X-Persona: Return-path: Date: Sun, 21 Sep 1997 19:55:05 -0400 From: Matt Subject: "Eye of the Storm" (teaser) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com seaQuest 2047 "Eye of the Storm" Story by Eric Sipple Script by Eric Sipple & Victoria Morgan Hyde Saturday, September 20, 1997 Publication draft Based on "seaQuest DSV" and "seaQuest 2032". TEASER OPEN ON WHITE SCREEN Slowly, the screen darkens as a scene of _seaQuest_'s fight with the three drone Spectres in "Deliver Us From Evil" appears. As we watch the fight, the voice of Captain Lucas Wolenczak is heard. Throughout the Teaser, his voice is over, and not a part of, what we see. WOLENCZAK (V.O.) Once a storm, forming quickly over the ocean, moved toward a small island village. It came with only the subtlest warning, a clear sky turning suddenly black before shelter could be found. Those living in the village stood on the beach, watching lighting and rain approach. All knew that they could not hide themselves from the oncoming storm that each must stand and face it. (beat) Despite this, many ran up the beach toward the village, wanting to ride out the storm in their own homes. DISSOLVE TO MINING RIG HALLWAY Lieutenant Commander Greg Callan shoves Ensign Anne Morgan aside as Andrea Berger's grenade goes off. WOLENCZAK (V.O.) Others scattered, fleeing blindly inland, hoping to stumble into a shelter that, deep in their hearts, they knew did not exist. DISSOLVE TO OUTRIDER COCKPIT We see Lieutenant Commander William Goodwin, in the middle of the fight with the drones. His face shows his exuberance and obvious excitement in what he does. WOLENCZAK (V.O.) The rest sat down on the beach, knowing that no place would be safe. They wished to feel the force of the storm, to face it head on and not deny its existence. DISSOLVE TO MINING RIG HALLWAY It is right after Berger's grenade exploded, as Morgan and Jason Hunter discover the extent of Callan's injuries. WOLENCZAK (V.O.) Then the storm came, ravaging the land and village. After a time, the skies cleared. The people on the beach moved back to their homes. Many were smashed; all were damaged. Those in the town who had survived picked their way through the rubble. DISSOLVE TO CREVASSE Hunter's sub escapes as debris falls upon and buries Lieutenant Justin Riller in his Marauder. WOLENCZAK (V.O.) A man, one who had faced the storm on the beach, began to repair the damage to his home. A woman who had fled inland staggered into the village, looking beaten and battered. She looked around at the wreckage as she walked, finally stopping at the man fixing his home. (beat) "This is only the eye of the storm," she said. "Why rebuild your home now? The storm will just be back! Find a place to hide, or you'll die like those who fled with me." DISSOLVE TO WARDROOM Lieutenant Commander Jessie Matthews stands at attention. In the background is Goodwin, Lieutenant Commander Ed Taylor, Doctor Meridith Burke, Lieutenant Justin Riller, Lieutenant J.G. Tom Reede, Ensign Rebecca Trueman, and Morgan. Wolenczak approaches Matthews, smiling, and fastens the rank patches of a commander to her collar. WOLENCZAK (V.O.) The man quickly replied, "No. I will rebuild." "But why? The storm will be back soon?" she asked the man again. (beat) "Because there will always be a coming storm," the man said, "but there may not be another chance to rebuild." DISSOLVE TO MALIBU BEACH Berger stands, looking ominously out to sea. WOLENCZAK (V.O.) The man continued his work while the woman, not understanding, staggered out of the town again, seeking shelter. DISSOLVE TO BRIDGE Wolenczak, now in civilian clothes and carrying a small duffel, is walking around, examining the repair work in progress. Teams of technicians work steadily, replacing consoles and repairing the damage. We see occasional welding arcs in the background. Near the communications console, Taylor is checking his SEAPOC readouts and comparing them to the work being done. Wolenczak walks up to him and they converse as we hear the voice-over continue. WOLENCZAK (V.O.) Now our work begins. We know the next storm approaches, but our sworn duty is to be ready for it. Taylor salutes Wolenczak, who turns to leave. After a moment, he turns back, surveying his command. WOLENCZAK (V.O.) We will be. FADE TO OPENING CREDITS END TEASER X-Persona: Return-path: Date: Sun, 21 Sep 1997 20:42:47 -0400 From: Matt Subject: "Eye of the Storm" (act 1) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com ACT ONE OPEN ON PHILADELPHIA NAVAL SHIPYARDS The morning sun shines brightly on the naval base, glistening on the water in the harbor. Many vessels are docked here for repairs, including the _seaQuest_, which sits quietly in its berth. The damage sustained in its recent battles is barely visible any longer, as the bioskin has mostly regenerated. The camera pans downward, closer to the dock and stops at the hatch into _seaQuest_. Crewmembers file out the hatch carrying small duffel bags. Wolenczak and Jessie Matthews walk out of the door, speaking with each other. WOLENCZAK Why is it such a big deal to tell me where you're going on leave? MATTHEWS (shrugging) Why does it matter? WOLENCZAK (smirks) Professional responsibility for my crew. MATTHEWS (smiling tolerantly) More like personal curiosity. WOLENCZAK (smiling back) A little of both maybe. (beat) You've given us a contact number. I'd just like to know more about your secret destination. Or do I have to live in suspense for this entire leave? MATTHEWS (sighs) Fine... (she motions to the side of the dock) Let's stop. The two stop near where the dock meets shore and lean on the railing. WOLENCZAK (reassuring) If this really is a big deal, I don't want to force you into talking. If it's really something you don't want to discuss... MATTHEWS No, I might as well tell someone... (beat, sighing) I'm going home...to see my parents. WOLENCZAK (raising an eyebrow) It's been a while since you've seen them, hasn't it? MATTHEWS You could say that. (beat) I haven't seen them since I entered the Academy. WOLENCZAK (surprised) It's been that long? (beat, probing) Any reason you're choosing now to go back? MATTHEWS (shrugs) I don't know; it just feels like the right time to do it. I mean...I'm doing great here, it's working out better than I had hoped. (beat) It's not like I'm going home to ask them for help because I screwed up. (beat) After all, I've just been promoted. Matthews sounds like she's trying to convince herself that she's