Transcript by Callie Sullivan

DESTINY. The crew of Destiny has settled into a routine on board the ship and this episode opens on a medley of scenes from their daily lives. On the Observation Deck, Chloe Armstrong is doing yoga. In a large room elsewhere, Matthew Scott is leading a group of crew members in more vigorous exercise, including press-ups and sit-ups. Some of them, like Dale Volker, are clearly struggling with the effort.

(In the Control Room, Nicholas Rush is holding his broken spectacles up to a console screen to read what it says, then turns to write himself a note. A Kino is hovering nearby filming him, and Colonel Everett Young watches its footage from another room.)

(In her quarters, Lisa Park is half undressed and sitting on top of a marine called Rivers on the bed. She kisses him, then sits up and brushes her long hair back from her face before leaning down to him again.)

(In his room, Eli Wallace sits at a console reading information from the screen. He looks very tired, as if he has been working for a long time.)

(In a room which has been set up as a hydroponics lab, Jeremy Franklin looks with disappointment at the rows of tanks, none of which are showing any signs of plant life growing.)

(In her quarters, Camille Wray is drawing a tropical island scene complete with palm trees on a large sheet of paper. She looks at the picture sadly.)

(In his quarters, Sergeant Spencer shakes the last of his tablets from the bottle into his hand. He tosses the pill into his mouth and swallows it, then stares out of the window at the passing F.T.L. vortex.)

EARTH. HOMEWORLD COMMAND. Colonel David Telford is sitting in the Communications Lab with his eyes closed. A communications stone is on the activation box nearby. Doctor Mehta walks in with a male marine by the name of Maloney.

MEHTA: Hey.

(Telford opens his eyes and blinks as if he had fallen asleep, then swipes a hand over his face.)

MEHTA: Your shift's over.

TELFORD: I'm good.

MEHTA: You need rest.

TELFORD (snorting): I've been sitting on my ass for hours!

MEHTA: General O'Neill's orders.

(Telford looks round at Maloney. Sighing, he takes his stone off the box.)

Shortly afterwards he is in the locker room changing. He waits until another soldier leaves the room, then takes out his cellphone and dials. The person he is calling answers their phone.

TELFORD: Got plans for tonight?

Later, he is sitting at a table eating.

TELFORD: Mmm! This is delicious! My compliments to the chef!

(It quickly becomes clear that he is in Emily Young's house. Sitting opposite him, she laughs.)

EMILY: I'll give you his number. And he delivers!

TELFORD: No kidding!

(They laugh, then she looks at him seriously.)

EMILY: Listen, I wanna say thank you. There aren't many people that understand what I'm going through.

(He nods and smiles.)

TELFORD: Happy to help, any time.

(He looks down a little awkwardly.)

EMILY: Everything OK?

TELFORD: We've only known each other a short time, but I'd like to feel I can call you a friend.

EMILY: Yeah, of course you can.

TELFORD: And, as such, I feel a certain ...

(He pauses for a long moment as Emily looks concerned.)

TELFORD: ... obligation to tell you some things ...

(Again he hesitates for a long moment.)

TELFORD: ... about your husband.

DESTINY. Scott is leading a group of crew members on a jog around the corridors. They're all covered in sweat, so have presumably been running for some time. They reach a junction and Scott spots something through the nearby open door of someone's private quarters. He stops and calls out. The others use the moment to stop and rest.

SCOTT: Hey! You were supposed to join us!

(In the quarters, Eli is still studying his console.)

WALLACE: Yeah, I know.

(Without even looking around, he gestures vaguely towards his backside or leg.)

WALLACE: Sorry, I-I-I pulled a thing.

SCOTT (not believing him for a moment): Yeah. Colonel Young wants everybody in shape.

WALLACE (finally looking round at him): Tomorrow, tomorrow. Yeah, I promise!

SCOTT: OK. (To the others) Let's go! Come on!

(He runs off. Grumbling and still breathless, most of the others trot off after him. Volker, however, stays sitting on the seat he had taken. He watches the others run off, then stands up and walks away in the opposite direction.)

VOLKER: Ah, to hell with this.

MESS. Rivers walks into the room and smiles at Lisa Park who is already in there.

RIVERS: Hey!

(Lisa smiles politely at him.)

PARK: Hello.

(Acting as if she barely knows him, she walks past and leaves the room. He turns and watches her go, bewildered.)

(Nearby, T.J. Johansen walks over to a table where Sergeant Spencer is sitting with his meal ration.)

JOHANSEN: D'you mind if I join you?

(He doesn't answer. She puts her own ration down and sits down opposite him.)

JOHANSEN: You OK?

SPENCER (not meeting her eyes): Fine.

JOHANSEN: 'Cause you look a little tired. You getting any sleep?

(He looks at her angrily and stands up.)

SPENCER: I said I'm fine.

(He turns and leaves the room. T.J. nods.)

JOHANSEN (quietly): I'm fine too. Thanks for asking.

ELI'S QUARTERS. Sitting at his console, Eli lets out an enormous yawn. Partway through it, Rush's voice comes over the radio.

RUSH (over radio): Eli.

(Eli picks up his radio and answers it, still in mid-yawn.)

WALLACE: Yo.

RUSH: We've managed to secure two more sections of the ship. I'm sending a team in to take a look. I need you to operate the Kino for me.

WALLACE: Kinda busy here.

RUSH: Doing what?

(Eli grimaces, then reluctantly answers.)

WALLACE: I can't say.

RUSH: What's that supposed to mean?

WALLACE: That I was told not to say.

RUSH (sarcastically): Oh! A secret mission, is it?! How intriguing!

WALLACE: Look, you're gonna have to talk to Colonel Young about this.

RUSH: Eli, do me a favour. Have a look at your chest. Is there any insignia there - anything that says “Lieutenant” or “Sergeant” or anything like that?

(Rolling his eyes, Eli glances down at the printing on his T-shirt.)

WALLACE: All I've got is “You are here”.

