DISCLAIMERS
What follows are scenes 9-11 for the pilot/first episode of a "Pupsical Storm" series, either tv or movie, based on Melissa Good's Dar and Kerry stories. This work was prepared from the posted version of 'Tropical Storm'--I've *NOT* read either the published version or the movie screenplay.
'Tropical Storm'--characters, story, settings--belong to Melissa Good and Ladyhawke Productions. Xena and Gabrielle, Dar and Kerry's spiritual (and actual?) ancestors, belong to Reniassance Pictures.
The song 'The Third Hoorah,' whose lyrics play a part in scene 10, was written by--and belongs to--Ian Anderson. It's on Jethro Tull's *War Child* album/cassette/compact disc.
Violence--none.
Cursing--"****" (scene 9) and "Jerk" (scene 11).
Subtext--none.
Comments are appreciated; insults are not. With many thanks to Eleanor and CC for their thoughts and impressions...
Robert Dubh Nianque
waterbearingfish@lycos.com
Based on the book 'Tropical Storm' by Melissa Good
*Scene 9*
(Monday evening/6-9 pm)
Camera opens to show an aerial view of Merwolf Systems' Miami headquarters. People stream out of its entrances like ants fleeing their nest. Vehicles block parking lot exits.
To be sure, the street entrances have stop lights and uniformed GUARDS direct traffic. Still, there are traffic jams.
Camera goes to DAR'S Lexus SUV inching its way towards the office. HER concentration is equally divided between being aware of the drivers around HER and to the person SHE'S talking to on the phone. No music now.
DAR
Mark. Is everybody out?
MARK (sound of a background fan behind him)
Yeah. I'm the last one from Operations.
DAR
Any problems with evacuation? The systems?
MARK
No. Treated this like an unscheduled fire drill. Don't think we lost anything; we shut everything down the moment the temperature monitors hit 80 degrees. I'll know more once the air's back up.
DAR
Good work.
MARK
Notified Plano; they temporarily closed our links to them. They're waiting for a status report.
DAR
I'll notify them.
(pause)
Maria said the blame game's going on. How bad?
MARK
Enough so we and the driver can sue each other.
DAR
Great. Has Michael done anything?
MARK
Nothing save blame the driver.
DAR
Wonderful.
(feels HER head throb)
At least I'll know where to find him.
(pause)
How are you doing?
MARK
Like being in a sauna--only the steam's humid instead of dry.
DAR
Cancel tonight's shift. No sense having Pedro and Celeste sweating all over the floor. Then get out yourself.
MARK
Will do.
DAR disconnects. SHE'S entered Merwolf Systems property. The GUARDS wave HER through as best THEY can. SHE nods or raises a hand in acknowledgement. Most are former military men; some knew HER father.
SHE parks, leaving HER briefcase in the SUV, goes to the facilities room. A POLICEWOMAN and POLICEMAN are interviewing and taking notes. MICHAEL TANKEY, head of building maintenance and security, is one of those being interviewed. HE'S slightly taller than KERRY with curly yellow-brown hair and weathered features.
There's a wrecker and an ambulance nearby, lights flashing, but there's not a sense of urgency. The truck is being hooked up to the wrecker; the DRIVER is being treated by two PARAMEDICS at the ambulance.
The truck's being pulled away from the building reveals a gaping hole. Inside are busted panels and equipment. INSURANCE ADJUSTORS and BUILDING CONTRACTORS mill around; taking pictures and writing notes.
EVERYONE is too busy with THEIR own business to notice DAR. SHE goes to the DRIVER who's sitting on the ambulance's edge; its door open so HE can sit. SHE gives the PARAMEDICS a questioning look; THEY
nod--allowing HER to question HIM.
DRIVER (shaken up, upset, mutters)
Not my fault...It's not my fault.
DAR (low voice; no nonsense tone)
You ran into the building, disabled our air conditioning system, how is this not your fault.
DRIVER
(not looking at DAR; thinks SHE'S a POLICE OFFICER)
The brakes failed.
DAR
Weren't they inspected?
DRIVER
Sure. I checked them before starting out. No fluid leaks...they worked coming here.
DAR
So why did they fail?
DRIVER
Don't know.
DAR (grim smile)
We'll find out.