doing the right thing. Wolenczak picks up on this. WOLENCZAK (nodding) Giving them something about you to be proud of. MATTHEWS (nodding once) Something like that. WOLENCZAK Do they know you're coming? MATTHEWS No...I thought it would be better if I just showed up... (beat) Surprise them and all. WOLENCZAK (bluntly) And you're scared if you call you might find a reason not to go. (beat, carefully) Or that they'll find an excuse for you to stay away? MATTHEWS (frowning) Calling them is hardly going to make me-- WOLENCZAK (smiles, cutting in) Jessie, I know how this is, and how easy it is to talk yourself out of doing something like this. (beat) God knows how hard it was for me to spend time with my parents after they left me on _seaQuest_. (beat, kindly) You're not going to fool me into thinking it's different with you. MATTHEWS (giving in) Fine...you're right... (she glances at her watch) Well, my flight to New York leaves soon, so I'd better go. WOLENCZAK (smiling hopefully) Good luck, Jessie. MATTHEWS (still rather serious) Thank you. Matthews readjusts the bag strap on her shoulder and turns, walking away. Wolenczak stares off the dock a moment longer before turning to leave as well. He takes only a few steps before hearing a voice from behind him. MORGAN (O.C.) Lucas...wait... WOLENCZAK (turns, smiling as he sees her) I thought you'd left already. Morgan steps up beside him. MORGAN I was looking for you; I wanted to say goodbye before I left. WOLENCZAK (smiles) Heading home? MORGAN (grinning) Where else? (beat, teasing) So, you're actually tearing yourself away from your boat for a few days? WOLENCZAK I'm leaving her in Ed Taylor's capable hands. Only person better at looking after a boat than her captain is her chief engineer. Morgan nods. MORGAN ("sternly") How much work have you scheduled for yourself this leave? Wolenczak doesn't respond to her tone, only to her comment. WOLENCZAK Believe it or not, very little. Only what I have to do. I'm planning on just hanging around the city...enjoying open spaces for a change. (beat) Well, comparatively open spaces anyway. MORGAN You? Relax? (beat, teasing) Are you just trying to get me off of your back? WOLENCZAK (grins) No, I really am going to relax and try to enjoy myself. MORGAN ("motherly") Good. If I hear any differently when I get back... WOLENCZAK I don't even want to know. (beat) Have a good trip, Anne. MORGAN You know I will. Morgan looks around quickly, then surprises Wolenczak with a brief but tight hug. MORGAN (continues) Enjoy life for a while. Morgan smiles and waves before turning and walking off the dock as well. Wolenczak gives _seaQuest_ a final look before turning toward dry land as well. CUT TO MEDBAY Burke moves quickly around the MedBay, organizing the various supplies she has just received. She moves between box and drawer without seeming to stop and look at what she is putting away. The hatch opens and Trueman walks in, standing a moment in the hatchway, just watching Burke, not wanting to interrupt. Burke glances up after a moment and notices Trueman. BURKE (smiling very slightly) Come to watch the poor sap work as you go off to leave? TRUEMAN Well, I was going to point and laugh too... BURKE ("threatening") Watch it, I've got large supplies of random chemicals to throw around. (beat, "evilly") Plus your medical fate lies in my hands, so I'd be careful. TRUEMAN (mock frown) No fair bringing personal health into this. (beat, walking closer to Burke) Actually I was here to see what you were doing once you're done here. BURKE Checking into the bachelor officers' quarters. (beat) And sleeping. (beat) For a _long_ time. (smiling) At least...that was the basic plan. (another thought) And some food...that'd be good, too. TRUEMAN (smiling) Making the most of leave, I can see. BURKE (suspiciously) Why, got a better idea for me? TRUEMAN I do, actually. BURKE (stopping her work for a moment) So what is this "better idea"? TRUEMAN Well, a few of us are getting together at one of the local restaurants for dinner, and I thought I'd stop by and ask if you'd like to join us? BURKE (grinning) So, crowding around a table at mess for months at a time isn't enough for all of you? You want to spend leave together too? TRUEMAN This is for a good cause. (beat) After everything that happened to Sara...we wanted to do something to get her out, make her forget life for a while and relax. You know that if we don't actually _give_ her something to do she won't do anything...and right now she really needs to. BURKE (nods) Makes sense. TRUEMAN At first only it was only going to be me and Percell, but then Riller decided to come along...and a few others, so now I'm just spreading the word around. BURKE (thinks a moment) All right...get back to me on where to meet you. I'll be there, if only for Sara. TRUEMAN (smiles) Under other circumstances I'd be hurt that you didn't care about the rest of us... (beat) But for now...thank you. This will be great for her. BURKE (smiling) Not a problem. TRUEMAN (waving and moving out of the room quickly) I'll stop by later to tell you the details. Before Burke can say goodbye, Trueman is out the door. Burke smiles a moment before going back to organizing her new supplies. CUT TO PSYCHOLOGISTS' WAITING ROOM This is a standard medical-type waiting room in Philadelphia. A table covered with magazines is in the center of the room, with a couch placed on either side of the table. A man sits on one of the couches reading a magazine, and a desk is at the back of the waiting room. Chief Petty Officer Sara Percell steps cautiously into the waiting room, glancing around constantly. She is very uncomfortable, not wanting to be here at all. A middle-aged receptionist at the desk looks up at Percell, not saying anything yet. Percell takes a deep breath, finally moving toward the desk. RECEPTIONIST Can I help you? PERCELL (in a quiet and shaky voice) Sara Percell... RECEPTIONIST I'm sorry but I can't hear you, can you speak up? PERCELL (speaking louder, but not much) Sara Percell. RECEPTIONIST And your appointment is at what time? PERCELL Ummm...10:30... RECEPTIONIST (looking at the schedule, then back up) You're late. Doctor Barbudo stepped out for something to drink. PERCELL (hesitantly) Should I...leave then? RECEPTIONIST (frowning and shaking her head) No, it just means you'll have to wait a few minutes and have a shorter appointment. Percell is more than ready to take advantage of the doctor's absence. PERCELL