RUSH: Exactly.

WALLACE: I'll be down when I'm done.

RUSH (bitterly): No, no. Don't bother. I'll manage.

CORRIDOR. Young and T.J. are walking along.

JOHANSEN: He says he's fine, but I'm worried about him.

YOUNG: Him and about a dozen others. Listen, I want you to do psych evaluations. Everyone - civilians, military. I've been meaning to ask you to do it anyway.

JOHANSEN: Don't you think Camille might wanna do it, being H.R.?

YOUNG: Well, you took Psych in college, right?

JOHANSEN: One course - undergrad. It hardly qualifies me.

YOUNG: That's perfect. Get to it. You can do it.

KINO VISION. A Kino is following Ronald Greer who is with a couple of marines and a scientist as they cautiously investigate the newly-opened part of the ship. Rush watches their progress on the screen.

RUSH (into radio): Hold on. The door to your right - try it.

(Greer walks to the side of the closed doors and, checking that his colleagues have their rifles raised and ready, activates the wall panel. The lock spins and the doors slide open. The men hurry inside, shining their flashlights around. Greer sighs and activates his radio.)

GREER: More quarters.

(He looks around a little more.)

GREER: Not bad!

RUSH (into radio): Moving on.

INFIRMARY. Jeremy Franklin and T.J. are sitting opposite each other.

FRANKLIN: So, do I start crying now, or do we build up to that?(!)

JOHANSEN: Why don't you just tell me how you're doing?

FRANKLIN: How I'm doing?!

JOHANSEN: With life on the ship.

FRANKLIN: Well, it sucks! I hate it!

JOHANSEN: OK, how about your hydroponics lab? Any luck there?

FRANKLIN: Seeds won't sprout - which really sucks because I would have liked to have started to grow some food. I'm not really much of a fruit and vegetable guy, but anything would be better than the crap that you've been serving us. And there's not enough water, and the beds are rock hard and, oh, don't let me forget to mention that I was shot by one of your people!

JOHANSEN (awkwardly): So you're doing fine, then?

ELI'S QUARTERS. Eli is looking tiredly at the screen, his head braced on his hands and barely able to keep his eyes open. Young comes to the doorway.

YOUNG: Eli. How's it coming?

WALLACE (sitting up straighter): I've run simulations on a dozen variations of Telford's plan to power the Gate but, so far, problems.

YOUNG: Such as?

WALLACE: Catastrophic failure every time. Horrible death, fire and brimstone, dogs and cats living together ...

YOUNG: I get it. Keep at it. I wanna make sure.

(He turns as he sees Scott walking past.)

YOUNG: Lieutenant, you're next up to use the stones to visit Earth.

SCOTT: Uh, it's all right, sir, I can wait.

YOUNG: But you've been waiting. Take your turn. Wray'll be going too.

SCOTT (a little reluctantly): All right. All right, thanks.

KINO VISION. Greer and his team reach another closed door. Greer looks round to the others.

RUSH (over radio): Go ahead.

(Greer activates the door controls and they slide open to reveal what appears to be a lab. In the centre of a room is a large chair. To viewers of earlier incarnations of the “Stargate” series, it looks like an older version of the Weapons Control Chair.)

MARINE: What the hell is this?

GREER (cheerfully): Hey! Looks like we've found the dentist's office!

(In the Control Room, Rush - who appears to be multi-tasking and looking at information on a laptop computer - looks across to the Kino screen just as the scientist in Greer's team goes over to a console in the room and pushes a button on it. Lights come on around the room. On the Chair, clamps spring out into positions where - if someone were sitting in it - they would trap the person's wrists and ankles. At the same time, a device swings over the top of the headrest into a position where - again, if someone were sitting there - it would clamp around the person's head. Small prongs come out of the clamp which would press into the sides of the person's skull. Rush stares at the footage for a moment, then activates his radio and speaks sternly into it.)

RUSH: Don't touch anything. Leave it! I'm on my way.

EARTH. In the communications lab, Scott opens his eyes and finds himself in Telford's uniform. Nearby, Camille is in the uniform of a woman called Mooney. She looks across to Colonel Telford sitting beside her.

WRAY: Lieutenant Scott?

(He looks across to her and nods. She smiles.)

WRAY: It's me, Camille.

(Scott looks around and sees the computer screen in front of him showing live footage of the room. He leans forward and watches as Telford - and Mooney beside him - does likewise. He sits back again.)

SCOTT: Weird!

DESTINY. Young has joined Rush in the room with the Chair. Rush has apparently had some time with the Chair and worked out what it is.

YOUNG: Neural interface?

RUSH: A precursor to an Ancient device SG-1 discovered several years ago. A repository of knowledge that can be literally downloaded into one's mind.

YOUNG: And you think this is one of those things?

RUSH: Within that knowledge may be the master code to unlock the ship's core systems: navigation, propulsion ...

YOUNG: You're sure?

RUSH: Well, we can't be certain 'til someone actually sits in the Chair.

GREER: It looks like it holds you down and shoots bolts into your head.

RUSH: These are merely electrodes allowing the transfer of data.

YOUNG: Do you know what a device like this did to General O'Neill?

RUSH: The sheer amount of information overwhelmed him, yes.

YOUNG: It damn near killed him, is what it did.

RUSH: It led to incredible discoveries.

YOUNG: And it damn near killed him. In fact, the only thing we know for sure is an Ancient device like this is pretty much a death sentence. Nobody sits in this thing.

(He turns to Greer.)

YOUNG: I want guard detail posted.

RUSH: So what are we to do, Colonel? Just ignore what this Chair can do?

YOUNG: I'm not telling you to ignore it. I'm telling you to study it without sitting in it.

RUSH: Look, Colonel, this pre-dates those found in the Milky Way. I'd be willing to bet the effects are far less severe.

(Young walks closer to him.)

YOUNG: Would you bet your own life?

(Rush looks away.)

YOUNG: So you're fine as long as someone else volunteers.