DRIVER
(looks at DAR'S clip-on employee id badge)
Hey--you won't look at it. I know the routine. You'll fix it so I'm the guilty one.
DAR (feral smile)
Too late.
(decides to run a bluff)
The wrecker's ours. The shop's ours. Even the company you work for is ours.
DRIVER (flustered)
Oh ****.
(embarassed; looks at the badge again)
I'm sorry Ms. Roberts. Didn't mean to cuss around you.
DAR (voice remains low but its tone is softer)
Your family taught you that.
DRIVER (posture straightens from slumped)
No ma'am. The Marines.
DAR
How long? Where did you serve?
DRIVER (more comfortable)
Somalia. Haiti. Bosnia. Got out a year ago.
DAR (reflective)
My father worked with the Corps. One thing which impressed him was its sense of family. Of marines helping each other even though they only knew that they were marines.
DRIVER
Yes ma'am, that's us, Semper Fi...Always faithful.
DAR (musing)
I know a former marine here. Served in Grenada and Panama. Helped liberate Kuwait. You think he could be trusted with finding out what happened?
DRIVER (starts to stand)
Absolutely.
DAR (gentle command)
Stay here.
(HE sits)
Have to find him first.
DRIVER
All right. I'll be waiting.
DAR moves away; returns to a crowd gathered around the hole. POLICE OFFICERS, reports finished, are leaving;
INSURANCE ADJUSTORS and BUSINESS CONTRACTORS are still making notes and taking pictures. MICHAEL stands near a group of CONTRACTORS; DAR joins HIM.
DAR
How bad?
MICHAEL
Adjustors and contractors say a week to a month to repair the damage. Don't know about the online systems.
DAR
Mark and I will handle that. Can the hole be temporarily plugged?
MICHAEL
Yeah. Couple of hours at most. Could even do it tonight if we had to.
DAR
Good. Do it.
MICHAEL
Dar...
DAR
The main frames have to be operational tomorrow morning. Hence, the air needs to be running. Thus, the hole has to be plugged.
MICHAEL
I don't have enough people to repair the hole and do security. Even if everybody's here.
DAR
Then get help.
MICHAEL
The Dolphins are playing at Joe Robbie stadium tonight.
All the available security guards are there.
DAR
Call Key West NAS. You should know somebody there. Arrange for a group to watch our backs. A night training exercise.
MICHAEL
Dar...
DAR
(massages HER neck; tries to ease the stress/pain assaulting HER head)
Michael, you swore you'd help me as you helped my father.
MICHAEL
I did and I have. You know I've always been faithful.
But you can't buy a unit's time...
DAR
Who said anything about buying. We're merely offering an opportunity.
MICHAEL
Les...
DAR
He's done favors for Key West; he won't object if it does one for him.
MICHAEL
I'm not sure...
DAR (stops HER massage; sighs)
We don't have a choice.
MICHAEL (concedes)
All right. I'll do it. I'm owed favors there too.
DAR (relieved)
Thank you.
(pause; MICHAEL starts to turn away)
Before you go...
MICHAEL
(gives DAR a wary look; SHE'S guilt-tripped HIM, through HIS sense of responsibility to HER, to do HER bidding before)
Yeah?
DAR
The driver's a fellow Marine. Believes in Semper Fi as you do. Seen combat.
(soft voice; turns the next sentence into a command)
Work with him.
MICHAEL
Should have known by his stubborness. Won't be easy...
(smiles)
but we'll do it.
DAR (smiles in return)
Good enough.
DAR and MICHAEL go their separate ways. The camera shows MICHAEL and the DRIVER meeting, both suspicious at first, but soon shaking hands and walking together towards the wrecker.
Then the camera shows DAR inside the facilities room; gazing at the damage for a moment. SHE sighs and leaves the room, heading towards the ADJUSTORS and CONTRACTORS, as the camera dissolves.
*Scene 10*
(Monday evening/6-11 pm)
MUSIC
(Jethro Tull's 'The Third Hoorah')
Hoorah!!!
While the song's introduction plays, the camera leaves Merwolf Systems headquarters for an ariel trip to KERRY'S place. The sun's slowly setting so we see a mix of light and shadows. We reach Kendell, a suburban community in the Miami area, going over clusters and apartments; stopping and hovering where SHE lives.