Well, if it's a problem...I could just go and forget about this appointment...and just come... RECEPTIONIST (becoming impatient) I said it's not a problem, just have a seat. PERCELL Oh...I'm sorry... RECEPTIONIST (mumbling) Sure, just have a seat. Percell turns slowly, and notices that the man sitting on the couch is watching her curiously. She looks away from him quickly and walks to the empty couch slowly, taking a seat. She glances over the magazines, looking more for something to occupy herself with than actually reading. She looks up again at the man sitting on the couch, who looks up again at her at the same moment. Percell can hold the gaze for only a split second before looking away. The man, on the other hand, holds his gaze on her a moment longer. RECEPTIONIST Percell, Sara. Doctor Barbudo can see you now. Percell nearly jumps when she hears her name called, barely managing not to. Taking a deep breath to calm herself, she rises and walks slowly to the door leading into the doctor's office. Percell glances over her shoulder once more toward the man on the couch, who looks up at her again as well. She turns, disturbed by this stranger taking interest in her, and moves into the office. FADE TO COMMERCIAL END ACT ONE Return-path: Date: Mon, 22 Sep 1997 18:22:25 -0400 From: Matt Subject: "Eye of the Storm" (Act 2) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com ACT TWO OPEN ON DR. BARBUDO'S OFFICE Doctor Alice Barbudo, a woman looking to be near forty, sits in a chair facing Percell, who sits in an identical chair. Doctor Barbudo has a small notepad, which she occasionally jots something down in. Percell sits uncomfortably in the chair, fidgeting constantly. From the amount of writing visible on the notepad, they've been talking for a little while. BARBUDO (speaking in a calm and gentle voice) Tell me about your relationship with Commander Hunter prior to your trip to Carolinan waters. PERCELL (glaring, defensively) I did _not_ love him so don't even suggest it. BARBUDO (unfazed) I wasn't, Sara. I merely wanted to know what your relationship with him _was_. PERCELL (no longer angry, but still defensive) Why does that matter? BARBUDO Because if you want us to work through the incident with him, it will help to know how you viewed him _before_ he betrayed you. Percell fidgets in her chair, not meeting Barbudo's eyes. PERCELL I was in that...that box...with no air, or light, or water... (beat, her voice faltering slightly) What does that have to do with Hunter? BARBUDO (still very calm) Everything. (beat) Because he was responsible for putting you there. Had someone you never trusted put you there it would have affected you quite differently. PERCELL (getting angry again) A box is a box... BARBUDO Except when a friend is the one that pushes you in. Percell just glares at Barbudo for a moment. BARBUDO (continues) Sara...please, I'm not here to exploit anything you tell me. I want to help you, which I can't do if you won't talk to me. Percell rises quickly from her chair. PERCELL (frowning) If you want to help me, say the session is over for today. I want to get out of here. BARBUDO (sighing) Sara... (sighing again and setting the notepad and pen on her lap) We'll stop for now...but for tomorrow, think about what we talked about today. (beat) I really am here to help you. When you come tomorrow, _let_ me help you. (beat) Please? PERCELL (shrugging) I don't know...I'll try... (beat) Goodbye, Doctor. Percell turns and walks quickly from the room, slamming the door behind her. Barbudo rubs her forehead in frustration, staring at the door for a long moment. CUT TO TRUEMAN'S QUARTERS Trueman moves through her quarters quickly, laying out different outfits on her bunk, trying to find one which suits her. A duffel bag, stuffed to overflowing, sits on the bunk. She's rummaging through her closet when she hears a knock at the hatch. She walks to the hatch, opening it a crack and peeking out. She smiles as she sees who is there, and opens it all the way. Riller stands there, not looking particularly pleased. TRUEMAN (not noticing that Riller looks upset) Hey Justin...what are you doing here now? I thought you went ashore. RILLER (tightly) I wanted to talk to you. Trueman notices his tone of voice and turns to him. TRUEMAN What's wrong? RILLER I was doing a last check of the ship, and was passing through the crew's mess...and what do I hear? Goodwin bragging about how he's going on a date with you. TRUEMAN (shrugs) That's just because I-- RILLER (cutting her off) And then I walk onto the bridge and there's Reede, bragging about how _he_ is going on a date with you tonight. TRUEMAN (shrugs again) I invited them both to go out with us tonight, for Sara. RILLER Becca...you invited _both_ of them yourself? TRUEMAN (frowning) Why wouldn't I? _I'm_ organizing this. RILLER Why wouldn't you? (beat, more frustrated) Because you know how they are! TRUEMAN (getting agitated) What is _that_ supposed to mean? RILLER It means you know how they posture themselves whenever they think they just got a look from you, or if you seem even slightly interested in whatever they're bragging about to you. TRUEMAN (looks back to her clothes) Justin, if that's the only reason you're here...why did you even bother coming? I'm not a stupid little girl who can't deal with people. Riller looks at her for a long moment, obviously trying not to lose his temper. Finally, he speaks. RILLER (sarcastically) You could have fooled me. TRUEMAN (turning angrily) _What_?! (beat) I can't believe you actually said that. RILLER Becca, you're leading them on! You should have had someone else ask them. The last thing they need is what they consider a personal invitation from you! (beat) It's not fair to either of them...it's...it's immature! Trueman has had just about enough of Riller's arguments. She moves closer to him, until they're virtually nose to nose. TRUEMAN I'm _immature_? RILLER No, but you're acting like it around them. TRUEMAN This is ridiculous. (beat) I invited them because I wanted Sara to be surrounded by friends tonight. Not inviting them because you disapprove of the way they might take it is... She moves across the room, her back to Riller now, closing him out. TRUEMAN (continuing) This is absurd. Riller walks up behind her and puts a hand on her shoulder. RILLER (persuasively) It's just going to cause problems, Becca. Trueman turns quickly, shaking his hand from her shoulder as she does. TRUEMAN No, _you_ are the one