(Greer gazes at the Chair thoughtfully.)

GREER: Well, if it means getting these people home, I'll sit in the damned thing.

(Vanessa James' voice comes over the radio.)

JAMES: Colonel Young, come in?

YOUNG (into radio): Go ahead.

JAMES (over radio): Colonel Telford's in the Communications Lab. He switched bodies with Scott and he wants to talk to you.

YOUNG (into radio): I'm on my way.

RUSH: Colonel, so far I've only managed to access portions of Destiny's database. We still can't actually control the ship.

YOUNG: Even if we could turn this thing around right now and head back to Earth, how long would that take? Another million years? Rush, you want this Chair to be some kind of wonderful discovery, that's fine. Prove it. You prove we can use it safely to do something we actually need it to do. Until then ... (sternly) ... no-one goes near.

(Unhappily, Rush nods his agreement.)

DESTINY COMMUNICATIONS LAB. The doors to the lab are unlocked from the outside and Young walks in. Mooney is standing quietly near the table but he ignores her and goes over to Telford.

YOUNG: Always you on the stones. Don't you let anyone else take a turn?

TELFORD: Why haven't you given us any of the data collected during our experiments?

YOUNG: Well, we're still working on it ourselves.

TELFORD: I've got a team of the best scientists on Earth. We want to help.

YOUNG: Until things get out of hand, then you jump ship, leave us on our own.

TELFORD: How did Rush do it? How did he defuse the situation?

YOUNG: Well, when I know, you'll know.

TELFORD: You know, Colonel, I don't get it. I would think you'd be doing everything possible to get these people home, to get yourself home, back to your wife.

(Young smiles bitterly.)

YOUNG: If you need anything, ask Lieutenant James.

(The two of them glare at each other for a moment, then Young turns and leaves the room.)

EARTH. Camille, in Mooney's body, is walking across a car park with Major Peterson. I.O.A. representative Strom trots to catch up, calling out to her.

STROM: Camille! It is you, right?

(As she turns to him, he offers his hand which she shakes.)

STROM: I didn't know that you were checking in today.

WRAY: Oh, I'm not, actually. This is a personal visit. Last time I was here, I didn't get a chance to go home.

STROM: Right, of course. But since I have you ...

(He looks pointedly at Major Peterson. Camille turns to the major.)

WRAY: Uh, I'll be there in a minute.

(The major nods and walks away. She turns back to Strom.)

STROM: Colonel Telford's team is working on adjustments to their plan. They're making some progress.

WRAY: Young is not going to listen - at least not any time soon; and Doctor Rush ... well, like you said, he's in no hurry to come home.

STROM: Still trying to take command of the ship?

WRAY: He and Young are bumping heads, yes. Right now, Young seems to be winning that battle.

STROM: And you?

WRAY: I'm caught between them, not sure which camp is the better choice.

STROM: Maybe it's time you started your own.

HOMEWORLD COMMAND. Still inside Homeworld Command, Scott is walking with Doctor Mehta. She hands him some envelopes.

MEHTA: Your mail. All four letters. Popular guy(!) So, I'm your chaperone. Where do you wanna go? Any family, friends?

SCOTT: There's a buddy I wanna catch up with. He's at Edwards, or he ... at least he was ...

(He stops walking and trails off as he looks at the writing on one of the envelopes.)

MEHTA: No problem.

(Scott rips the letter out of the envelope and starts to read it.)

MEHTA: Are you OK?

(Scott carries on reading the letter, his face full of surprise.)

DESTINY INFIRMARY. T.J. is conducting Lisa Park's psych evaluation.

JOHANSEN: I would imagine the level of stress that comes along with trying to figure out the inner workings of this ship ...

PARK: Oh, I know. It's intense, especially figuring that we've only just scratched the surface of all there is to know.

JOHANSEN: So how are you dealing with it? I mean, what are you doing to relieve the stress?

PARK: Oh. I, um ... (she wracks her brain for a moment) ... read.

(She smiles unconvincingly.)

EXERCISE ROOM. In the exercise room, Spencer is leading a group of crew members in vigorous exercise. He counts off the jumps they're doing.

SPENCER: Thirty-five! Thirty-six! Thirty-seven! Thirty-eight! Thirty-nine ...

(Later, they're doing a sequence of a squat thrust followed by standing up and leaping into the air with arms raised before dropping to do another squat thrust. Spencer counts them through the thrust and jump.)

SPENCER: One-two-three, eighteen; one-two-three, nineteen ...

(Later they're doing some kind of relay race: they've been broken into four teams and one member from each team is running back and forth across the room, touching a spot on the floor at each end before turning and running back. Spencer yells at them angrily.)

SPENCER: Move it, move it! Faster, come on, people, faster! Faster, Franklin, move it! You're pathetic, Franklin, you know that?

(Franklin reaches one end of the room and touches the floor. He stops, exhausted and unable to turn. Spencer storms over to him and points back to the other side of the room.)

SPENCER: Go again! Again, Franklin! Move that fat ass!

(Doubled over and gasping for breath, Franklin vomits onto the floor.)

SPENCER: You're pathetic! Go again!

EARTH. Doctor Mehta drives Scott to a house and pulls up outside.

MEHTA: She's not cleared, so stick with the cover story.

(Scott nods and gets out of the car. He walks to the front door and knocks. When there's no reply, he goes around the side of the house and looks around. Washing is hanging on a line. As he looks around, he notices a small boy, about eight years old, peeping out of a window at him.)
SCOTT: Hey there. I'm looking for Annie Balic. I'm an old friend of hers. Does she live here?

BOY: She's my mom.

EARTH. NEIGHBORHOOD. At another house, Major Peterson is talking at the front door with the woman who lives there, Sharon, explaining to her what she's about to see. He turns and heads back towards the car parked nearby. Without waiting for him to reach the car, Camille gets out and runs towards the front door where Sharon is standing and watching her nervously. Camille stops at the bottom of the steps leading up to the front door, then hesitantly walks up them. Sharon watches as a woman in a military uniform with the name “Mooney” on it comes up the steps. Sharon looks at her in confusion as Mooney smiles at her happily.

