ACT FIVE FADE IN ON EXTERIOR _SEAQUEST_--CGI We are tight in on the side of the _seaQuest_, watching the docking bay doors iris open. From our right, the shuttle carrying most of _seaQuest_’s boarding party slides past and through the doors, which shut behind it. CUT TO DOCKING BAY Matthews is waiting there as the docking tube hatch opens. As it does, Riller comes out, followed by Burke and some of the boarding party pushing two gurneys. One holds Laine, conscious but chalky. On the other is Keeler, strapped into restraints and sedated heavily, mumbling to himself as he is carried past. MATTHEWS (to Riller) What happened? RILLER Honestly? I have no idea. (beat) One minute he wasn’t there, the next he’s trying to bash Laine senseless. (beat) It’s tough to believe he caused all that damage. BURKE I’d love to stay and chat, but I’ve got a patient. I want to find out what caused his psychosis. (beat, to Riller) Can you ask Morgan to do a background check on Doctor Keeler, and see what she can find out? If I have a history, it’s easier to treat him. RILLER Sure, no problem, Doc. Burke heads off following the patient, as other crewmen help unload the bodies from the shuttle. Riller watches for a moment, frowning. Matthews sees the frown. MATTHEWS Problem? RILLER Maybe. (beat) I don’t see Ensign Morgan. He grabs one of the passing security personnel. RILLER (continuing) Coe, have you seen Ensign Morgan? COE No, Sir. She wasn’t on board. (beat) I assumed Commander Burke ordered her to stay behind until the next trip over. RILLER Thank you, Ensign. Carry on. (beat, to Matthews) That’s not good. GOODWIN (O.C.) What’s not good? Goodwin comes walking up to Riller and Matthews. GOODWIN (continuing) Is everything okay? MATTHEWS In the rush to bring back Doctor Keeler for treatment, Ensign Morgan got left behind. GOODWIN (quickly) I’ll go get her. (beat, to Riller) You just got back. I’ll take a Marauder and go pick her up myself. RILLER I’m not so sure… (beat) I mean, what if that nut case got ahold of her? GOODWIN Ant? She’s a survivor. (beat) With your permission, I’ll get under way, Commander. Matthews thinks a minute, then nods. Goodwin smiles, and then hits the controls on a docking tube to one of the Marauders. Seconds later, he’s gone, leaving Riller to look after him. CUT TO RESEARCH STATION—GALLEY Morgan is still there. The men have moved closer to her, closely encircling her, just over an arm’s length away. She no longer appears so complacent about their presence, looking quickly from side to side in an attempt to keep them all within sight. Her eyes are wide and rather glassy and unfocused. MORGAN (nervously) Guys…I’d really appreciate if you’d all go away now… CHRIS We can’t do that, Anne. GRANDDAD We love you, Punkin. DAVID I left you alone once, hon. I don’t plan to repeat the mistake. JOHN I need to be with you, Mom. MORGAN (panic rising) No. You’re not here…None of this is real. (beat) Leave me alone. She continues looking around, more spooked than before as we… CUT TO CORRIDOR Goodwin is searching for Morgan. GOODWIN (calling) Anne! (beat) Ant! (beat) Come on, Anne, answer me, dammit! He continues down the corridor. CUT TO GALLEY Morgan is lashing out at the men now, but fails to make contact with any of them. MORGAN (screaming now) _Go away!_ CUT TO CORRIDOR The faint sound of Morgan’s scream is heard. Goodwin races past. CUT TO GALLEY As Goodwin throws open the hatch, we see Morgan, twisting around, striking out at…nothing. GOODWIN Thank God I’ve found you! (beat, taking it in) What’s going on? MORGAN (anguished) Oh, God…now there’s two of you! GOODWIN Two of me? (beat) What?! MORGAN (emphatic) You’re not real. (beat) _You’re_ _not_ _real_! Goodwin steps up to Morgan, putting a hand on her shoulder. Reflexively, Morgan strikes out at him with a blow to the throat. Goodwin is stunned for a split second, then, in a blur of motion, has her in a choke hold. She stands there, trembling in his grasp, whispering something over and over to herself, all but inaudible. GOODWIN (extreme sadness) Oh, Ant…it’s affecting you, too. (beat, slowly) “No loose ends.” (beat, nearly a sob) God…what are they making me into?! He loosens his grip on Morgan, turning her in his arms until, rather than a near killing hold, he holds her in a tender embrace. GOODWIN (firmly) I won’t do it. (beat) They may own my life, but they can’t own my soul. Morgan is still stiff in his arms. She speaks a bit louder now. MORGAN …Not real, not real, not real, not real, not real… She continues her litany as Goodwin looks down at her. GOODWIN I _am_ real, Ant…you’ve got to see that. He thinks for a moment, then, slowly, bends and kisses her. At first, Morgan remains stiff, then she relaxes in his arm and her arms slip around his neck. They continue that way for several long beats, then Morgan steps back slightly, gasping. Her eyes are focused now. MORGAN (confused) Will? She realizes he is still holding her close, and nervously backs away. MORGAN (abashed) Sorry if I’ve made you uncomfortable. Goodwin looks seriously at her for a moment, then his face changes back to his usual jovial demeanor, as if he is putting on a mask. GOODWIN Actually, I _was_ kinda gettin’ a crick in my neck, having to lean down so far. Morgan grins at him, relieved. GOODWIN So, Ant, whattya say we go home now? MORGAN Sounds like a plan to me. She grabs her light as they turn and leave. CUT TO MARAUDER Goodwin and Morgan are strapping themselves in. MORGAN …It was so weird. It was like, I knew it wasn’t real, but no matter what I did, I couldn’t make it go away. (beat) Was anyone else from _seaQuest_ affected? GOODWIN (shakes his head) No. But then, you’re not like anyone else who was on the team. MORGAN (joking) You’re right. (beat) I’m shorter. GOODWIN (laughing) Not quite what I mean. (beat, serious) Anne…I think you might be Talented. MORGAN (missing his point) Course I am. I’m a great cook, a pretty good dancer… GOODWIN Be serious, Ant. I mean, _psychically_ Talented. She mulls the idea over as Goodwin starts piloting them away from the station. MORGAN (hesitant) I…suppose…maybe… (beat, thinking some more) That _could_ explain what happened on that damned island… (beat) But why would that have anything to do with this place? Before he can answer, warning sirens go off and the Marauder is hit by a sudden wave of turbulence. GOODWIN What the…? Morgan is staring at the viewscreen. MORGAN Will…look. He looks up at the screen, which shows a series of blackened holes along the axis of the station. Two more explosions hit as they watch. The Marauder bucks as Goodwin fights the current made by water pouring into the holes. The station slowly starts to fall apart as we… CUT TO MEDBAY The bay is darkened, as Keeler lies in a bed with monitors around him. Burke and Matthews sit at the foot of the bed, watching Keeler moan softly and still toss his head back and forth. MATTHEWS I thought you said he was sedated. Burke pinches the bridge of her nose, exhausted. BURKE He is. And as much as he’s had, I’m afraid I’d kill him (beat) Something is pushing this man to the limits. But I’ll be damned if I know what. MATTHEWS Will he be safe here? BURKE I think so. (beat) Even if he wakes up, the restraints will hold him. Burke yawns, then heads back toward her office. MATTHEWS Meri, let it rest. We’ll rendezvous with the _Hood_ tomorrow and transfer the bodies. You can do the paperwork later. (beat) Go get some sleep. BURKE (wry smile) Is that an order? MATTHEWS A suggestion…from a friend. Burke nods, and the two of them exit. CLOSE IN ON KEELER His forehead is a sheen of sweat, as his head rocks back and forth. He keeps repeating the same words over and over. KEELER Get out….get out… The camera goes in even closer, until only Keeler’s eyes fill the screen. As he opens them, we see reflected in one the restraint on his left wrist. After a moment, the restraint starts to loosen, apparently of its own accord. It’s almost free when a hand grasps the wrist. VOICE I don’t think so, Harry. PULL BACK TO MED BAY The camera shows Goodwin next to the bed, grasping Keeler’s wrist. Keeler’s eyes focus on Goodwin, trying to understand. GOODWIN It wasn’t supposed to happen like this, Harry. The test was to disable your talent, not induce these hallucinations. (beat) And it never should have turned you into a kinetic. KEELER (strained) It…didn’t… (beat) It was me lashing out…at