who is going to cause problems. (beat) In fact you're doing it now. If this is how you're going to act around Sara, then don't come. She doesn't need to see you scowling right now. RILLER She also doesn't need to see Reede and Goodwin tripping over themselves to get at you first. TRUEMAN (stomping toward Riller) Get out. RILLER What? TRUEMAN Get out of my quarters; I don't need to be told how to act. She reaches Riller and starts pushing him to the hatch. TRUEMAN (continues) Just go. If this is the best way you can act, then please don't come and ruin the night for Sara. RILLER (walking backwards as Trueman pushes him) Becca, look...I just don't want you getting hurt or hurting anyone because-- TRUEMAN (near shouting) I don't care! Just go! RILLER (frowning) Fine, I'm gone. Riller turns and storms out of the room. Trueman follows after him as far as the hatch, which she slams shut once he leaves. Off Trueman's angered expression... CUT TO PSYCHOLOGISTS' OFFICE--BATHROOM Percell stands in the bathroom, leaning against the door. Her eyelids are puffy and her eyes bloodshot from crying. Tears still visibly streak her cheeks. PERCELL (to herself) Why couldn't she just be like Curcio...at least I could hate Curcio... (beat) I don't want to answer her stupid questions about _him_... (beat) I don't want to _think_ about him. She turns on the faucet and runs water over her hands, which she splashes onto her face, washing away some of the signs that she had just been crying. She pulls out a paper towel, gingerly patting her face with it. PERCELL (to herself) _seaQuest_ isn't worth this... (beat) It's not worth having to go through this…it's not worth it. Percell drops the paper towel into the wastepaper basket and turns to the door, taking a deep breath to steady herself. Sure she's at least not going to begin to cry again, she walks to the door and opens it. CUT TO PSYCHOLOGISTS' OFFICE--HALLWAY Percell walks quickly out of the bathroom, not looking where she is walking. She begins to round a corner and bumps right into a man coming the other way. She looks up to apologize and sees that it is the man who had been sitting on the couch earlier. She takes a few steps quickly back. PERCELL I...I'm sorry. MAN (smiles) That's okay, I wasn't really looking where I was going either. PERCELL (nods) Yeah...sorry anyway... Percell begins to walk past him, her head down. MAN Hey...wait up... PERCELL (stopping but not turning) Wh...what? Why? MAN Well, it's just that you're running away from me...and I wondered why you're so scared of me. PERCELL (still not turning) Scared? No I just...I've got to go... MAN (sighs) It's because I was staring at you in the waiting room, isn't it? PERCELL (turning, but not fully) Well...what do you expect...some guy in a shrink's office staring... (beat, defiantly) And you _were_ staring. MAN I really wasn't staring...I was... (beat, "giving in") Okay, it looked like I was staring. (beat, teasing slightly) Just keep in mind you're in the same shrink's office. PERCELL (turning away again, bluntly) I'm not crazy. MAN (continues smiling) I'm not either. (beat, he runs a hand through his hair) Look...I'm doing this wrong...let's try this again… (beat, extending a hand) Hi, my name's Mark, what's yours? Percell looks over her shoulder at him. PERCELL (suspiciously) Mark what? MARK Mark Haley. PERCELL (still not very friendly) Well, Mark Haley...why _were_ you staring at me anyway? MARK (shrugging, dropping his hand) Because... (beat) Because it was like... (beat) Like looking in the mirror. PERCELL What does _that_ mean? MARK (grins) Exactly what it sounds like it means. (beat) I looked at you...and I was looking at myself. PERCELL (frowns) How would you even know? (frowns more heavily) This is crazy, why am I even talking to you? MARK (seeing Percell is ready to leave) Look...I can't really explain it, but I can see when someone could use someone to talk to, and I can tell when I can be that someone. (beat) I look at you and I see myself not long ago. I...I can just tell. (beat) There's a park a block away from here. It's really public, why don't we go and take a walk there? PERCELL I'm not interested in a date. MARK (chuckles) Neither am I. (beat) We'll walk through the park--the heavily populated parts, of course--and talk. PERCELL (quietly) But why? MARK (smiling) Why not? We'll be in a public place, so it's not unsafe… (beat) And you looking like you could use something relaxing like a walk anyway. Percell is obviously still quite uncomfortable at the idea of leaving with a stranger. She looks back toward Barbudo's office. The camera follows her POV, and we see Barbudo standing there. She nods once. Camera cuts back to take in Mark and Percell standing in the hallway. PERCELL (looking at him for a moment before speaking) We'll walk...but if I want the walk to end at _any_ time, you leave. You turn around and walk the other way and we never speak again. (beat) Deal? MARK (smiles and nods) Deal. Mark turns and walks toward the door out of the office while Percell remains standing behind him. He turns and sees she's not following. MARK (sighs) I guess the walk is over already? PERCELL (stands silently for a moment, looking down) No...we can walk... (she looks up at him) My name is Sara, by the way. Sara Percell. MARK Nice to meet you Sara. (beat) Now unless your idea of a calming walk is through a hospital, we should probably go. Mark smiles slightly, and as he does, Percell can't help but smile as well. FADE TO COMMERCIAL END ACT TWO Return-path: Date: Mon, 22 Sep 1997 18:23:53 -0400 From: Matt Subject: "Eye of the Storm" (Act 3) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com ACT THREE OPEN ON EXTERIOR MORGAN'S PARENTS' HOUSE Anne Morgan's parents' house is a typical suburban abode. A red taxicab pulls up in front of the house, and Morgan steps out, carrying her bags. She pays the cab driver before turning to look at the house. On the front porch sit both of Morgan's parents, Robert and June Baird, and her son, John. Robert has gray hair and is of middle height. June is even shorter than Morgan and rather plump. Morgan smiles and begins walking to the house when she spots another figure sitting on the porch: reporter Vince Matson. ROBERT (smiling) Anne, welcome home! JUNE We're glad you could make it out here. Morgan hugs each of her parents in turn. MORGAN Hi, Dad...Mom. (she turns and hugs her son tightly) I missed you. When they hug, we see that John is nearly