SHARON: Is it really you?

WRAY (in Mandarin Chinese): Have you thrown away that ugly chair yet?

(Sharon gasps, then runs forward and wraps her arms around Camille's neck. They cling to each other, sobbing.)

DESTINY. In the Control Room, Adam Brody is talking with Lisa and Volker. They're discussing Young's decision that nobody can use the Chair.

BRODY: If someone wants to volunteer to sit in it, why won't he let 'em?

PARK: He's trying to protect us.

BRODY: Oh, please!

VOLKER: It's politics. He resists at first, comes round eventually, gives it the green light and if it works he's the big hero; and if it doesn't, well ...

(He looks around at Rush who has been standing nearby, taking no part in the discussion.)

VOLKER: ... you get to take the blame.

RUSH (quietly): Yes.

INFIRMARY. Chloe's psych evaluation.

ARMSTRONG: How am I coping? Honestly, I don't know. The people on board make it easier, that's for sure. I made some good friends ... and I met Matt, so there's that to be grateful for.

JOHANSEN: So are things getting serious between you two?

ARMSTRONG: He's been a real comfort. When we're together, it's not so lonely, you know?

(T.J. smiles, but her smile is a little forced. She looks sad and a little jealous that Chloe has found happiness with someone while she herself is alone.)

WRAY HOUSE. Camille takes a long hot shower, revelling in the joy of being immersed in water again after the mist showers of Destiny. Later, having dried off, she dresses in some of her own clothes and walks happily out of the dressing room and into the bedroom where Sharon is sitting on top of the bed and giggling in delight at the sight of her. They kiss deeply.

(Later they're in the kitchen and Camille is cooking a stir-fry meal in a wok. She picks out a piece of red pepper with chopsticks, blows on it to cool it and offers it to Sharon, who eats it. Camille continues cooking as Sharon cuddles her from behind, the two of them laughing happily.)
(Later again, they're eating the meal and drinking wine while Camille talks and talks, presumably telling Sharon all about events on Destiny. Sharon looks staggered by what she's being told.)

BALIC HOUSE. Night has fallen and Scott and Mehta are sitting in the car outside Annie's house. The little boy peers around the curtains at them.

MEHTA: Say the word and I'll call Child Protective Services.

SCOTT: He says she'll be home soon.

MEHTA: Which was three hours ago.

SCOTT: I just wanna make sure that he ...

(He looks around as he sees a young woman walking down the road. He gets out of the car and trots over the road towards her.)

SCOTT: Annie Balic?

ANNIE: Yeah.

SCOTT: I'm, uh, I'm Colonel Telford. I'm a friend of Matthew Scott's.

ANNIE (anxiously): Is he OK?

SCOTT: Yeah, he's fine. He's on a mission. It's classified. I can't say where, but he got your letter. You said you needed to see him?

WRAY HOUSE. Camille and Sharon are clearing the dinner table.

SHARON: Have you seen your parents?

WRAY (sighing): No point. They're not cleared. I can't tell them who I really am.

SHARON: Well, you can tell them that their daughter's OK. You can tell them that she misses them, that she loves them.

(Camille leaves the dining room and heads for the living room. Sharon follows her.)

SHARON: Go see them.

WRAY: Mmm.

(She coughs pointedly and gestures towards an armchair nearby.)

SHARON: Ooh. Umm, I tried to sell that.

WRAY (disbelievingly): Mm-hm.

SHARON: I did.

WRAY (disbelievingly): Right.

SHARON: I really ...

WRAY (disbelievingly): Yeah.

SHARON (exasperated): Mmm ...

(Smiling, she tugs Camille towards the sofa.)

SHARON: Come here.

(Camille sighs as they sit down.)

WRAY: You know, it's so strange, this other body. You know, food doesn't taste quite right; wine either.

(Smiling, Sharon pulls her backwards into her arms and strokes her hair. Camille makes an appreciative sound.)

WRAY: Now this ... this feels right.

(Sighing contentedly, she looks at a painting on the wall. It's the same tropical island scene that she was drawing earlier.)

WRAY: Well, so much for retiring to our beach.

(Sharon makes negative noises.)

SHARON: None of that right now.

(Camille looks at the picture for a moment longer, then lifts her head, staring at it.)

WRAY: I forgot the row boat.

SHARON: Hmm?

(The picture that she drew earlier only showed the beach, the sea and the trees. This painting has a wooden row boat on the beach. Camille sits up, staring at the painting, upset.)

WRAY: Why did I forget the row boat?

(She looks at the painting for a moment longer, then bows her head and begins to cry.)

SHARON (softly): Hey, come here.

(She takes the wine glass from Camille's hand and puts it on the table.)

SHARON (softly): Come here. Come on.

(Gently she pulls Camille back into her arms and holds her as she sobs.)

SHARON (softly): It's OK.

DESTINY. Rush is walking along a corridor, fiddling with his broken spectacles. T.J. catches up to him.

JOHANSEN: Hey, Doctor Rush. You got a sec?

RUSH (not looking up or slowing down): No.

JOHANSEN: I'm doing psych evaluations for the entire crew.

RUSH: No thank you.

JOHANSEN: Colonel Young ordered them. It's just a talk, see how you're doing, give you a chance to voice any problems or frustrations.

(Rush walks ahead of her and reaches a doorway. Stepping over the threshold, he turns back to her.)

RUSH: Well, I'm fine. No problems, no complaints. Is that it?

(Smiling at her and not giving her a chance to answer, he hits the wall panel and the doors slide closed between the two of them.)

JOHANSEN: Yeah(!)

EARTH. BALIC HOUSE. Annie has brought Scott inside the house, where the little boy is staring at him nervously.

ANNIE: He's not usually this shy. Must be the uniform. He loves the military.

(Stroking her son's hair as she walks past, she picks up a box of cereal and turns back to him.)