the people you put there… GOODWIN Harry, you know what I have to do. (beat, softly) Please forgive me. KEELER Please…just stop them… GOODWIN Okay, Harry, I will. Goodwin reaches down and undoes the restraint. Then, taking Keeler’s arm in his, he takes the Keeler’s head and snaps it quickly to one side. The snapping of the neck echoes in the empty room, as Goodwin closes his eyes. Immediately, the monitor alarms go off, and Goodwin steps back from the bed, leaving Keeler’s arm behind his head. CUT TO MORGAN’S QUARTERS She is sitting on her bunk, looking at a picture. In it are three pictures: her grandfather, her husband, and her son. She reaches out to touch her grandfather’ s face when the com chime rings. Startled, she drops the frame to the floor. MORGAN (into com) Morgan here. TRUEMAN (over com) Welcome back. You had a message while you were gone, Anne. Would you like to hear it? MORGAN (tiredly) Go ahead, Becca. The vidlink screen dissolves into a frozen image of Vince Matson, which then becomes active. MATSON Hiya, Anne. Rumor has it that you folks are down this way, and so am I. I was hoping that if you get a chance, we could get together for dinner, and maybe discuss my recent…ideas about us. (beat) I have to run, but Anne…I love you. And I want to spend the rest of my days with you. (beat) Bye, Anne. The screen freezes, with Matson waving at the pickup. Morgan begins to key in a code for her reply…then pauses, and sits back down. She notices the frame on the floor, and turns it over, finding the glass of her husband’s portrait is now broken. MORGAN (trembling) Oh, David…what do I do now? She sniffles once, then turns to the vidlink controls. She quickly punches up a newsfeed from CNN, and we immediately see Vince Matson standing on a balcony overlooking a sea of people cheering wildly. In the crowd are Mexican and Carolinan flags being waved triumphantly. Morgan turns up the sound. MATSON (on screen) …This has to be seen as a stunning defeat for Secretary General Hitchcock, and possibly the beginning of the end for the UEO as we know it. (beat) For those of you just tuning in, it was announced formally just thirty minutes ago that the long-rumored joining of the Mexican Republic and the Carolinan Confederation has come to pass. And behind me, on the balcony of the presidential palace, we can see the twin standards of Mexico and the Carolinans, joined for the first time. As the sound fades, Morgan stands up and walks over to the screen. Her fingers reach out to Matson…and brush over the image of his face. MORGAN (softly) I love you, too… A tear slides down her cheek as we… FADE TO BLACK THE END Copyright 1998 2047 staff. All characters and events portrayed are fictional. Any resemblance to any real persons, living or dead, is purely coincidental. Lyrics to “Cowtown” used without permission. ACT FOUR FADE IN ON EXTERIOR DELTA FIVE--CGI It sits there, just as cold and lifeless as before. CUT TO ENGINEERING PLANT PASSGEWAY A typical passageway, all metal and pipes and gratings. There is a quiet background humming from the fusion plant, but no lights. We see the _seaQuest_ engineering team at the end of the passgaeway, their lights moving around the passage as if looking for someone. At the head of the team is Ensign Steven Laine, late 30s, slightly balding, with piercing green eyes. Two other engineers follow him as he traces a conduit along the bulkhead. As he reaches a junction box, he puts a meter to it, nods, and then continues his trace. LAINE (to himself) Come on, where are you hiding… ENGINEER 1 (holding light) You think it's down here? LAINE (not looking back) Every station is required to have redundant emergency systems, and there's supposed to be three cross connects. Two automatic, and one manual. (beat) Obviously the automatics have failed. But this conduit has the main feed cross connects in it, so the emergency ones should be here too. ENGINEER 2 (dubious) And if it's not? Laine turns around and looks at him. LAINE Then we get to work on live circuits to route around the damage. (beat) Not my preference, but that's why we get the big bucks. They move down the corridor a few more feet, and find another junction box. Laine takes the meter and connects the leads to the junction. This time the meter face reads green. LAINE Ladies and gentlemen, we have a winner. (beat) Hand me those gloves. One of the engineers hands him a pair of thick rubber gloves. As Laine turns one of two wing nuts in the cover of the junction box, we hear a long metallic scraping sound. He stops, and looks at the nut, curious. It shouldn't have made a noise like that. He goes to turn the other nut, and it too makes the noise, only this time much louder. He turns to the other engineers. LAINE That's weird. I could have sworn-- He stops for a second and his eyes go wide. Quickly he fumbles open the box and throws the manual breaker inside. Quickly the conduit is filled with red, and the emergency lights flare to life. Lit up is the fourth figure, Harry Keeler, as we saw him at the teaser, carrying the crowbar. He raises it high, and screams at the engineers. KEELER Get out of my head! You're not real! Laine pushes the other engineers down, but before he can dodge, the crowbar descends and hits him on the shoulder with a sickening crunch. Keeler raises the bar and starts beating on Laine, but before he can get more than two blows in, the other engineers free themselves and tackle Keeler, holding him down. Keeler is screaming in impotent rage. KEELER No! Leave me alone! You can’t! You’re not real! Laine grimaces in pain, and with his good hand activates his PAL. LAINE (into PAL) Lieutenant, we've got an emergency here! Send security to the power plant now! Laine leaves the PAL on, and rolls over, grimacing. Over the PAL, Riller can be heard. RILLER (over PAL) Laine. come in! Report, Laine! CUT TO EXTERIOR _SEAQUEST_--CGI She is still sitting there, waiting, as the WSKRS move around the station. CUT TO CREW'S MESS Trueman and Matthews are sitting over a cup of tea, watching the CNN newsfeed. On the screen, the sound is turned down, but protestors are visible carrying anti-UEO placards. MATTHEWS We need to get into the Gulf…this is _not_ looking good. TRUEMAN What do you think will happen? MATTHEWS I'm not sure what I think. (beat) But I fear the worst. At the hatchway, Reede and Goodwin walk in together, looking around. Reede sees Trueman, who almost immediately sees him. As she does, her demeanor turns cold, and she turns away from the hatch. Reede sees this and turns as if to give up. Goodwin claps him once on the shoulder, then moves off by himself and over to the table. GOODWIN Good afternoon, Commander. Ensign. (beat) Commander, can I talk with you for a few minutes? MATTHEWS What about? GOODWIN Well, about the need to start a pilot and crew cross training program on Outrider. (beat) I have all the materials set up in the Wardroom, but before I talk to the Captain, I wanted to run this by you. MATTHEWS Can this wait, Mad Dog? Goodwin smiles at her for a moment, then tilts his head toward Reede. GOODWIN No, Commander, I don't think it should… Matthews looks once at Reede, then back at Goodwin. MATTHEWS I suppose not. (beat, to Trueman) Becca, do me a favor? Stay here and watch the newsfeed for a while, and let me know if anything happens? TRUEMAN Yes, Ma'am. Matthews gets up and looks at Goodwin. MATTHEWS All right, it's your show. Lead on, Mad Dog. As Mathhews and Goodwin leave they both look at Reede, who is still just standing there at the hatch. Matthews just shakes his head. Reede, seeing the empty chair, sits down quickly. Trueman looks at him, and he looks at her. Not a word is spoken, but the atmosphere is tense. After a moment, Trueman drops her eyes downward, and starts to get up. REEDE Becca, _please_-- He stands, and puts his hand on her arm to stop her. She freezes in her tracks at his touch, and then stares at the hand. After a moment, a shudder comes over her. Reede feels this, and slowly pulls his hand away, unsure of her reaction. She looks up at him again, this time with a number of emotions playing across her face: desire, fear, anger…all warring to gain an upper hand. Reede sees this, and decides he needs to get what he has to say all out at once, before she runs again. REEDE (quickly) Look, Becca, I don't know what's going to happen, but the fact is, we had _something_. (beat) And