as tall as Morgan, though he has the same slim build she does. JOHN I missed you too, Mom. Morgan holds her son for a long moment before turning to Matson. MORGAN (smiling) And to what do I owe your presence? MATSON I heard you were heading out this way, and thought I'd swing by to spend some time with you. MORGAN (smiles) I'm glad you could get the time off. JUNE Well, we're just finishing getting dinner ready...go ahead and unpack and I'll call you when it's ready. Morgan's parents begin to walk into the house, John following closely behind. MORGAN (grinning) John, you're not going to help me unpack? JOHN (shaking his head) I'm supposed to set the table. MORGAN (smiling wider) Fine, I'll do it myself. JOHN Thanks, Mom. John runs into the house and Matson walks up to Morgan. MATSON If you'd still like some help unpacking... MORGAN (grinning) Offering your services? MATSON Absolutely. MORGAN ("impressed") So heroic... Morgan turns, walking into the house with Matson close behind, smiling as well. CUT TO MORGAN'S BEDROOM Morgan opens the door to her room and looks around before entering. This isn't the room of a little girl, or even of a teenager. It looks like a typical guest room, with the addition of a few framed photographs on the dressing table--Morgan's wedding, various family shots, her Academy graduation. As she enters the room, Morgan relaxes noticeably and sets her bags on her bed. Matson follows her in and looks around. MORGAN (smiling) It's so nice to be home. MATSON Was this always your room? MORGAN Well...not always. (beat) But long enough. (she looks around) I forgot how much I missed a real room. MATSON I can understand... (beat) Well, I can guess at understanding anyway. I don't have a room to come home to. MORGAN (beginning to unpack) Like I'm supposed to believe you don't have some beautiful apartment or home to come back to on vacations. MATSON But nothing that's _home_. I have places to rest, and places to take in scenery... (beat, a bit sad) But I don't have any place to come home to. MORGAN (raising an eyebrow) Vince Matson's great regret, perhaps? MATSON (sighing) Maybe. MORGAN (continuing to unpack, smiling) Something you plan on correcting? MATSON Well...I don't plan on leaving this life with any regrets... JUNE (shouting from downstairs) Dinner's ready! Morgan looks at the clothes which are left unpacked and sighs. MORGAN I guess it can wait. (turns to Matson) Shall we head down? MATSON (smiling slightly) Yes, we shall. Morgan turns to the door and begins to leave. Once Morgan is no longer looking, Matson loses his smile, looking slightly wistful. CUT TO PARK The park is swarming with people. Some sit on benches or walk alone, others in groups. The afternoon sun creates long shadows through the trees. Along one path of the park walk Percell and Mark. Although Percell doesn't look to be feeling great, she no longer looks totally apprehensive. The two walk quietly for a moment. MARK Sara, can I ask you something? PERCELL (hesitantly) Well...you can ask. MARK I was thinking...if you're in the Navy...why are you going to a civilian psychologist? PERCELL (evasive) Oh...I'm on a temporary leave of absence and Doctor Barbudo is trained in...areas which...work for why I'm here. MARK Why are you here? Why a leave? PERCELL I serve on a submarine and...we went... (beat, with finality) No...I'm not doing this. They walk silently for a moment. The camera tightens in on Mark. MARK (taking a deep breath) About a year ago, my friend and I were caving. We did that a lot. We used to travel to the Appalachian mountains every weekend. (beat) But, either way, we were caving and reached this...it was a sort of cliff over an underground stream. We had heard about it and wanted to see it for ourselves, so we made a special trip out just to see it. (beat) We reached the creek and were looking down at it...it was an amazing sight. The riverbed was almost all limestone, and our lamplight refracted off it... (beat) It was beautiful. (beat) I started walking along the edge...it really was a stupid thing to do...and stepped on an unstable part of the cliff. It collapsed from underneath me. I toppled down the cliff...pieces of rock dislodged and came down with me...landed on top of me. (beat) Whatever I had stepped on caused a ruckus that destabilized the whole cave. It must have been unstable to begin with. Pieces of rock fell near the exit, and it scared my friend. He saw that I had survived the fall, and tossed down a rope. I took hold of the rope, and he started to pull me up...and the cave started to shake again. (beat) My friend was afraid if he took the time to get me up the cliff, the cave would collapse and we'd both be trapped. So he left the rope, and told me he'd get help. I was never more afraid then I was then. Never. I kept begging him to stay, to get me out. I knew I couldn't have pulled myself up the rope in my condition. He was my only way out... (beat) He didn't stay. He left me in a riverbed less than a meter across in a cave that was falling apart. (beat) The entrance to the cave did end up collapsing, something like five hours later. He could have gotten me out, but he left me there. That was all I had to think about down in that riverbed. (beat) I spent three days down there...three days thinking about how I could have been safe if he had just pulled me out...if he had just... (he closes his eyes) I couldn't talk about it for months. It's still... Mark trails off, and turns to Percell, who watches him closely. She has finally dropped her defensive attitude toward him. A small smile, not of humor but of relief, appears on her face. PERCELL (slowly) Like looking in a mirror...you weren't lying. Mark nods and smiles as well, and for the first time Percell appears slightly content. MARK (softly) I told you why I'm here...why are you? Percell bites her lip, unsure, for a very long moment before looking up at Mark and nodding. PERCELL You really want to know? Mark nods. Percell takes a deep breath. PERCELL Then...then I'll tell... (beat) We were...I was assigned to... She stops walking and looks at her feet for a minute, then at Mark. PERCELL (unhappy) I can't. It's...some of it's classified... Mark looks at her. MARK I'm not asking you to give away state secrets. It's what happened to _you_ that I care about. Percell nods, takes a deep breath, and starts again. PERCELL I've been serving as sensor specialist aboard _seaQuest_... CUT TO EXTERIOR MATTHEWS' PARENTS' APARTMENT