ANNIE: Did you eat?

(The boy nods.)

ANNIE: Go brush your teeth.

(The boy looks back towards Scott.)

ANNIE (sternly): Matthew, go.

(Scott looks in shock as the boy heads off to the bathroom. He turns back to Annie, startled.)

SCOTT: Is-is ...

(He remembers his situation just in time.)

SCOTT: ... is Lieutenant Scott ...?

ANNIE: I don't know how good of a friend you are or what he might have told you about us ...

SCOTT: Uh, he said there was a pregnancy but that you were gonna ...

ANNIE: I couldn't. I couldn't go through with it.

SCOTT (angrily): Why didn't you tell him?

ANNIE (defensively): I didn't wanna burden him. He was dealing with a lot of stuff at the time.

(She reaches down and picks up a bottle of wine, unscrews the top and pours herself a large glass.)

DESTINY CONTROL ROOM. Rush looks around at Brody, Park and Volker, who are all busy looking at various consoles. He types onto his own console, then leans forward in amazement.

RUSH: Woah.

PARK: What is it?

(Rush looks at the screen and laughs in delight. The others come over to him as he continues to gaze at the information.)

RUSH: Then that's good.

INFIRMARY. Greer's psych evaluation.

GREER: Look, there's a bad guy out there; put a gun in my hand, I'll go kill him. I'm not gonna lose any sleep over it. Your ass needs saving, I'm gonna save it or I'm gonna die trying. I didn't ask to be like this. (In a sing-song voice) Nobody made me this way.

(He leans forward.)

GREER: D'you wanna riff about my - my childhood, how my daddy beat my ass, really ... really messed me up?

(He laughs sarcastically.)

GREER: What, you think you can understand me?

JOHANSEN: No, I just wanna talk.

GREER: I wish people would just shut up, be happy for what I am.

JOHANSEN: People?

GREER: People that's willing or able to do what I do.

JOHANSEN: He fought in Desert Storm, didn't he?

(Greer looks at her warily.)

JOHANSEN: Your dad.

GREER (quietly, dangerously): I'm not talking about him.

JOHANSEN: You're the one who brought him up. What was he like?

(Greer surges to his feet. He stands there for a moment, then turns and walks quickly to the doors. Opening them, he walks away.)

EARTH. BALIC HOUSE. Scott sits at the table with Annie and watches as she pours herself another glass of wine. She seems to have got through about two-thirds of the bottle.

ANNIE: My mom used to babysit him after school. This is her house. She died last summer. This new job, though - insane hours but the money is really good, so I should be able to hire a sitter real soon.

SCOTT: Oh, what's the job?

(Annie takes a long drink before answering.)

ANNIE: I dance.

(She clears her throat awkwardly and tries to look at Scott without any guilt or embarrassment. He stares back at her.)

SCOTT: Matt said something about you going to college, becoming a lawyer.

ANNIE (smiling ruefully): Yeah. That was then, right?

(There's a knock on the front door. She goes to the door and lets Doctor Mehta in.)

MEHTA (to Scott): It's time.

(He stands up and walks over to her.)

SCOTT: Hey, I need to use your cellphone, real quick.

(Sighing, she takes out her phone and gives it to him.)

SCOTT: Thanks. (To Annie) I'll be right back.

(He heads outside.)

WRAY HOUSE. At Camille's house, Major Peterson has also knocked on the door. Camille, wearing Mooney's uniform again, answers.

PETERSON: Sorry.

WRAY: I'll be right there.

(He nods and heads back to the car as she closes the door again. Standing behind her, Sharon takes her hand as Camille fights back tears.)

SHARON: Come here.

(Camille turns towards her and Sharon takes her other hand too.)

SHARON: You are gonna take a deep breath and you're gonna find the strength, OK? You're gonna go back to that ship and you are gonna work with those people, motivate them, do whatever you need to do to get yourself back home. (She clasps Camille's hands tighter.) 'Cause I'm gonna be here. I'm not going anywhere.

WRAY: Promise?

SHARON (smiling): I already did that twelve years ago.

(Her face becomes serious.)

SHARON: The only thing that won't be here when you get back ...

(She takes a deep shaky breath.)

SHARON: ... will be that stupid chair over there.

(They both laugh, then lean together and kiss deeply. Sharon gazes at Camille fondly.)

SHARON (speaking Mandarin Chinese): Wo ai ni.

WRAY (softly): I love you too.

(They gaze at each other for a moment longer, then Camille reluctantly turns towards the door and opens it.)

SHARON: Be right here.

WRAY: Mm-hm.

(Camille goes out and heads down the steps. Sharon closes the door and turns away from it, fighting her emotions for a moment, then breaks down in tears.)

BALIC HOUSE. Annie drains another glass of wine as Scott comes back in.

SCOTT: OK, OK, so they just patched me through to Matt and, um, and I told him.

(Annie gasps.)

ANNIE: He was angry, wasn't he?

SCOTT: He's gonna need some time. It's a lot to take in right now. But anyway, long story short ...

(He sits down on the sofa beside her. Annie uncurls her legs from under her and leans away from him nervously.)

SCOTT: ... the mission that he's on right now takes care of him financially, so he's going to arrange to have his monthly Air Force cheque directly deposited into your bank account.

(Annie smiles in surprise and delight.)

ANNIE: Really?

SCOTT: That way, you can ... you can quit your job, you can go back to school, you know, and follow through with your dreams of being ...

(Annie's smile has faded and now she leans forward.)

ANNIE: Wait a minute. If Matt wants to help us out, that's great.

(She stands up.)

ANNIE: But, uh, I'm OK with my job.

SCOTT (also standing): Whoa, wait, what about college?

ANNIE: Me, a lawyer? Yeah, like that was ever gonna happen.

SCOTT: Did you even try?

ANNIE: Tell Matt thanks, but I've got things under control here. He doesn't have to worry about us.