(opening refrain)
War Child dance the days and nights away
Sweet child how do you do today?
War Child dance the days and nights away
Sweet child how do you do today?
Camera dissolves outside and refocuses on the inside.
(first verse)
When your back's to the wall
And your luck is your all
Then side with whoever you may.
Seek that which within
Lies waiting to begin
The fight of your life that is everyday.
Dance with the War Child
The War Child
Hoorah.
Dance with the War Child
The War Child
Hoorah.
We see a computer table/desk set where KERRY sits typing away. SHE'S almost surrounded by stacks of white printout sheets which threaten to overwhelm HER. Still, SHE types with pauses to study a printout sheet, make notes on the margins, cross out already typed paragraphs/figures, etc.
(instrumental interlude and refrain)
War Child dance the days and nights away
Sweet child how do you do today?
War Child dance the days and nights away
Sweet child how do you do today?
KERRY leaves HER chair to check other sheets and here the camera provides us, via following HER, a tour of the living room.
It's bright and cheerful due to colorful pastel fabrics and Indian style throw-rugs. Prints of Miami area scenes hand on the walls; HER favorite, "Sunset over Key West," is above the tv stand. It's flanked by two embroideries: a dolphin (made by HER aunt) and a teddy bear (from one of HER mother's friends).
The room also contains a cloth couch, a table and chair
set which seats four, two large bookcases (each overflowing with books, journals, and magazines), and two stuffed chairs. One holds a giant stuff PANDA BEAR. SHE sits with HER arms outstretched--as if waiting for a hug. KERRY has hugged HER many times.
Printout sheets cover the couch, chairs, and table like a thin layer of snow. Only the PANDA'S chair is uncovered...for the moment.
(second verse)
In the heart of your heart
There's the tiniest part
Of an urge to live to the death.
With a sword on your hip
And a cry on your lips
To strike life in the inner child's breast.
Dance with the War Child
The War Child
Hoorah.
Dance with the War Child
The War Child
Hoorah.
KERRY returns from HER journey with some papers in hand. Camera focuses on HER face as SHE studies them. SHE is--by turns--resolute, confused, pessimistic, defeated, puzzled, optimistic, yet above all determined when SHE starts typing again.
(closing refrain and fade out)
War Child dance the days and nights away
Sweet child how do you do today?
War Child dance the days and nights away
Sweet child how are you today?
War Child dance the days and nights away
Sweet child how do you do today?
War Child...
Camera withdraws from KERRY'S features; gradually showing HER and the room together. Then dissolves from inside to outside again. This time it's night and the stars are out. Camera withdraws from HER apartment, from Kendell, and dissolves.
*Scene 11*
(Monday evening/9-11 pm)
The camera first shows an aeriel view of Merwolf Systems at night: the skyscraper tower lies like an island amid a sea of asphalt parking lots and access roads. Its lights are dim, a safety percaution, emergency ones until the air conditioning panels are replaced.
The parking lot lights are motion-sensitive; we see several briefly light up around the edges of the property. Camera zooms in on the lights and catches DAR and MICHAEL, returning from an inspection tour, walking towards the building.
DAR
You picked the right training class. Don't think anyone can cross their lines.
MICHAEL
Thank you. Its instructor agreed to help the moment I explained why.
DAR
I'd like to meet him.
MICHAEL
You know you can't. He's like those SAS troops in England. Nobody knows their features outside the base.
DAR
(remembering HER father who followed the same rules)
I see.
THEY reach the accident site. The truck's been moved; the area's been cleaned. Where a hole once stood is now covered over. DAR gazes at the spot, deep in thought...and in the midst of a throbbing headache, SHE looks at MICHAEL.
I'm impressed.
MICHAEL
Thank you.
THEY enter the facilities room. Like the outside area, the inside is now clean. The damaged panels lie to one side. Two printout strewn tables, two chairs, two laptop computers, two printers, and two speakerphones are temporary additions; DAR and MICHAEL having used the room as THEIR command post while the repairs were made.
DAR (organizing the printouts)
Any word from Dierhdohl?
MICHAEL
Yes and no. His contractors agreed to what's needed but don't have the parts on hand. "Tomorrow," they say, "tomorrow."