Matthews steps out of a taxi with her one bag, and looks up at the apartment building in front of her. It is old and decrepit looking, much like the surrounding apartments. We are obviously not in one of the better parts of town. She stands outside the building for a long moment before walking to the front door and pressing the buzzer. She waits, with no response. Matthews raises her hand, as if to ring again, but drops it and turns away. Just then, a voice comes over the intercom. VOICE Yeah? Who's there? MATTHEWS D--Dad? Is that you? VOICE (disbelieving) Jessie, is it? Why're you here? MATTHEWS To...to see you. VOICE Oh. (a long pause) Fine, come in. The door buzzes and unlocks and Matthews steps in apprehensively. CUT TO MATTHEWS'S PARENTS' APARTMENT Matthews' father, Harold, opens the door for her. He is overweight and balding, wearing a tanktop and worn khaki trousers. Matthews enters the apartment very slowly. Her father, without saying a word, moves to a ratty couch in the room and sits on it and begins to watch TV again. Irene, Matthews' mother, sits on the couch as well, waving nonchalantly without really looking away from the TV. She looks as if she hasn't had a close encounter with a hairbrush for several days, and wears a sleeveless blouse, untucked, over slacks. The rest of the apartment is a mess, looking as if it hadn't been truly cleaned in a long time. Matthews moves to a chair, sitting in it, unsure of what to say. HAROLD Why are you here, anyway? You get suspended? MATTHEWS No...no, I'm on leave. _seaQuest_ is undergoing repairs right now. Everything's going really well right now. IRENE (without looking at her) What do you mean "going well"? Some of Matthews's confidence returns. MATTHEWS (proudly) Well, I've been promoted to commander...I'm _seaQuest_'s first officer. HAROLD (laughing derisively) They let you _run_ that ship? MATTHEWS (taken aback) Well...I'm not captain... (beat) But I do take command of _seaQuest_ when Captain Wolenczak is unable to command. HAROLD (laughing harder) Well I'll be praying that Wolenczak stays in command until they find a reason to drum you out. IRENE (laughing as well) Yeah, I'll be crossing my fingers for that. Matthews looks back and forth between her parents, hurt deeply by her parents' total disinterest in and disrespect for her accomplishments. She rises, grabbing her bags. MATTHEWS (tightly) I'm going...to get some rest. Matthews' parents wave her off, still chuckling, as she moves into the back of the apartment. FADE TO COMMERCIAL END ACT THREE X-Persona: Return-path: Date: Mon, 22 Sep 1997 21:02:44 -0400 From: Matt Subject: "Eye of the Storm" (Act 4) X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com ACT FOUR OPEN ON INTERIOR RESTAURANT The restaurant is moderately sized, with a grouping of tables on one side and a stage and small dance floor on the other. At the back of the restaurant is a small bar, where most of the patrons sit. Sitting around a large round table are Trueman, Riller, Burke, Reede, and Goodwin. They sit, sipping drinks, waiting. TRUEMAN (glancing at her watch) She's an hour late... (beat) I'm getting worried. No one is answering at her room. REEDE Want me to take a run by there? Maybe she's just asleep. GOODWIN (rolling his eyes) If she was asleep, why would her phone not wake her up but you would? REEDE (defensive) Well, I just thought I could make sure she was okay. GOODWIN ("yeah, right") Sure...it was a great idea… RILLER Will you two stop it? (beat, Goodwin and Reede look ready to protest) _Now_! TRUEMAN (glaring at Riller) _All_ of you stop it. Burke leans back in her chair, attempting to ignore the argument. BURKE Maybe she just decided not to come. TRUEMAN (pouting) But she _promised_ me she'd be here. The restaurant door opens, and everyone at the table turns to watch the door, hoping to see Percell enter. But instead of Percell, Wolenczak walks through the door. He notices the group sitting at the table and walks up to it. WOLENCZAK (looking around) I thought Percell was supposed to be here? TRUEMAN She...hasn't shown up yet. WOLENCZAK Did she say she'd be late? TRUEMAN (sighs and shakes her head) We're not sure where she is. WOLENCZAK (frowning) That doesn't sound like her. TRUEMAN (glumly) I know, Sir... She remembers her manners and indicates a chair. TRUEMAN You could wait with us if you'd like. WOLENCZAK (smiling) Well, on the off chance that she'll actually show, I'll stay for a drink. BURKE (grins) I've stayed for three, so I think you at least have to catch up with me. Wolenczak just shakes his head and smiles. Off his expression we... CUT TO PARK The sun has nearly set in the park, and Percell and Mark sit on a bench, continuing to talk. People still move constantly through the park, but it is emptier than before. Most of the light in the park comes from artificial lights spaced evenly throughout the park grounds. PERCELL (laughing softly) So why don't you call her? MARK What would I say? PERCELL Starting off with "Hey Maureen" would be a good start. MARK (laughs) And then what? "I know I haven't called you in a year but I'd really like to talk now?" (beat) I'm sure she's...otherwise engaged...by now. PERCELL You had a good reason not to talk to her. I'm sure she'd understand. MARK I know...but... PERCELL Do it...it would be very...well... (beat, smiling) It would be wise. MARK (wryly) Well, wise is definitely not me. PERCELL I disagree... (beat, her smile disappears) Oh no! MARK (turning, alarmed) What's wrong? PERCELL I'm supposed to meet my friends for dinner tonight. MARK In how long? PERCELL (glancing at her watch, frowning slightly) About an hour ago. MARK (sighing) I'm sorry. PERCELL (her smile returns) Don't be...the whole dinner was to make me feel better, which this has succeeded in doing. (beat) Let's find a phone; I'll just tell them I'm not coming. MARK Are you sure? I wouldn't be insulted if you went. PERCELL And have everyone walk on eggshells around me? That would be depressing and that I don't need. MARK (smiles and stands) There are pay phones not far from here...I'll lead the way. PERCELL (rises, standing) Then lead! Mark grins and starts walking down the path with Percell at his side. CUT TO RESTAURANT The restaurant is more crowded now, and a jazz band plays on the stage. Some people dance to the music, but most sit around the bar or at tables. Trueman approaches the table, shaking her head. RILLER What's wrong, Becca? TRUEMAN That was Sara on the phone... BURKE