now we don't…and I don't understand what happened. What I did wrong. (beat) I'll leave you alone forever if you want me to. But please, before I go, let me understand. He stands there, his eyes pleading with her for an answer of any sort. In that moment, she sees again the man she thought he was, and realizes that sometimes, you have to step out on a limb. Slowly, she sits down and takes a sip of tea, her hands trembling. She puts the mug down in front of her, and then looks up at him. TRUEMAN Where to start…God, Tom, you have no idea how much I have wanted to say…and didn't know how. (beat) But to find out…what we had, was all…gone, and needed to be found again, hurt so much. REEDE I don't understand. TRUEMAN I know. (beat) I guess the only way to explain this, is from the beginning. It all started on that leave we took to Philadelphia… CUT TO WARDROOM Matthews and Goodwin are still there, talking. MATTHEWS So since when did you get so interested in training others to fly your baby? GOODWIN (innocent) Well, it wouldn't be a bad thing if I had a little more backup, would it? Matthews looks at him skeptically. GOODWIN (laughing) Okay...since Reede needed a word with Trueman. Alone. MATTHEWS And since when were you so generous about Trueman? GOODWIN Aw, c'mon, Bright Eyes...we both know I was only flirting. I've only ever really had eyes for you. Before Matthews can come up with a suitable retort, the intercom beeps. COMMUNICATIONS OFFICER (over com) Sir, Lieutenant Riller is reporting in. MATTHEWS Good. She waits a moment. RILLER (over com) Commander, we've found the killer. (beat) He's Doctor Harry Keeler, and he's waaaay freaked out. Doc says he's completely delusional. (beat) She's sedated him, and we've got restraints on him. But she wants to get him to the boat pronto. (beat, subdued) He got Laine. But the doc says if we hurry, Laine’ll be okay. MATTHEWS Understood. I'll meet you in the Docking Bay. RILLER (over com) Right. See you in about fifteen minutes. (beat) Riller out. Matthews rises to go. MATTHEWS Wanna come? GOODWIN Nah. Somehow, looking at restrained murderers just ain't my thing today. MATTHEWS (shrugging, teasing) Your loss. She leaves. Goodwin thoughtfully reaches over to the vidlink console. Over the top of the console we watch as he punches in a code. GOODWIN I need to talk to Mother. He waits a moment, drumming his fingers as we pan around to see the screen with him. A middle-aged woman, wearing a black turtleneck, comes on the screen. She has sandy blonde hair, shot with gray, and a no-nonsense expression, but looks almost warm when she breaks into a smile. MOTHER (on screen) Well, Will, I get to talk to you twice in one day. To what do I owe this pleasure? GOODWIN (easily) You called me; I figured I could at least return the favor. MOTHER So what's up? GOODWIN There's a survivor. The station director. Apparently, he's the one responsible for the murders. MOTHER That _is_ interesting news. Can you hang on a moment while I tell the...family? Goodwin nods, and a "hold" screen appears. He fidgets and stretches in his chair for about a minute until Mother returns. MOTHER The family has decided that it's time to scrap this experiment and cut our losses. We had already pulled the records. This side effect is...unforeseen. And unfortunate. (beat) You'll have to clean up the mess. (beat, significantly) No loose ends, Will. Time to do what you were made for. Goodwin shakes his head uneasily. GOODWIN (protesting) No, Ma'am. I don't do that any more. I'm past that. MOTHER (firmly) You are what you are. Do your job. (beat) And no witnesses. The screen goes blank, then to the UEO logo, as Goodwin stares dejectedly at it. CUT TO RESEARCH STATION—GALLEY Morgan sits huddled on the floor, alone in the near-dark. She still stares, wide-eyed, at the hatch. Standing there at the left of the hatch are her granddad and Chris. They don’t speak; they simply smile at her. MORGAN (muttering to herself) I’m sitting in a room with two dead men…what’s wrong with this picture? VOICE I don’t know, hon, you were always better at solving logic problems than I was. MORGAN Make that three dead men… (beat, hesitantly) Hello, David. Why did I have this feeling you were going to show up? Standing with the others is David Morgan, blond and handsome and grinning from ear to ear. DAVID ‘Cause you still miss me, that’s why. (beat) After all, who else are you going to warm up your icy feet on at night? MORGAN (wryly) No one. That’s why I’ve taken to wearing socks to bed. VOICE Not always. Now, standing to the right of the door, we see Wolenczak. MORGAN Pardon me? WOLENCZAK You didn’t that night in Annapolis. MORGAN That whole night was unusual, you’ve got to admit. WOLENCZAK You’re not regretting it, are you? MORGAN I don’t regret what happened between us, no. (beat) I think it…healed…both of us. VOICE _I_ regret it. Directly in front of the door we see Vince Matson. MATSON (cotinues) I regret that I wasn’t there for you when you really needed me, Anne. I still want to be that person for you, you know. VOICE But you’ve always been there for me. John Morgan stands to the right of the door, but between Wolenczak and Matson. Morgan begins to become uncomfortable. MORGAN John! Sweetheart, how come you’re here? (beat, thinking) You too, Vince. And Lucas. (beat) You’re not… She stops and shakes her head. JOHN Have to admit, Mom, I came pretty close last month. But you rescued me. MORGAN I didn’t do it alone. VOICE No, I helped. Goodwin has appeared next to Matson. MORGAN I know. I don’t think we could have found him without your help. GOODWIN Always glad to help a friend, Ant. MORGAN (thinking aloud) I don’t get this…why these people? GOODWIN I don’t know, Ant. (he saunters over to the group at the left) But we sure are a good lookin’ group, aren’t we? GRANDDAD Why, thank you, young man. GOODWIN (grinning) My pleasure. Matson walks over to Goodwin, too. MATSON I always did want to meet Anne’s husband… Morgan watches them, obviously perplexed, as we… FADE TO COMMERCIAL END ACT FOUR ACT ONE OPEN ON PASSAGEWAY Commander Jessie Matthews and Lieutenant Commander Ed Taylor approach from around a corner, deep in conversation. MATTHEWS …No, flank speed won’t be necessary. But Admiral Robinson has asked us to get to the Gulf of Mexico quickly. TAYLOR Any idea what’s up? MATTHEWS (sighs) Ross has been talking to the Mexican government off and on for over a year. This time, it looks like they might really be serious about joining the Carolinan Confederation. TAYLOR (darkly) She’d have the Gulf pretty much locked up if they do… MATTHEWS Not just the Gulf. Think about it, they cut the Western Hemisphere in half with that move. Taylor glumly nods his agreement as they continue on. CUT TO CREW’S MESS The Crew’s Mess bustles with activity as breakfast is served. The camera pans the room, finally settling on a table, where Lieutenant Commander William Goodwin, Lieutenant Justin Riller, Ensign Rebecca Trueman, and Ensign Anne Morgan sit. They are all eating, and with the exception of Morgan, seem to be enjoying themselves. RILLER (grinning as he talks) So they gather all of the world’s mythical figures to this one place, to hold a contest, to see who’s the best suited to the modern world. They’re going to see who can use a computer best, by giving them projects to see who can finish first. (beat) Well, it doesn’t take long before the list gets narrowed down. Buddha, Kari, Moses...none of them can grasp how to do the problems. The entire contest comes down to two people: Buddah and Jesus. They get their final question and go to work. (beat, holding back laughter) They’re doing fine, and time is just about up, when the power suddenly goes out. After a few minutes the power comes back on and the judge goes to review the work. In almost no time, the judge declares Jesus the winner. People started asking why Jesus, why did he win? The judge turns to them... (barely keeping from laughing) And says, “Jesus Saves.” Trueman, Goodwin and Riller all burst out laughing at the joke, occasionally repeating the punch line which causes them to laugh even more. Morgan, though, doesn’t laugh. In fact, she barely manages to force a smile. Riller notices the look on her face and, still laughing, tries to explain the joke. RILLER You know, Anne...Jesus Saves. He was on a computer, and saved his work... Riller trails off, as if waiting for Morgan