces) You know, I still have a headache from it? (shakes head) Remind me to never go up against a career politician--they can talk you into submission! Riller and Matthews share an uneasy chuckle. MATTHEWS (uneasily) Well...I'm glad you made it back to the boat in one piece. (beat) There's a great deal of paperwork waiting on your desk. (beat) And your chair. (beat) And your deck. Wolenczak moans. WOLENCZAK I think I'd rather go back to the conference... They begin to walk out of the docking bay. Just before they exit: RILLER (chuckling) I bet it must've felt like forever--being stuck in a little room, being forced to listen to long, boring speeches... WOLENCZAK (shrugs) Not really... (beat, absently) In fact...the whole conference passed in a blur. And, as they walk out of the bay, we... CUT TO CALLANS' LIVING ROOM Callan and Kelly sit on the couch, eating popcorn and watching the vid. An old cartoon runs on the screen, "Duck Dodgers in the 24th and 1/2 Century." Kelly laughs hysterically as on the screen, Dodgers' rocket ship slams backward into the launchpad. Callan just looks at it, uncomprehendingly. CALLAN (confused) But...that wouldn't happen! (beat) The ship would probably explode on impact! She just looks at him, exasperated. KELLY (irritated) You know...it is _really_ hard to watch anything with you. (beat) We can't watch "Star Wars" without you, trying to figure out what kind of engines all the fighters have. (beat) We can't watch action movies, because you insist they aren't plausible. (beat) And we can't watch cartoons, because they violate laws of physics! (beat) Greg... (beat, testily) Either suspend your disbelief, or I'll go in the bedroom and watch it, okay? And she resumes watching the cartoon. He sighs, and turns back to the television, just in time to see a planet exploding, and Dodgers and his assistant along with their Martian enemy clutching a tiny piece of an exploded planet. CALLAN (quietly, to self) Yeah, _that's_ likely... KELLY (angrily) Okay, that's it! She grabs the remote control, and shuts the vid off. KELLY (challengingly) There. Happy now? Callan's own ire is beginning to flare. CALLAN Kel-- what is _with_ you! (beat) You've been like this on and off for almost a month! What gives?! She stares at him for a moment, then suddenly sighs, and her anger abruptly dies. KELLY (shakes head) I...I don't know. (beat) Sometimes I-- She's cut off by the vidlink activating. Sighing in annoyance, she goes over and activates it. A man in his late forties, Doctor Lance Selik, appears on the screen. SELIK (onscreen) Ah, Ms. Callan, good. I was hoping to catch you at home. KELLY (politely hurried) Doctor Selik, hello. What can I do for you? SELIK (onscreen, sees Callan in the background) Good--your husband's there too. He'll want to hear this. (beat) I have the results of your tests. (beat) You're in perfect health, beyond the...uh...superficial. Kelly nods. KELLY (relieved) Then I can go back to work. Selik smiles kindly. SELIK (onscreen) Well, that would depend. (beat) Do you work near anything radioactive? Kelly looks a bit confused by the question. KELLY No. Selik nods, and jots down that note. SELIK (onscreen) Any hazardous chemicals? (beat) Or contaminated materials? Kelly looks to Callan, to see if _he_ has any idea what's going on. He shrugs in response. She turns back to the doctor. KELLY (testily) No. Why? Selik nods again. SELIK (onscreen) Well, then...I don't see any problem with your going back to work for awhile. She nods slowly... KELLY (suspiciously) What do you mean "for awhile"? The doctor smiles even more broadly. SELIK (onscreen) Well, in about eight months...you're going to need to take a little while off. Kelly looks at him blankly, as Callan stares in shock. KELLY What? (beat, to Callan) Greg... SELIK (onscreen, to both) Congratulations...you're going to be parents. We switch back to the Callans, and watch a terrible combination of joy and terror swirl through their expressions. CALLAN (whispers) My God... KELLY (whispers) The disease... A short beat, where we look down at Kelly's abdomen. Her hands touch the area as though it were made of glass. We stay on this image. KELLY (O.S., continuing) It could have the disease... FADE TO BLACK END ACT FIVE Copyright 1998, 2047 staff.