And? TRUEMAN She's not coming. REEDE What? Why? TRUEMAN (sitting back down, sulking a bit) She's "taking a walk" or something. BURKE Well, looks like we've been stood up. WOLENCZAK Ditched for exercise...that's almost laughable. (beat, he looks at the empty glass in front of him) And on that note, I'm getting another drink. Wolenczak rises and moves to the bar, sliding between people at the bar to make room for himself. He motions to the bartender, who either doesn't see him or ignores him. He motions again, but the bartender still doesn't approach. A woman sitting beside Wolenczak notices and smiles. WOMAN Need some help? WOLENCZAK (he smiles) If you can give it. WOMAN What would you like? WOLENCZAK Whiskey. Neat. WOMAN Coming right up. (turning to the bartender) Get him a whiskey! The bartender nods to the woman and moves to get the drink. She smiles. WOMAN People say women are superior for a reason. WOLENCZAK (grinning) Why? Because they can warp bartender's wills to meet their own needs? WOMAN (smirks) Not just bartenders. (she extends a hand) The name's Tori. You? WOLENCZAK Lucas. TORI (watches the bartender pour the drink as she talks) Nice to meet you. The bartender sits the drink in front of Wolenczak, who pays. TORI (continues) Well...guess you need to get back to your group. WOLENCZAK My group? (he turns to Trueman's table) Oh well...actually, I didn't go on leave to spend it with everyone on my crew. TORI Leave? Crew? Are you a Navy man? WOLENCZAK (he takes a sip of the drink) I am. TORI (smiles) Well, Sailor, since you want to do something other than hang about with your crew... (beat) How about a dance? Wolenczak glances out to the dance floor where only a few couples attempt to jitterbug. WOLENCZAK (a bit incredulous) Are you serious? TORI (laughs) Never anything but serious...well, I'm not serious when I'm joking, but that's another story. WOLENCZAK Well... (beat, "what the heck") Why not? Just don't laugh at my dancing ability...or lack thereof. TORI I'll be too busy laughing at my own. The two move, smiling, to the dance floor. The camera pans back to Trueman's group at the table, who watch the scene with a bit of amusement. BURKE Well, that was fast. GOODWIN I didn't realize the captain had that in him. TRUEMAN (laughs) You obviously haven't heard the stories of his youth that I have. RILLER (sarcastically) And I thank God for that every day. BURKE (looking at her watch) Well, since Percell isn't planning on showing, I might as well turn in and get some rest. TRUEMAN (protesting) But...it's not even late...and we're on leave. You're going to sleep now? BURKE (shrugs) Drinking and watching Captain Wolenczak dance isn't my idea of a good time. REEDE (grinning) Is it anyone's? TRUEMAN (watching the scene) I think it's kind of cute. BURKE (smiles) You would, Becca. (beat) Well, I'm off for the night. Good night to you all. GOODWIN G'night, Doc! TRUEMAN (distantly, still watching the dancing) Bye. Reede and Riller wave and Burke slips out of the restaurant. Trueman turns her attention from the dance floor, about to say something, but looks around. All that are left sitting around the table are Goodwin, Reede and Riller. She bites her lip, looking around the table in the uncomfortable silence. She turns quickly back to look at the dance floor. FADE TO COMMERCIAL END ACT FOUR X-Persona: Return-path: Date: Mon, 22 Sep 1997 21:05:09 -0400 From: Matt Subject: "Eye of the Storm" (act 5) -- end X-Sender: schiller@mgl.ca To: seaquest_2047@midnight.postino.com ACT FIVE OPEN ON EXTERIOR, BOQ Mark and Percell walk down a quiet, but well-lit, city street toward the Bachelor Officer Quarters. PERCELL You didn't have to walk me home. MARK It's not that far out of the way...and it got us to talk for a while longer. PERCELL (smiling) Well, that's true. MARK I don't think I've been wrong yet today. PERCELL (she smirks) Oh sure. MARK Name once when I've been wrong today. PERCELL Well... (beat) I can't think of anything...but I'm sure you had to have been. MARK (grins) I'm all-knowing. Get used to it. PERCELL I'll let that comment slide for now...and bring it up once you totally screw up. MARK Which will, of course, be never. PERCELL Never...or maybe just in a couple of days. Percell stops walking, looking up at the building before her. It looks like a typical hotel or apartment building, which is basically what it is--temporary housing for visiting UEO officers. PERCELL Well...this is it. My temporary home. MARK (smiles) I have safely escorted you. PERCELL (nods and smiles) Thank you. (beat, sincerely) Mark...this was a really great day. I... She trails off, unable to put words to what she's feeling. MARK Shhh...I know. Don't thank me. He pulls a card from his pocket. MARK (continues) This is my card...it's got my phone number on it. If you need anything, or if you just want to get together and hang out...give me a call. PERCELL (nods) I will... (she steps close to him and hugs him tightly) Bye. Get home safely. MARK I will...don't worry. He waves and turns, walking back down the street. Percell smiles again and walks into the BOQ. CUT TO BOQ HALLWAY Percell steps out of the elevator, fumbling out her key, still smiling. She reaches her room and unlocks the door and opens it. She steps into the dark room and her hand immediately begins fumbling for the light switch. She finds it, but stops, not turning it on. Holding her hand there, Percell trembles for a moment. She takes a deep breath, and her hand steadies. She lets out the breath and smiles slightly before her hand calmly flicks on the light. CUT TO RESTAURANT The restaurant has become more packed, and many more couples dance to the band. Wolenczak and Tori continue to dance, thoroughly enjoying themselves. Trueman's table remains in an uncomfortable silence. The song ends, and some of the couples move to sit down. TORI (laughing happily) You are _not_ a bad dancer. WOLENCZAK (laughing as well) Neither are you...I'm having trouble keeping up with you. The band begins another set. TORI Another dance? Wolenczak glances over at the members of his crew, all of whom are watching him. WOLENCZAK Actually...it's a little unnerving to be watched. (beat) Want to take a walk maybe? TORI A walk? Sounds like fun... (beat) I don't live too far from here; you can walk me home. WOLENCZAK Great. (beat) Let's get out of here. Wolenczak takes Tori's hand, leading her out of the restaurant. The camera follows them as they exit, smiling. It finally