to finally get the joke. All his explanation gets is a more forced smile and a nod. MORGAN I got it the first time. Everyone at the table frowns at her false amusement. Goodwin, trying to be helpful, speaks up. GOODWIN (worried) Shoulder still bothering you, Ant? MORGAN (shaking her head) Nah, it’s pretty much better now. (beat) I’m fine. TRUEMAN Anne... MORGAN (annoyed) I’m fine, okay? Everyone at the table just blinks before nodding very slowly and turning to each other, everyone looking for the others to restart the conversation. RILLER (cautiously) So...anyone know where Captain Wolenczak went on his leave? Goodwin shrugs, but Trueman speaks up. TRUEMAN I think...he went somewhere in Italy... Trueman looks up to Morgan hopefully, trying to pull her into the conversation. TRUEMAN Where did you tell me he was going? Morgan looks up, no longer looking irritated, more relaxed now that attention is off her. MORGAN Florence, is what he told me. He’s going with Tori. TRUEMAN (smiling and nodding) I’m jealous. (beat, a little darker) I go on leave and all I do is wander around Philadelphia for a week. GOODWIN (grinning) I’ll take you on a vacation...though we don’t _have_ to leave Philly for it to be fun. MORGAN (rolls her eyes, dryly) Subtlety, Grasshopper, is something you really need to work on. Trueman grins at Morgan’s comment, and seems glad she doesn’t have to respond to Goodwin’s overture. Riller quickly changes the subject back to the captain. RILLER (more to Morgan than anyone) So is the captain serious with this girl? MORGAN (shrugging, smiling a little) My lips are sealed. Riller is about to press her for more information when Lieutenant (j.g.) Tom Reede walks up to the table, carrying his tray. He pulls out the remaining empty seat and sets his tray on the table before sitting. He turns to Trueman, grinning. REEDE Hey there, Becca. Trueman smiles politely, but doesn’t really seem all that happy to see Reede. She looks down at her mostly empty tray and stands. TRUEMAN Well, I’ve got to get something done before my shift starts. (beat, looking around the table) I’ll talk to you all soon. Trueman walks off quickly, leaving all of them staring after her. REEDE (frowning) I see her here maybe once a month anymore, and even when I do she walks off when she sees me. (beat, looking around the table) Does she tell you all anything? Is she mad at me? Everyone at the table shrugs, everyone except Morgan, who rises from her seat. MORGAN I’ll go have a talk with her. REEDE Oh, you don’t have to do that...I just was wondering if you had any clue. MORGAN I do. Morgan grabs her tray and walks off to follow Trueman, leaving the men to only watch her go... CUT TO SMALL RESTAURANT It is late morning; the sun is already well up in the sky. Light pours through the open windows and doors of the restaurant, which is obviously very old. The camera pans the room, bringing Captain Lucas Wolenczak and Tori Johanson into view. The two sit at a table, eating a quiet breakfast. WOLENCZAK You know it’s entirely against my nature to be eating breakfast this late… (beat) So what do we do with the rest of the day? TORI (grinning) We’ll take a little ride out into the harbor... (her grin turns more sly) For an...indeterminate amount of time. (beat) And then spend the night enjoying the soothing sounds of the local symphonic band. WOLENCZAK (nodding with a smile) I don’t know if anything will be able to follow up that boat ride. TORI (mysteriously) We’ll see. (beat, more seriously) But no calling _seaQuest_ for status reports today. WOLENCZAK (innocent) What makes you think I would do that? TORI Because you did yesterday. WOLENCZAK Well-- TORI (cutting in, mischievous) Twice. WOLENCZAK (chuckling) I tried to do it when you wouldn’t notice. TORI Assuming I don’t notice everything, again? (beat, sipping her water) This is a _vacation_ Lucas...enjoy it. WOLENCZAK (nodding, sipping his own water) No status checks on my boat, then. (beat, smirking) Anything else I can do, my mistress? Tori rolls her eyes, but is stopped from responding as a waiter walks over to her. He says something quickly in Italian, which she responds to just as quickly. The waiter nods and slips away. Tori turns back to Wolenczak when the man walks away, rising. TORI He’s putting the check on my account. No arguing over it. (beat) I’ll be right back, I’ve got to use the girl’s room. She leans across the table and kisses Wolenczak quickly. TORI Don’t go anywhere. Tori offers a brief smile before walking off, leaving Wolenczak with a happy grin on his face. CUT TO BRIDGE Matthews sits in the captain’s chair on _seaQuest’s_ Bridge, looking bored for the most part. No other recognizable faces are on the bridge, as most of the personnel are from the previous shift. The woman manning communications turns to Matthews quickly. COMMUNICATIONS OFFICER Sir, we’re picking up a faint emergency communication from... (beat, checking the display) Research Station Delta Five. Matthews leans forward in her chair with interest. MATTHEWS Put it on the main viewscreen. The Communications Officer nods and turns to her console and taps a few keys. A brief second later, a rather grainy video picture appears on the main viewscreen. It shows a muscular man, Harry from the teaser, not bloody or bruised at all. His expression is one of great worry and concern, though. HARRY (on screen) This is Doctor Harry Keeler of Research Station Delta Five. We are in need of immediate assistance. Due to unknown circumstances, a number of our crew have suffered severe nervous breakdowns. Their behavior has become unpredictable...sometimes violent. (beat) We’re unable to do anything more than contain them, and the problem is affecting more and more of my staff. I’m worried that it may be due to exposure to...something...I don’t know. We don’t have the resources or staff to deal with a problem like this. (beat) But we could u-- The image on the screen jumps, then begins again. HARRY (on screen) This is Doctor Harry Keeler of Research Station Delta Five. We are in need— MATTHEWS (frowning) What happened? COMMUNICATIONS OFFICER It was a recorded transmission, obviously on auto-repeat. But I don’t know why it restarted in the middle of a sentence like that. MATTHEWS Recorded when? COMMUNICATIONS OFFICER (checking) About two days ago. Matthews leans back in her chair, not seeming very happy. MATTHEWS Then why didn’t we receive this message earlier? The officer turns from her console, looking up at Matthews. COMMUNICATIONS OFFICER It looks like the communication was sent on a _very_ weak transmitter. We only just now came into range. MATTHEWS (nodding slowly, to sensor officer) Any other vessels in the area? The officer turns back to her console and checks, shaking her head after a moment. SENSOR OFFICER No, Sir. We’re the only ones in range of the transmission. MATTHEWS (smirks darkly) Yeah, why doesn’t that surprise me? (beat) Helm, plot a course to the research station, full speed. HELM Yes, Sir. Matthews nods once as the order is carried out, pondering the message as we... CUT TO TRUEMAN’S QUARTERS Trueman sits on her bunk, reading something from a SEAPOC, when she looks up at a knock on her hatch. TRUEMAN Yeah? Morgan’s voice is heard faintly through the hatch. MORGAN (O.C.) It’s Anne. (beat) Can I come in? TRUEMAN Sure, it’s unlocked. The hatch opens and Morgan walks in slowly, closing it behind her. TRUEMAN What’s up? MORGAN I was wondering if I could talk to you about Reede. Trueman narrows her eyes slowly. TRUEMAN Why? MORGAN (offering a reassuring smile) Because you’re charging off almost every time you see him. (beat) I think he thinks you’re mad at him. TRUEMAN (sighing) Anne, you know I’m not mad at him... She realizes Morgan is still standing. TRUEMAN Oh, I’m sorry, have a seat. Trueman moves over on her bunk to give Morgan room. Nodding with a slight smile, Morgan sits. TRUEMAN Anyway... (beat, looking up at Morgan) You know what’s wrong...I just...it doesn’t _feel_ right with him. MORGAN (nodding) I know why, but he doesn’t. TRUEMAN Well, it’s not like I can just go _tell_ him. MORGAN (grinning) Why couldn’t you? TRUEMAN What am I supposed to say? “Tom, I fell in love with an alternate version of you in a parallel reality, so I’m really weirded out by your presence now.” (beat, wryly) I can see him buying that one. MORGAN (shrugging) Then don’t tell him. (beat) But at least