DAR
(looks up; the tables now show four stacks of sortable paper)
And...
MICHAEL
He's unavailable.
DAR
Not from me.
(sits, looks at the wall clock, 9:55 pm)
Go home Michael. I'll handle it.
MICHAEL (frustrated)
Sure...fine.
DAR (concerned)
Michael...
(pause)
You've always been a good friend. Without your efforts today, I couldn't make this call.
(smiles)
Besides, Darcie's waiting. Go home. Enjoy what's left of tonight.
(pause)
You'll be busy enough tomorrow with claims, reports, and repairs.
MICHAEL
You're right. As always.
DAR (thoughtful; remembering past mistakes)
Not always. Just tonight.
(gentle yet firm)
Good night.
MICHAEL (small grin)
Good night.
MICHAEL, one of DAR'S few close friends, leaves. DAR rubs HER temples; heat, stress, noise, and lack of nourishment continue their assault on HER head. SHE stops after a moment; starts typing...
DAR (voice-over)
Michael,
Points to consider:
*) Need to have replacement panels, etc. on hand and people trained to install them.
*) Need to either move the facilities room or make it less vunerable to accidents.
*) Need a back-up air conditioner system for Operations' computer room.
Get with me sometime next week regarding these items. Thanks...
Dar
Sends message. Types two search questions. Goes to their answers. Prints them out. Looks over them. Stands. Starts pacing.
John, why do you have to be a pain? Think you can hide by watching the Dolphins play? Mark found your stadium box phone number hours after you purchased the box. Two stresses a day are enough.
SHE dials a number on the speakerphone. It's picked up on the tenth ring.
JOHN
(Merwolf Systems' building supplier, polite but annoyed, sound of the game in the background)
John Dierhdohl...
DAR
Dar Roberts, Merwolf Systems...
JOHN
I already talked to our contractors who visited you. Five replacement and ten spare panels will be there tomorrow morning.
DAR
We need them tonight. Our systems can't run without air.
JOHN
Whose problem is that?
DAR
Yours.
(pause)
Your service contract with us is due for review this month.
JOHN
So...
DAR
Your actions now determine whether we renew it or find someone else.
JOHN
You couldn't find anyone else.
DAR (starts typing)
I know five who can install what we need within five hours. Beat that and you keep the contract.
JOHN
You wouldn't dare...
DAR (continues typing)
Try me.
JOHN
You're running a bluff.
DAR (still typing)
I'm preparing five email messages.
(pause)
If I send them, and one supplier replies, I won't need you.
JOHN
They don't have our expertise.
DAR (finishes typing)
They're your closest competitors. For a chance to take a sizable contract away from you...they'll do their best.
Silence. DAR has HER right hand over the laptop's *Enter* key; ready to do what SHE'S said. Three moments pass. Then...
JOHN
All right...you win. The panels and an installation team will be there within an hour. You'll be up and running by 3 am at the latest.
(pause)
I expect our contract will be renewed.
DAR
If your people do as you say.
JOHN
They will.
(pause; then an underlying threatening tone)
I won't forget you.
DAR
Nor I you. Good night.
(disconnects)
Jerk.
(pause)
You let your emotions make your decision.
(massages HER temples)
I could've sent the messages out, true, but who knows how fast they'd be acted on.
(stops massage; starts typing again)
At least now I can tell Plano that Miami will be up and running before dawn.
(stops typing, rereads HER message, sends it)
Meaning Les stays off my back while I stay on yours.
Camera starts with a close-up of DAR massaging HER temples. Then withdraws to show HER and the tables, the panel area with the damaged panels neatly placed against the wall, and the propped-open door. Camera dissolves.
NOTES:
Written during 1999 and 2000. An earlier version was posted and later deleted.
Key West Naval Air Station does exist. The use of its personnel in scenes 9 and 11, however, is fiction.
The SAS (Special Air Service Regiment), mentioned in scene 11, is part of the British Army. Its 1980 hostage rescue at the Iranian embassy in London inspired the Jethro Tull song 'Crossfire'.
On "****"...Having already lost this page once, due to the Driver using one of at least four words, I've no wish to lose it again. Hence, the word he used is left to your imagination.