stops on Trueman's table. The group watches their captain leave, then turn to each other unsure of what to say. Trueman looks between Reede and Goodwin, Goodwin and Reede look between Trueman and each other, and Riller watches everyone. They sit, staring at each other for a long moment, until their waiter comes by and slaps the check down on the table. The people around the table jump, startled. Trueman reaches out and takes the check, looking over it. TRUEMAN (nervously) We...well, we might as well get out of here too, then...right? Before Reede or Goodwin has the chance to speak, Riller jumps in. RILLER Right... (beat) I'll walk you home, Becca. Before Trueman can respond, Riller gives her a warning look. Not wanting to get into a fight now, she nods and looks back to the check. CUT TO PHILADELPHIA STREET Wolenczak and Tori walk down the street laughing, enjoying themselves. The approach a large apartment complex. TORI (almost sadly) This is my stop. WOLENCZAK Nice place. TORI It took me forever to get a place here. WOLENCZAK (smiles) Well...I really enjoyed tonight... TORI (softly) So did I... Tori leans forward and kisses Wolenczak softly on the lips. Their lips part and they look into each other's eyes for a moment before pulling into a tight embrace. TORI Don't spend all of leave away from me, okay? WOLENCZAK I won't. The pull apart and stand silently for a moment. TORI Bye, Sailor. WOLENCZAK Bye... Tori turns and walks slowly into her apartment building, Wolenczak watching her the whole way. The scene fades out slowly. FADE IN TO MATTHEWS' BEDROOM A tiny room, perhaps eight feet square, just big enough for a twin sized bed and an upright chest of drawers. A pile of junk is on the floor at the foot of the bed, and the dresser drawers aren't closed completely, due to the odds and ends sticking out of them. Matthews is angrily shoving things into her duffel, muttering to herself. MATTHEWS Can't believe I even stayed here...two nights was two nights too long...why didn't I go to a hotel or something? She yanks the zipper shut on the duffel and straightens, as her mother stops in the doorway. IRENE (idle curiosity) Leaving? MATTHEWS (bluntly) Yes. I need to get back. I'm on duty tomorrow so the chief engineer can take a leave. (beat, shrugging) Besides, it looks like you need this room back for something else. (beat, an edge of anger) I don't suppose you kept any of my stuff after I left? IRENE (a bit self-righteous) We needed the space. What we couldn't sell, we threw away. Matthews looks as if she wants to say something, but there really isn't anything she can say. Irene continues, but her tone is still nothing more than curious. IRENE You coming back? MATTHEWS I'm pretty busy. Irene nods and leaves the room. CUT TO MORGAN'S BEDROOM Morgan, too, is stuffing things into her duffel. Dressed in blue jeans and a T-shirt ("Rent"), with her hair down, she looks a bit apprehensive. John is sitting at the foot of the bed, watching. MORGAN You're sure you're okay with this? JOHN Yeah, Mom, I think it's pretty cool. MORGAN (still worried) You're not just saying that? JOHN ("long-suffering") I _do_ miss you. But you've got the best job of anyone's mom I know. (beat, hinting) And you meet _very_ cool people. MORGAN (raising an eyebrow) Such as? JOHN Don't act dumb, Mom. I hate when adults do that. Vince never does that. Morgan stops packing and sits on the bed beside her son. MORGAN (carefully) You like Vince, huh? JOHN ("duh") Mom, he's totally great. Doesn't treat me like a dumb kid at _all_. MORGAN This isn't just because he takes you places, is it? JOHN (bluntly) What's the matter with that? You don't get to take me. Morgan winces visibly at his remark. John realizes he's on delicate ground. JOHN (sincerely) Mom, I really _like_ Vince. He talks to me... (beat, _very_ carefully) I wouldn't even mind if he was my dad. Stunned, Morgan is at a complete loss for words for a minute. She gathers her thoughts quickly. MORGAN (very serious) I think you're getting ahead of things, here, hon. (beat) I really like Vince. But I don't think...I'm not... (beat) I'll be straight with you. My job keeps me pretty busy. It means I'm not a very good mom to you sometimes. I don't think I want anything else complicating our lives. John looks ready to protest. MORGAN (continues) That's not to say Vince and I won't still be friends. But don't go setting your heart on something, when we don't even know Vince's side of the story. Okay? John nods. MORGAN Okay. (beat) Oh...and there's a chance...just a chance, mind you...that you might get to take a ride on _seaQuest_ soon. JOHN (grinning) I've gotta tell Jeremy... He bolts from the room...running into Matson, who's standing in the doorway. Morgan looks at him, blushing. MORGAN (embarrassed) How long have you been standing there? MATSON Long enough. There is a long silence. MORGAN (apprehensive, biting her lip) Look, Vince, I-- MATSON (cutting her off) It's all right, Anne. (beat) You need to catch your plane...and we'll talk more later. Matson leaves. Morgan looks as if she wants to follow, but shakes it off and returns to her packing. CUT TO PHILADELPHIA AIRPORT Matthews walks toward the exit doors of the airport, looking upset. She stops at the door, looking around, and sees Morgan running to catch up. MATTHEWS There you are, I thought you took a cab without me. MORGAN My flight just came in late. MATTHEWS (shrugs) I got to walk about four laps around the inside of the airport anyway. MORGAN (wryly) Sounds like fun... (beat) How was your trip? MATTHEWS (shrugs) Not something I really want to talk about. MORGAN (frowns) That doesn't sound good. MATTHEWS (shrugs) What about yours? MORGAN It...wasn't what I was expecting... (she smiles) But it was great. Matthews gives Morgan an odd look, not understanding exactly what she means, but not in the mood to press. CUT TO CAFE Wolenczak and Tori sit outside a small cafe overlooking the harbor. They sit silently, staring out over the water. Tori reaches out a hand, taking Wolenczak's hand into her own. CUT TO DR. BARBUDO'S OFFICE Percell sits in the chair facing Barbudo. They are talking, but their words cannot be heard. It can be seen from Percell's expression, though, that she is talking and not trying to erect a shield. The camera closes on Percell, her face still showing pain from discussing her problems. She looks down at the floor, then up again, determined, and we see she _is_ making progress. FADE TO BLACK THE END