give him some sort of chance. TRUEMAN Chance to what, exactly? MORGAN (shortly) I don’t know, Becca, but you can’t keep avoiding him. If you didn’t have some feelings for him, you wouldn’t have such a problem talking to him. Trueman looks a little shocked at Morgan’s tone, not the usual patient and caring tone she’s used to hearing. TRUEMAN Anne...what’s wrong? MORGAN (frowning) What does that have to do with Reede? TRUEMAN Nothing... (beat) But you’ve been so...not yourself…lately. You know my problems...and we could go around in a circle for the next hour. (beat) So why don’t _you_ talk to _me_? (beat) You act like you’re just fine and you’re over what happened with Berger, but no one gets over something like that in a month. Morgan looks down, obviously not interested in talking. TRUEMAN Anne...please? Morgan looks back up slowly. MORGAN Can’t you guess? TRUEMAN Yeah, but I was hoping too force you to actually open up. MORGAN (breaking a small smile) Well...tough. Trueman opens her mouth to speak when her PAL begins beeping. Trueman looks over at it and frowns. TRUEMAN Figures...time for my shift. And yours too, probably. MORGAN (nodding) I guess so. Trueman rises and shoves the PAL into her pocket. TRUEMAN (looking at Morgan, concerned) We’ll talk later. MORGAN (rising as well) Only if you go talk to Reede. TRUEMAN (sighing) Maybe. We’ll see. MORGAN Good enough. Morgan offers another small smile before walking to the hatch, with Trueman behind her. CUT TO EXTERIOR _SEAQUEST_--CGI _seaQuest_ cuts smoothly through the water, its WSKRS heading in a straight line beside her to keep up at the high speed. CUT TO MEDBAY Doctor Meridith Burke moves quickly around MedBay, packing things in a small bag. Morgan walks through MedBay’s open hatch, stopping as she sees the commotion. MORGAN (curious) You wanted to see me, Doctor? Burke looks up, smiling when she sees Morgan. BURKE Oh good, you’re here. I need your help. MORGAN Sure, what can I do? Burke grabs a SEAPOC and tosses it to Morgan. BURKE Read that over. Morgan nods and looks over the SEAPOC, looking interested at what she’s reading. MORGAN Research Station Delta Five? Never heard of it. (looking up) So what help do you need? Burke keeps packing as she talks to Morgan. BURKE We’re taking a medical team over. And you’re going. (beat) I’m guessing that whatever they’re researching over there is what’s affecting them. The only problem is, I have no idea what they’re researching. We’ve got very limited information on Delta Five. (beat) Commander Matthews requested more detailed records from UEO. Once they come in, have a look and tell me if you find anything. MORGAN (nodding) So I’m going over as science staff, or as part of the medical team? BURKE (smiling) Yes. (beat) We’ve got enough of a medical team to handle most anything, but I’m always happy for someone with some medical training. Makes me feel safer. (beat) Anyway, we’ll be there in about half an hour, so find what you can. Morgan, carrying the SEAPOC, starts walking out of the room. MORGAN I’ll get right on this then. Morgan slips out the hatch, looking over the SEAPOC as she does. CUT TO EXTERIOR _SEAQUEST_--CGI _seaQuest_ slows, her WSKRS moving out ahead to scan the area. The camera follows them, bringing the research station into view. The station looks very new, but small, resting on an open part of the sea floor. The usual lights that one would expect to see on the exterior of such a station are not on, though. CUT TO BRIDGE The regular staff is now on the Bridge: Matthews, Trueman, Reede and Riller, along with Chief Petty Officer Sara Percell. The main viewscreen is on, showing the dark colony ahead. MATTHEWS Sensors, what’re you getting? PERCELL Not much, Sir. Structurally the station is fine. But, it’s almost fully powered down. Life support is on, and some emergency power...but other than that, nothing. MATTHEWS (frowning) Anything else? PERCELL There’s not much else to tell. Sir. Everything about the station is stable. The power is just off. Matthews shakes her head, slightly frustrated, and turns to Trueman. MATTHEWS Any luck establishing contact with them? TRUEMAN (shaking her head) No, Sir. Just the same partial message, repeating over and over. MATTHEWS (muttering) Great. (beat, to Riller) Did Ensign Morgan find anything in the records about what they were doing in there? RILLER (shaking his head) Only that they’re an independent research station. And that they’re not experimenting with any hazardous or restricted materials. MATTHEWS Then why do they have a name like “Delta Five?” It sounds more military than some independent project. RILLEr (shrugging) That’s all Ensign Morgan could find, Sir. The records were pretty vague. MATTHEWS (more a statement than a question) So we’re sending them in without knowing what they’ll find. RILLER I...guess so, Sir. Matthews thinks for a moment. MATTHEWS I want you to go along, Lieutenant. Bring a small security detail, just in case. (beat, looking to Trueman) Tell the rest of the team to meet in the Docking Bay. RILLER and TRUEMAN (together, quickly) Yessir. They get to work. Matthews looks back up at the viewscreen image of the dead-looking station. CUT TO COMMERCIAL END ACT ONE ACT THREE FADE IN ON EXTERIOR _SEAQUEST_--CGI She is still hanging motionless over the darkened research station. CUT TO WARDROOM Reede and Goodwin are seated at the table, going over the readouts from Percell's checks on Outrider. REEDE (continuing) …So, the problem was the frequency analysis subroutine? GOODWIN (nodding) Yup. So if we're off just a fraction on that puppy, we're more visible than an albino rattler on a moonlit night. (beat) You know, I liked Doc Alexander. But sometimes this toy of his is just a plain old pain in the keister. Reede nods absentmindedly as he checks the SEAPOC again, against his own handwritten notes. REEDE Well, without any proper manuals for the equipment on board, half of the circuitry designs lost forever, and enough secrecy around the thing that we can only get it fixed in a secure dry dock, it's more of a hindrance than a help. (beat, smiling) But, other than that, when she's working right, she's a dream to maneuver. And you aren't going to tell me you don't appreciate her flare for the "dramatic" when we pop her up on other's screens. GOODWIN (smiling) Sure. (beat, looking ruefully at the SEAPOCs) When we _mean_ to, that is. Reede nods, then bends down back to the work. REEDE (grumbling) Well, at least this baby can be visible when it wants. (beat) Others just wish the two of us were invisible all the time. Goodwin looks over the table at his shipmate, a sly smile on his lips. GOODWIN Well, shucks, what's this _we_ business. No one I know wants _me_ invisible… REEDE Oh? I've seen the way you look at Ensign Morgan…and you don't stand a chance there, Mad Dog. That one's already had her heart taken. (beat) Want proof of that, just watch her the next time there's a news feed from CNN on in the Rec Room. GOODWIN I know… (beat, turning the tables) But this isn't about me, Mister. What about you and Ensign Trueman? Reede grimaces and blushes GOODWIN I knew it! You've got it bad, boy…and it shows. REEDE Don't I know it. (beat) The worst thing is, Mad Dog, I don't know what I did. GOODWIN (chuckling) You didn't have to do anything, kid. Just being you is enough to make any female run for her life. Goodwin enjoys his joke, then looks over at Reede and stops. Reede really looks hurt, and confused. Taking a deep breath, Goodwin exhales slowly, then shuts off his SEAPOC and leans back in his chair. GOODWIN All right, kid. It's obvious this is eating at ya, so spill it. REEDE (Slowly) To you? (beat) You've got to think I'm nuts! You'll just ridicule me with it, or worse, make fun of me in front of the others. GOODWIN (seriously) Tom…not this time. (beat, holding up three fingers, close together) Scout's honor. Reede looks carefully, trying to discern if Goodwin is trying to lure him in. REEDE No bull? GOODWIN No bull. Reede nods slowly, then shuts off his SEAPOC and puts it on the table. Getting up slowly, he starts to pace the room, not looking at Goodwin. REEDE What gets me is that…we were going along so well. Once I managed, _finally_, to convince Justin that I really did care for Becca, and wasn't trying to use her, things got even better. (beat) And then came this last leave period. GOODWIN What happened? Reede stops, looks