NEIGHBORHOOD. Major Peterson has driven Camille to her parents' house where she - or, from their perspective, Mooney - is talking to them on their doorstep. She finishes the conversation and turns away as they go back indoors. She walks over to the car, gets in and looks across at Peterson.

WRAY: Told you it wouldn't take long.

DESTINY. In the Control Room, Rush is explaining to Young and Eli what he has discovered.

RUSH: I've been able to access the sub-space link between Destiny and the unmanned ships that were sent out ahead of her.

YOUNG: The ones seeding the Stargates on the planets.

RUSH: Yeah. We now have data on literally thousands of Gates that have already been seeded. Only managed to get through a fraction of it, but I found something quite interesting.

(He pulls up the information on the console and gestures towards it. Eli leans closer, awestruck.)

WALLACE: Woah! Almost the same mineral composition as the Icarus planet.

YOUNG: How long?

RUSH: One year away. Naturally-occurring naquadria throughout the planet's crust. Ample power for our needs.

FRANKLIN (smiling hopefully): One more year, we can gate back home?

RUSH: Well, it's not quite as simple as that.

WALLACE: We have to learn how to steer the ship ...

RUSH: ... how to orbit the planet ...

WALLACE: ... not to mention how to make the Gate work to dial home from there ...

RUSH: Yes. As I said, much to be done ...

(He turns to Young.)

RUSH: ... but we will of course need the master code.

YOUNG: Well, then, you'd better get to work cracking it. Sounds like you've got the better part of a year.

(He starts to walk away.)

RUSH: But the neural interface device ...

YOUNG (turning back to him): ... is still off limits. God! You think I don't know what you're doing here?

(He points at him angrily.)

YOUNG: Crack the damned code, Rush. That's your job.

(He leaves the room and reaches the Communications Lab just as Camille and Scott, newly returned to their own bodies, are leaving the room.)

YOUNG: Hey, how'd it go?

WRAY (flatly): Great.

(She walks away. Young looks at Scott.)

YOUNG: And you?

(Scott walks to the doorway, stops and tries to smile at the colonel.)

SCOTT: Uh, great.

(He too walks away.)

YOUNG: Hmm!

MESS. The news of the Icarus-like planet has spread. Many people are in the Mess and their attention is on Rush who is sitting at one of the tables still fiddling with his spectacles.

RIVERS (excited): One year and we're out of here?

RUSH: Well, first we have to do what's necessary.

(Greer leans on the table and glares down at him.)

GREER: Then get to it.

RUSH: I will, but we'll need your, uh ... support, shall we say?

(He looks up at Greer, perhaps trying to remind him - without actually saying it - that earlier he had said that he would sit in the Chair if it would get everyone home.)

GREER: Look, if it means getting off of this tin can ...

(He straightens up and looks around the Mess.)

GREER: ... then we're all in.

(At the side of the room, Spencer is staring off into the distance.)

SPENCER: I can't wait another year.

(He heads for the doorway.)

SPENCER: I want off this ship now.

GREER: Chill out, Spencer.

(Spencer keeps walking.)

GREER: A year's a hell of a lot better than forever.

(As Spencer disappears from view, Greer turns back to Rush, who has finally finished tinkering with his spectacles. He has fashioned a new arm to replace the broken one and now he puts the glasses on and settles them onto his nose. He blinks as he adjusts to the improved vision.)

RUSH: Wow. (He smiles at Greer.) That is much better.

INFIRMARY. Volker's psych evaluation.

VOLKER: We'll crack it. (He smiles at T.J.) I know we will. If we can't, I know that Colonel Young will give us access to the Chair. He has to. A chance like this - it's our ticket home.

JOHANSEN: The word's getting round. I mean, everyone's really excited.

VOLKER (laughing): Well, yeah. It's good timing, too, 'cause I don't know about you ... (he becomes more serious) ... but I was getting to the end of my rope here.

(He smiles, a little wild-eyed. T.J. looks at him with concern.)

SCOTT'S QUARTERS. Scott is lying asleep in bed. He has a brief flash of a woman pouring a glass of red wine and smiling. He snaps awake and - even though his eyes are now open - has another flash of the woman. This time the image is clearer. She is sitting opposite him at a table and is laughing and smiling happily. She looks at him, clearly enjoying his company ... and she is Emily Young. Scott wakes up fully, gasps and sits up in bed.

LATER. Scott has dressed and gone to Young's office to tell him of what he saw.

SCOTT: It's weird. I've never even met your wife, only saw that one picture you had in your office at Icarus.

(Young sighs.)

YOUNG: Telford. You connected with him.

SCOTT: Well, so, what? Is this a residual memory of his, has it somehow transferred to my subconscious?

(Young fiddles with his wedding ring, twisting it around on his finger.)

SCOTT: Doesn't mean it was an actual memory. It could have been one of his dreams. I mean, just because I saw her doesn't mean the two of ...

(He trails off, not wanting to follow that train of thought.)

YOUNG: Huh. Thanks.

(Scott nods awkwardly and leaves the room. Young continues to twist his wedding ring.)

CORRIDOR. Camille is walking along as T.J. joins her.

JOHANSEN: Camille!

WRAY: T.J., hi. Doctor Brody told me about a planet Rush discovered in the database. Is it true?

JOHANSEN: Yeah. Finally some good news.

WRAY: Oh, I hope it pans out the way he says it will.

JOHANSEN: Yeah, so listen. While you were gone Colonel Young asked me to do psych evaluations on the entire crew, assess people's state of mind, any red flags that we might need to be aware of.

WRAY: Yeah, that's a good idea.

JOHANSEN: Yeah, so I was just kinda wondering if you had some time to maybe sit down and talk to me.

WRAY: Oh, uh, right. Um, no problem ... but, you know, I have some things I need to do today. (She starts to hurry away.) Is tomorrow OK?

JOHANSEN: Yeah, OK! Tomorrow's good.

ELSEWHERE. Jeremy Franklin is walking along, head down as he scribbles on a pad. Spencer storms around the corner and the two of them bump into each other.