over at Goodwin across the table. REEDE That's just it. I _don't_ know. (beat) We spent part of it together, just getting to know each other better. The sparks were there, but I wasn't going to make a move on her. Honestly. (beat) Then, the morning we headed back, it was as if…a different Becca was there. Any spark, any connection…was _gone_. GOODWIN So what do you think happened? REEDE (a long pause) I don't know. And I'm driving myself nuts over it. I keep going back over the days, trying to think of what I did to get her so angry with me. GOODWIN (carefully) Maybe it was something…you _didn't_ do? REEDE (nodding) I thought about that, too. But I was a gentleman toward her. Goodwin chuckles at that. Reede smiles back. REEDE I know, but it wasn't that hard. (beat) She's a special lady, Mad Dog. And I wish I knew how to break past that wall of ice and get back to where we were. (beat, glumly) At least before we were friends. Now…I'm not even sure of that. Goodwin ponders that last statement for a few moments, and we see he's made a decision. He stands up and moves over to the younger pilot, putting an arm around his shoulder. GOODWIN Well, someone once told me that a quick death is better than a lifetime of uncertainty. So here's what you're going to do. (beat, turning to look at him face to face) Tom, you're going to go find Becca, sit down, and lay your cards out to her, just like you did to me. Tell her the truth. _All of it_. How you feel. How you miss what the two of you were…and what you were on the way to becoming. (beat) Tell her that, and then accept what she chooses. REEDE (quiet) But what if she chooses to continue like she is now? GOODWIN Then accept her choice; honor the time you had together… (beat) …And _move_ on. (beat) Trust me on this one, junior. I've learned it the hard way. More than once. REEDE All right. (beat, a little relieved) Thanks, Mad Dog. Goodwin punches him on the shoulder, and then moves back to his chair. GOODWIN No problemo, kid. All part of the service. (beat, wryly) But can we get back to work on this? After all, keeping us hidden and my ride from being shot out from under me is a high-pri item in my mind. Reede snaps off a mock salute. REEDE Yes, Sir, Commander, Sir! CUT TO EXTERIOR DELTA FIVE--CGI The station exterior is still dark; the only illumination is from a WSKRS floating over the exterior shell. CUT TO CORRIDOR Riller and three security team members are moving through the corridor, hand lights in place. The decks are spotless, not a paper or speck in sight. Their footsteps echo on the metal surfaces, as emergency lights cast a red pall onto everything. Riller's PAL beeps once. He pulls it out and activates it. RILLER (into PAL) Riller here. We hear a burst of static over the PAL, which then resolves into Burke's voice, heavily garbled. Riller swears under his breath about technology, than smacks the PAL into the palm of his hand. The static quiets, and we hear Burke's voice much better. BURKE (over PAL) …Finished examining the bodies. We're going to move them to the infirmary and ready them for transport back to _seaQuest_. Are you having any luck? RILLER Define luck. (beat) This corridor seems to be senior living quarters, so the admin center should be nearby. The PAL emits another tone, indicating a different contact. RILLER Hang on, Doctor, I've got a signal from the engineering team. (beat, switching channels) Riller here. LAINE (over PAL) Ensign Laine here, Lieutenant. I think I've got the power rigged up. I wanted to let you know before I throw the switch. RILLER Good work, Ensign. Go ahead. LAINE (over PAL) Here goes nothing. We hear a humming sound and the lights in the corridor spring to life. Riller looks relieved for about five seconds. Then the lights flicker twice and die. This time the emergency lights don't come back on at all. Over the PAL, we hear arcing sounds, followed by shouts. LAINE (over PAL) Damn it! Get a fire extinguisher on that! RILLER Laine, report! BLAINE (over PAL) Yes, Sir. (beat) We got the load on okay, then the transfer relays all blew at once. It's a distribution problem, not a source problem, and this time, it took out the emergency systems. RILLER (to himself) Wonderful. (beat, to Laine) Well, do the best you can. Try to get those emergency lights up again. BLAINE (over PAL) Yes, Sir. But honestly, Sir, from the looks of things, I don't hold out much hope. Laine out. Riller switches over the PAL back to Burke's frequency. RILLER Doctor-- BURKE (over PAL, cutting him off) I heard. Let's find the reason for what happened and get out of here as soon as we can, Justin. (beat) Let me know what you find. RILLER I will. Riller out. SECURITY OFFICER 1 Lieutenant! RILLER (into PAL) Stand by, we found something. I'll call you right back. He disconnects and puts the PAL back, then hurries down the corridor toward the security guard who called out. The ensign, a young female, is pointing at a double-wide hatch on the left side of the corridor. As Riller shines his light, we see a dark pool of liquid seeping out of the bottom. RILLER (to himself) Damn. (to guards) Okay, Baranski, Coe, you two pry open this hatch. Rodriguez, cover. Ready? The other guards set to work, and the hatch slides open. Riller shines a light in, and we see the station's administrative and control center. It also looks smashed, similar to the docking bay. Consoles and desks are overturned, monitors are flickering or dark, and a lighting fixture hangs down from the ceiling at an odd angle. Riller shines the light down, and we see near the door another murder victim, the source of the blood. Riller waits a moment, taking it all in, and then closes his eyes. RILLER (quietly) All right, you know the drill. Rodriguez, run down to the infirmary and get another body bag. When she gets back, Coe, help her get the victim into it and ready for transport. (beat) Baranski, let's see what we else we can find here. Rodriguez takes off at a trot down the corridor, while the rest move into the control center, careful not to disturb the body. They start to rummage amidst the debris, finding picture frames with torn up photos, small writing implements, and computer disk holders. Riller looks at all this and frowns. RILLER Coe, what's wrong here? SECURITY OFFICER TWO You mean, other than a dead body and all this destruction? RILLER No. I mean, what's missing? (beat, holding up a diskette holder) No _data_. Computers are destroyed, no storage media, not even a scrap of paper. All of it wiped clean. (beat) It just feels wrong. Baranski looks over at the victim again, and then stops. Taking his light, he shines it over, and then calls out. SECURITY OFFICER THREE Lieutenant, you're wrong. Somebody left us a message. RILLER (walking over) Who did? SECUIRTY OFFICER THREE (indicating the corpse) She did. We follow where Baranski is pointing, and see that the corpse's right hand is outstretched, pointing. At the end of the hand, we see three letters scrawled on the deck, obviously written in the victim's own blood. They spell out: H A R. CUT TO INFIRMARY In the shadowy light of handlights sitting on tables, Morgan is helping Burke to prepare the bodies for transit. She is noting the name on each person’s ID badge on a SEAPOC. She is still pale, but seems in better control of herself than she was earlier, though very pensive. She goes through her routine automatically, doing the job but not giving it a lot of attention as she does. BURKE Anne, when you’ve got that done, I want to you call the boat and ask them to start finding next-of-kin for these people. They’ll have to be notified. Morgan just keeps going about her work. BURKE Anne? Still no response. BURKE (loudly) Ensign Morgan! Morgan snaps out of her reverie. MORGAN Sorry. What was that? BURKE (shaking her head) I asked you to call _seaQuest_ when you’re done. MORGAN Oh. Sure. BURKE Are you okay? (beat, kindly) I know seeing people in this condition’s rough on you, after what’s happened to you lately. MORGAN (a bit distant) Yeah, I’m all right. Just got a pounding headache. It’s like my brain’s trying to exit through my ears or something. Burke rummages among her supplies for a moment, then tosses Morgan a foil packet. BURKE Here. Best analgesic there is. And it won’t knock you out. MORGAN (nodding) Thanks. BURKE (warning) Just drink plenty of water with it, or it’ll eat a hole through your stomach. MORGAN (grinning) Noted, Doctor. Morgan starts looking for a water dispenser, to no avail. MORGAN Geeze…they were sure paranoid about water conservation on this station…nothing but ion sinks. (beat, sighing) The galley’s down the hall. It’s gotta have the real thing. Burke nods as Morgan exits. CUT TO GALLEY Morgan enters, closing the hatch behind her and setting her light on a counter. Sure enough, there’s a “real” tap. Morgan rummages around for a moment, then sighs. MORGAN Great. Nothing to drink from. She turns the tap on, rips open the packet and pops the tablets into her mouth, then bends over and starts scooping the water into her mouth with her hands. VOICE Hey, Sweets. Morgan stands up quickly, eyes wide. Then, slowly, she turns. Standing there is a young man of about 19. He’s slender, a few inches shy of six feet tall, and has dark hair. MORGAN (stunned) C-Chris? CHRIS (grinning) Who else? MORGAN But…I haven’t seen you since… CHRIS Since David Morgan swept you off your feet. (beat) Fine way to leave your first true love. (beat) At least you _married_ David. I guess it’s not so bad if you’re beaten by the guy your favorite girl eventually marries. MORGAN My first true love? Chris…I was eighteen when we met. I hardly knew what love _was_. (beat, realizing) I can’t believe this…I’m arguing with a man who can’t possibly be here. CHRIS And why can’t I be here? MORGAN You were in a car accident right after David and I got engaged. (beat, flatly) You’re dead. CHRIS You’re right. And, quicker than a heartbeat, he vanishes. Morgan is left staring at the spot where he stood. Behind where he had been standing is a closed hatch. Morgan stands, unmoving, backlit by the light on the counter. MORGAN (calling loudly) Doctor Burke! There is no answer. MORGAN (panicked now) _MERI!_ No sound comes in reply. Even the normal pings and hums of an underwater station seem to have been stilled. FADE TO COMMERCIAL END ACT THREE ACT TWO OPEN ON EXTERIOR _SEAQUEST_--CGI _seaQuest_ remains stationary as a smaller vehicle, one of _seaQuest’s_ shuttles, exits the craft. The shuttle moves smoothly through the water to its destination, the small docking port on the side of the station. CUT TO SHUTTLE Burke, Riller, Morgan and a large group of security and medical staff wait for the shuttle to dock. The shuttle shudders for a second as it connects to the station. Riller looks over at Morgan and Burke. RILLER I don’t suppose you’ve got any idea what we’re going to find here, do you? BURKE (sighing) Yeah, you wish. RILLER (nodding) I can hope. (beat) We’ll go ahead, then, to make sure it’s safe. MORGAN You won’t see me arguing. Riller walks over to the hatch and looks at a small readout on the bulkhead before opening the hatch. RILLER What the... (beat) The airlock is filled with water. BURKE That’s not good. (beat) Can you start the pump with the shuttle’s power? RILLER (nodding) I think so. Riller taps a few keys and waits, watching the screen for a moment. RILLER Okay, that did it. Riller taps a few more keys, getting ready to open the hatch. CUT TO RESEARCH STATION--AIRLOCK The airlock is pitch black, until the outer hatch begins to open, slowly letting light from the shuttle illuminate the airlock. As the light fills the room, the camera keeps only the upper half of the room in view. Once the hatch is fully open, Riller takes a step inside before stopping suddenly as he sees something on the floor. RILLER Doctor...could you get over here? Burke comes into view at the hatch, seeing what Riller does. She manages to hold in the shock as the camera pans down. On the floor, partially obscured by the relative darkness of the airlock, is the overweight man from the teaser, his clothes saturated with water and his body bloated. Burke walks quickly to the man and kneels down, examining him. The other people in the shuttle have begun to move to the hatch to see what’s going on. After a few second, Doctor Burke looks up. BURKE This man was bludgeoned with a large object, which probably knocked him unconscious... (beat, biting her lip before continuing) And was then probably placed in this airlock, which was then flooded. RILLER (quietly) He was put in here alive? BURKE I...think so. The camera holds on the scene a moment longer, on the crew’s expressions of horror at the man’s fate as we… CUT TO BRIDGE Reede and Trueman are at their stations, and he is obviously trying to make conversation. REEDE Percell’s having a mystery movie night tomorrow. You wanna come with me? TRUEMAN (coolly) I was already planning to go. REEDE (still trying) Great! Then I’ll see you there. TRUEMAN Well, I guess it’s unavoidable. At this, Reede doesn’t know what to say. He is saved from having to try by a beep from Trueman’s console. She listens to her headset for a moment, then turns to Matthews. TRUEMAN Sir? It’s Burke and Riller, reporting in. They’ve gotten into the station, and they found…a body. MATTHEWS On screen. Trueman complies, and we see Riller and Burke on the viewscreen. They appear to be back inside the shuttle, as it can be seen in the background. BURKE (on screen) We’ve identified the murdered man…he was still wearing his ID badge. His name is Joseph Young. He was apparently on staff here at the station. We won’t know more until we’re able to access the computer here. MATTHEWS (nodding) Understood. RILLER (on screen) Commander, if I didn’t know better, I’d say they’d had a tornado in here. The docking bay is a disaster…the only things still in place are the ones that were secured to the deck with four-centimeter bolts. MATTHEWS (sighing) Have I mentioned how much I hate mysteries? (beat) Okay. Well, keep the body in the shuttle for transport back here. I want you to get in there and find the source of that distress signal. BURKE (on screen) Understood. As the screen goes blank, Matthews sighs again. MATTHEWS (muttering) I do not like Sherlock Holmes. I do not like Miss Marple… CUT TO RESEARCH STATION—CORRIDOR Burke walks down the hall with one of her medical staff members, both of their flashlights cutting through the darkness. The sound of his footsteps precedes Riller’s figure coming into view from down the short corridor. Burke shines her light on his face, but quickly moves it away when he squints angrily. Burke gives him an apologetic look before getting down to business. BURKE We found the infirmary. It’s like a ghost town. If people weren’t feeling well, they sure weren’t going to the medical staff about it. (beat) How about you? Any luck? RILLER (shaking his head) None. This deck is empty, as far as I can tell. Lots of equipment, no people. (beat) And we still haven’t found the command center. I’d really like to see their logs… BURKE (shaking her head, frowning) How about Morgan’s team? RILLER (shaking his head) Nope. Want me to go find her? Burke shakes her head and pulls out her PAL. BURKE (smiling a little) Do you always look for the hard way to do things? (beat, tapping a key on the PAL) Ensign Morgan, you there? Morgan’s voice comes crackling over the PAL. MORGAN (over PAL) I’m here, Doctor. We found the engineering center, and I think we may have found what’s wrong with the power. (beat) Well, I didn’t, but Ensign Laine did. (beat) Either way, it looks like it was deliberately shut down. One of the computer terminals in here is on emergency power, and it looks like we’ll have power in just a few minutes. BURKE (sighing) Well, that’s a relief at least. (beat) Go ahead and get the power back on. (beat) You didn’t happen to find any people...did you? MORGAN (over PAL) No…not a soul. (beat) I don’t know, this place doesn’t even feel like it’s been used. It’s not just clean it’s...almost empty. Other than the standard equipment. BURKE I noticed the same thing. (beat) If you’ve found Engineering, the command center might be nearby. We’ll meet you up there. MORGAN (over PAL) You’ve got it Doc— (beat, cutting off briefly) Oh God. BURKE (worried) What’s wrong? MORGAN (over PAL, quietly) There’s blood in here, on the floor. It’s dry. BURKE (sighing) Maybe it’s from the man we found. MORGAN (over PAL, uneasy) Or maybe it’s from someone else entirely. BURKE (shaking her head before speaking) Let’s just get power on and see if we can find anyone we _can_ help. MORGAN (over PAL) All right, I’ll see you in a few minutes. Burke shuts off the PAL without saying anything else and looks up to Riller, who tries to offer a reassuring