FRANKLIN: Sorry!

(Spencer shoves him away angrily.)

SPENCER: Watch where you're going.

FRANKLIN: Easy. I said sorry.

SPENCER (shoving him again): You expect people to just get out of your way!

FRANKLIN: What the hell's your problem?

SPENCER (shoving him again): My problem is fat-asses like you clogging up the hallway.

(Young surges out of a side corridor, grabs Spencer and slams him back against the wall.)

SPENCER (trying to push forward): What did I do?

YOUNG (slamming him back again): Listen to me. I don't know what the hell your problem is, but you'd better get it together fast.

SPENCER: He ran into me ...

YOUNG: Shut up! (He slams him back yet again.) I don't care who ran into who. You keep pulling this crap, I'm gonna lock you up for good, you got that?

(Spencer glowers over his shoulder at Franklin, as if promising him retribution later. He never answers Young, but Young gets fed up with waiting and shoves him aside.)

YOUNG: Get out of here. Take a walk.

(Spencer glares at him for a long moment, then turns and walks away, throwing another dark look over his shoulder as he goes. Young watches him for a few seconds, then turns and walks away himself, leaving Franklin standing bewildered in the middle of the corridor.)

OBSERVATION DECK. Scott has sat down with Chloe and told her what happened during his trip to Earth.

ARMSTRONG: A son! Wow! That is, um ... it's wild!

SCOTT: Yeah, tell me about it!

ARMSTRONG: What's his name?

SCOTT: Matthew. (He smiles at her.) I've got an eight year old kid named after me. How weird is that?!

(Chloe puts her hand on his knee supportively.)

ARMSTRONG: Are you OK?

SCOTT: Yeah. It's a lot to deal with. I'm a little angry that she didn't tell me, that I couldn't be there for him.

ARMSTRONG: Look, one more year and then you can take him to soccer games and Little League.

(He smiles briefly.)

ARMSTRONG: What's the mother like?

SCOTT: She's got her issues.

ARMSTRONG: You two were close?

SCOTT: Not really. Well, um, yeah, you know, for a short time, but things happened, we lost touch.

ARMSTRONG: Until now.

ELI'S QUARTERS. Eli is so tired that his eyes are full of tears but he is still at his console and reading. A new screen comes up and he frowns as he starts to read it, then his eyes widen.

EARTH. Colonel Telford gets out of his car, locks it and heads towards Emily Young's house. In a nearby parked car, Major Peterson looks across to a man in the passenger seat whose uniform reads “Roberts” and who is glaring at Telford angrily. He gets out of the car and, of course, it's Young in Roberts' body. He walks to the wall outside the house and peers around it. He can see Emily and Telford in the kitchen laughing together as Telford takes a drink from a bottle of beer. Young hurries to the front door, opens it without knocking and storms inside. Telford stares in confusion as Roberts storms over to him.

TELFORD: What the hell are you doing, airman?

(Young points his finger into Telford's face as he reaches him.)

YOUNG: You stay away from my wife, you pathetic piece of scum.

EMILY (bewildered): Everett?

TELFORD: You keep your finger out of my face.

EMILY: Everett?

YOUNG (to Telford): Is that how you get back at me? You pretend to be me, crawl into bed with my wife?

EMILY: No, he didn't pretend to be you! He never pretended to be you.

(Telford walks away as Emily talks with her husband.)

EMILY: He told me who he was all along. And I didn't sleep with him, by the way, but thanks for not jumping to conclusions. He's a friend. He's helping support me through this.

YOUNG: So, what, really? Is that-is that right?

EMILY (angrily): Not all men are like you ... and I know you're still sleeping with her.

(Young gasps in shock and anger.)

YOUNG: Did he tell you this?

(He looks across to Telford, who is making a call on his cellphone. Young pauses for a moment, then surges towards him.)

EMILY: Everett!

(Telford clicks his phone shut and turns to face him.)

(At that very moment Young switches back into his own body and sits up from where Roberts had been lying down on the wall bench in the Communications Lab on board Destiny. He stares at the activation box in shock and scrambles to his feet, turning to Doctor Boone who is sitting in the room with him.)

YOUNG: What happened? What just happened?

BOONE (jumping up and going over to the box): Um ... (he pokes at the box uselessly) ... the connection must have been severed, Colonel. I don't know why.

YOUNG: You're kidding me.

(He storms out of the room. Scott and Eli are talking nearby and turn as they see him.)

SCOTT: Colonel Young.

YOUNG: Not now.

(He continues down the corridor but the other two follow after him.)

SCOTT: Eli was just checking the planetary database.

WALLACE: The sub-space link from the ships that are seeding the Gates. I came across something that didn't quite fit with the coordinates that were established on the previous ...

YOUNG (still walking along the corridor with the other two in rapid pursuit): Can't this wait?

SCOTT: No, sir, it can't.

WALLACE: Rush lied.

(This finally brings Young to an abrupt halt. He stops, lowers his head for a moment, then turns back to the others.)

WALLACE: The Icarus planet that he discovered a year away - it doesn't exist.

(Behind Young, Camille walks around the corner and stops as she hears what Eli is saying.)

WALLACE: It's fake data. He planted it himself.

(Camille's eyes fill with tears. Young turns around and sees her standing there.)

LATER. Young is confronting Rush with what he knows. Rush is sitting on a wall bench calmly, fiddling with his newly mended glasses, while Young paces around in front of him.

YOUNG: You lied to these people.

RUSH: I gave them hope.

YOUNG: False hope, Rush.

RUSH: Yeah, well so was dialling Earth. I knew it was pointless at the time but you persisted. Why? To boost morale. You tell me the difference.

YOUNG: I'll tell you the difference. One's a lie.

RUSH: Who cares?

(Young looks at him.)

RUSH: Who else knows about this, then?

YOUNG: Wray overheard, so we can assume everyone knows on the ship.

(Rush stands up and starts to pace angrily.)