smile. RILLER At least we’ll have power. Burke sighs and nods, turning quickly as she heads down the hallway. Riller motions to his team and follows. CUT TO DOCKING BAY Goodwin and Percell sit on the floor next to the Outrider, which has a large panel pulled off of it. Connected to the exposed circuitry is a cable leading to a small diagnostic computer. Goodwin is staring over Percell’s shoulder as she works. After a second she turns around, irritated. PERCELL Would you stop that? GOODWIN Hey, I just want to know what’s wrong with her! PERCELL (turning back) I don’t know...and I won’t if you keep staring over my shoulder like that. GOODWIN (contrite) I’m sorry. (beat) But I can’t go out in her if the stealth systems are _broadcasting_ my position instead of spoofing the sensors. What if there’s a problem? Percell smiles, shaking her head in mock annoyance. PERCELL All _right_, Cowboy, I understand. (beat, sarcastic) Thanks for the update. Percell goes back to work, tapping keys on the computer.. Goodwin continues watching over her shoulder until his PAL beeps. He pulls it out of his pocket and speaks into it. GOODWIN This is Goodwin. TRUEMAN (over PAL) Hey, I’ve got a call here from your mom. GOODWIN (furrowing his brows) Mom? TRUEMAN (over PAL) Yeah. You know. The woman who gave birth to you. GOODWIN (seeming surprised) Oh…_that_ mom. TRUEMAN (over PAL, amused) Yeah, I guess someone out there still likes you. GOODWIN (chuckling a little) Yeah, I guess so. (beat) I’ll take it in my quarters. TRUEMAN (over PAL) Sure thing. Goodwin shoves the PAL back in his pocket and stands up. GOODWIN (to Percell) Hope you can figure out what wrong. PERCELL (absently) Uh huh. Goodwin leaves rather quickly as we... CUT TO RESEARCH STATION--ENGINEERING CENTER Burke, Riller, and the security unit have joined Morgan. They are going over the room carefully when one of the security people calls out. He is standing beside a nondescript door. Wordlessly, he points down at a puddle of blood seeping under the door. Riller takes a deep breath and opens the door, revealing three more bodies crammed into a supply closet. BURKE Help me get them out… Riller and his people, grimacing, gently remove the bodies from the closet. All show signs of having died violently, battered and bruised. MORGAN Not more…they can’t…I can’t… She is almost incoherent. BURKE Anne…go out into the corridor. You don’t have to be in here. They’re already dead. Morgan nods quickly, and hastily leaves the room. CUT TO CORRIDOR As Morgan leaves the engineering center, she moves a little way down the corridor and slumps against the wall. VOICE It’s all right, Punkin… Morgan, very startled, looks around. She catches a glimpse of an elderly man at the end of the corridor. He is merely standing there, wearing tan trousers, a plaid shirt, and a worn grey cardigan. MORGAN (utter disbelief) Granddad? The old man smiles and nods, then turns and walks around the corner. Morgan runs after him, but finds nothing but a two-yard corridor filled with mechanical ductwork. Slowly, she turns and retraces her steps. Burke comes out of the engineering center. BURKE Anne? Are you all right? (beat) You look like you’ve seen a ghost. Morgan has no answer. FADE TO COMMERCIAL END ACT TWO seaQuest 2047 “The Men in Her Life” Story by Matt Schiller & Eric Sipple Script by Eric Sipple & Victoria Morgan Hyde First Draft June 1, 1998 Based on “seaQuest DSV” and “seaQuest 2032” TEASER OPEN ON BLACK SCREEN The screen stays black for a short moment. A clarinet plays the opening bars of They Might Be Giants’ “Cowtown”. Before the drums come in, we... FADE IN TO RESEARCH STATION – SMALL ROOM A computer sits on a tiny desk next to a porthole. A slightly overweight man is at the desk, working fervently on the computer. The room is very dark; only a small overhead light illuminates the room at all. The low level of light casts long shadows all around the room. The camera pans the room, and shows that the man looks exhausted and is sweating profusely. As the camera pans the room, the music continues and the vocals begin. VOCALS “I’m going down to cowtown, cow’s a friend to me, Lives beneath the ocean and that’s where I will be! Beneath the waves, the waves, and that’s where I will be I’m gonna see the cow beneath the sea.” The man continues to work, but stops after a moment. In the background, loud guitars continue the melody of the song. He wipes his brow with his shirtsleeve, but perspiration immediately begins appearing on his forehead again. The man frowns, speaking very absently. OVERWEIGHT MAN What I wouldn’t give for a hamburger. Just one hamburger. (beat) Damn soyburgers. He starts to work again, typing away at the keyboard. The camera closes on him, showing that his hands are shaking as he types. It is quite obvious that something is wrong with the man. VOCALS “The Yellow Roosevelt Avenue leaf overturned. The ardor of arboreality is an adventure we have spurned, We’ve spurned. A new leaf overturned. It’s a new leaf overturned.” As the music continues, something moves quickly through the water, past the porthole. Whatever it is went by in a blur, and it is impossible to discern just what it might be. The man working at the computer notices, and looks out the porthole for a moment as the chorus starts again. Dismissing what he saw, the man shakes his head and goes back to work. VOCALS “And so I’m going down to cowtown, cow’s a friend to me, Lives beneath the ocean and that’s where I will be! Beneath the waves, the waves, and that’s where I will be. I’m gonna see the cow beneath the sea.” The guitars come back up as the “something” rushes past the porthole again. The man spins quickly, hoping to get a good look before it’s gone, but to no avail. All that can bee seen is that it is brown in color. The man rises from his chair and sticks his face close to the porthole, looking all around. The vocals come back in and the guitars fade away... VOCALS “We yearn to swim for home, but our only home is bone. How sleepless is the egg knowing that which throws the stone Foresees the bone, the bone? Our only home is bone. Our only home is bone.” The man’s eyes dart about, desperately looking for whatever it is that’s swimming quickly by the porthole. He begins turning away when the brown thing passes again. Seeing it out of the corner of his eye, he turns... VOCALS “And so I’m going down to cowtown, cow’s a friend to me, Lives beneath the ocean and that’s where I will be! Beneath the waves, the waves, and that’s where I will be I’m gonna see the cow beneath the sea.” As the chorus continues, the swimming thing approaches again, but this time stops directly in front of the porthole. The man’s eyes lock onto it as it stops moving long enough to be seen, more-or-less clearly, through the slightly distorting surface of the porthole. It is a cow, a large brown cow moving gracefully through the water merely by kicking its bovine legs. The man stares at the swimming cow in horror. Before the chorus repeats, a clicking sound is heard, like someone walking on the metal floor. The camera pulls back, to show only the lower half of the person making the sound, who stops at the hatch. The person’s pants are torn, and their legs bruised and bloody. The legs are obviously a man’s legs. His hand, which is down at his side, holds a crowbar. VOCALS “Yes I’m going down to cowtown, cow’s a friend to me, Lives beneath the ocean and that’s where I will be! Beneath the waves, the waves, and that’s where I will be I’m gonna see the cow beneath the sea.” The camera cuts back to show the overweight man staring at the sea-cow, becoming increasingly terrified. Sweat literally drips from him, and his arms are shaking. The cow’s mouth moves, like it is making a “moo” sound, but only bubbles come out. In terror, the man steps backwards. As he does, the click of someone else walking begins again. The overweight man turns to see the bloody man, who is tall and muscular, approaching. The crowbar is still at his side. OVERWEIGHT MAN (quietly, frightened) Harry, what’s wrong? VOCALS “Yes I’m gonna see (I’m gonna see...) The cow beneath the sea!” No response comes, and as the song blares its final notes, Harry, the bloody man, raises the crowbar menacingly. The crowbar comes down, and just as it is about to make contact with the overweight man, the song ends and we... CUT TO BLACK SCREEN FADE INTO OPENING CREDITS END TEASER