RUSH (sarcastically): Oh, well done, Colonel. You've just ruined the chance to maximise productivity.

YOUNG: I wasn't the one who planted false information.

RUSH (turning back): Look, there may very well be an Icarus-type planet buried in the data. There may very well be. I've only begun to scratch the surface, but I'd be a lot further on if you would just let me use that ...

YOUNG (interrupting): Again with the Chair.

RUSH: Yes, the Chair! It could be our salvation ...

YOUNG (interrupting furiously): And it could kill somebody!

RUSH (angrily): A sacrifice that could save the lives of everyone else on this ship!

(Young walks to the closed doors of the room and slams his hand against the wall panel. The doors slide open. Young turns back and gets right into Rush's face.)

YOUNG (calmly): I'm not stopping you, Rush. Go, sit. Be my guest.

(Rush stares at him for a moment, then his face crumples and he lowers his eyes and turns away.)

YOUNG: That's what I thought.

(Giving Rush a contemptuous look, he walks away. Rush grimaces.)

ELSEWHERE. Elsewhere on the ship, Eli is walking past the entrance to the shuttle. He looks inside and sees Scott sitting in the pilot's seat. He strolls in.

WALLACE: Hey.

(Scott sinks his head back onto the headrest as if Eli was the last person he wanted to talk to right now, but then lifts his head again and puts a brave face on.)

SCOTT: Hey.

WALLACE: You hiding out too? T.J.'s doing her psych evals. I've been trying to avoid her.

SCOTT: Why?

WALLACE: Oh, you start opening up, you end up saying all sorts of personal stuff you probably shouldn't, and then you have to live with these people, see 'em every day, have her give you weird looks as she passes you in the hall. Gets awkward.

(He sits down in the chair nearest to the pilot's seat. There's an uncomfortable pause, then Eli turns to Scott as a thought occurs to him.)

WALLACE: Chloe tells me you're a dad! (He grins.) Congrats! You've got yourself a Mini-Matt!

(He laughs. Scott, on the other hand, has a straight face as he hunches forward in his seat. Seeing his face, Eli rolls his eyes.)

WALLACE: See? That's what I'm talking about. I speak and say things I shouldn't and I-and I-and I-I talk before I think ...

SCOTT: It's OK.

WALLACE: No, no! Look at you! You're ... you're bummed. You just found out that you have a son! But now he's probably not ever gonna get the chance to actually meet you and that sucks. You don't wanna talk about that!

(Scott closes his eyes briefly, then opens them and turns to look at Eli. Eli sees that his eyes are full of tears.)

WALLACE (quietly): I'm gonna go now.

(Scott nods, smiling gratefully. Eli opens his mouth, trying to think of something comforting to say, but then stands up and leaves the shuttle.)

In the shower room, Camille is naked in one of the cubicles. She is enveloped in the misty spray, and is sobbing with grief.

MESS. T.J. comes in and sees Young sitting alone in there, some distance from the Mess staff. She goes over to him.

JOHANSEN: I've completed fourteen psych evals, I have eight more scheduled and I think the rest of the ship's avoiding me.

(She sits down beside him and looks at him.)

JOHANSEN: What's wrong?

YOUNG: Bad day.

JOHANSEN: Lot of those lately, huh?

(She keeps looking at him but he won't turn his face to her.)

JOHANSEN (softly): Hey, something else is bothering you.

(Still he won't turn his head.)

JOHANSEN (softly): What happened?

YOUNG: This my psych eval?

JOHANSEN: It can be. (She pauses for a moment.) Come on, talk to me.

(He glances across at her, then looks again as if really realising that she's there. He holds her gaze for a long moment, perhaps wondering whether he can trust her, or burden her, with the full story, but then decides against it. He shakes his head.)

YOUNG: Bad day.

(He stands up and leaves.)

EARTH. In Homeworld Command's communications lab, a young soldier called Lucas jolts as the stones do a body swap. Major Peterson walks over to him.

PETERSON: Doctor Volker?

(Lucas' body looks up at him.)

LUCAS: Yes.

PETERSON: Welcome to Earth. I'm Major Peterson. I've got a car waiting for you - anywhere you wanna go.

(Lucas nods and stands up.)

TELFORD HOUSE. Telford comes out of his house and walks down the path towards his car. Just as he reaches it, Lucas runs over and, as Telford sees him reflected in the car window and turns around, Lucas punches him hard in the face twice. Telford retaliates as best he can and gets in a couple of punches but Lucas thumps him several more times and gets in a really solid punch to his face, dropping Telford to the ground. Lucas - or rather, as we suspected all along, Young - looks down at Telford as he rolls over onto his back, his face a bloody mess.

DESTINY. On the Observation Deck, Chloe is again doing her exercise routine. This time, as she leans forward and carefully balances on one leg, Eli leans into view also on one leg, having joined her in her exercises.

(In her quarters, Camille is completing her drawing of the tropical island scene by adding in the row boat.)

(In her quarters, Lisa Park is half undressed and smiling happily as the dog tags of the soldier on top of her dangle into her face. She kisses him, then rolls him over so that she's sitting on top of him. She brushes her long hair back from her face before leaning down to him again. But it's not Rivers she's with this time - it's Ronald Greer.)

(In the Control Room, Rush - wearing his mended spectacles - is looking at his console screen. Without looking up he says something to Brody, who brings over a small device and, glaring at him with hatred, hands it to him. As he walks away, Rush catches the last of the look and watches him leave, shocked by the fierceness of Brody's glare. And a nearby Kino relays all the footage to Young who is watching from another room.)

(In the hydroponics lab, Franklin hurries over to one of the tanks and stares in amazement at a single green shoot poking up from it.)

(In his quarters, Sergeant Spencer lies on his bed and stares upwards unblinking.)

(In the shuttle, Scott gazes out at the F.T.L. vortex, the tears in his eyes occasionally dripping down his face.)

(And all the while Destiny continues her journey onwards and further away from Earth.)