Writers' Wednesday -- special programming

Our weekly feature here, "Writers' Wednesday", has been rescheduled to next week, owing to technical difficulties: in particular the funeral this morning of our pastor... and also the embarrassing fact that yours truly blew out his motherboard a week and a half ago, and is currently working to establish internet and LAN connections on his replacement computer, which thus far have failed.

We apologize for any inconvenience.

"Sounds Like a Game Plan" – A Giant Passes

Late yesterday morning, our priest and pastor and father passed away.

Dropping Mother off at the church this morning – so she could walk right in, and I could park the car down the block a bit – I noticed that the doorway was draped in black bunting. I hoped that this was just to mark Lent, the season wherein we focus on our own Lord's terrible death, but I suspected worse, and could think of no one else's passing – not even a pope's – that might bring one of our many busy church committees to so decorate our great front door.

Father Wayne Funk had been diagnosed some years ago with terminal cancer, which had begun as prostate cancer and (I believe) since spread to his bones and vital organs. How did he respond to his prognosis? He simply went on with how he'd been living his life for decades, made no mention of it to the parish at large (only over a longer span of time did word reach us in our kneelers). He continued leading – pastoring/shepherding – the parish, preaching the Gospel and the teachings of our Lord and our Church, raving on about cruelty and bitterness and war and coldness of heart and the sufferings of women and minorities and the poor.

Like yours truly – but as a powerful role model, and activist, and not merely lip service, as in my case – Father Wayne was very far to the left politically, yet also anti-abortion… and (as I'll show in another posting soon) that is in fact quite true to what the left is really about, if you truly think about it with your heart and soul. Father was also to the left of orthodox as well (certainly more than me), even while remaining true to the heart and history of Catholicism, and obedient to Rome. Yet at the same time he did favor the ordination of women (which I do not – on the surface, a seemingly hard thing to juggle when one is also feminist), and the option of priests to marry (which I do also favor).

As the years of his affliction drew on, and his strength began to wane, Father called in a friend of his of some decades, Father Dick Murphy, to add his hands to the helm and be co-Pastor – a title the Archdiocese did not recognize, but a position which nonetheless Father Murphy held in function. And in his couple years with us thus far – while tending personally to his old friend Father Wayne's needs – Father Murphy has taken the reins entirely in his own hands… in a gentle and subtle transition that left no change in our church's daily and weekly and seasonal routines.

(I've brought Father Wayne and his words and example into this blog more than once, and will be reflecting on him and his role in my life, over upcoming days and weeks.) 

Baltimore-bred and born, though a man of Rome and a quiet, mighty mover of little people's souls within the worldwide church, Father Wayne could be counted on to be unrelenting not just against the injustices of the world (even within the church), but also in his unwavering devotion to Baltimore's major-league teams, the Ravens (football) and the Orioles (baseball), regardless of how consistently poorly they did on the field.

It just now occurs to me that this parallels his ever-undeterred work on his parishioners' (and their church's) behalf: not on our own negligible merits, but knowing clearly what we were fully capable of doing, and indeed called on to do. He never turned away from his teams, and never turned away from his flock.

Even in his last few weeks, at a bit of an ebb in his stamina (he'd been regularly going through days and weeks, right after a chemo or radiation treatment, that his energy was completely sapped), he was still preaching firmly, his rich, firm voice still ringing clear and loud. (I kidded him more than once that he never needed a microphone; he laughed at this.)

At Mass this morning, Father Murphy – choking up once or twice, but blowing his nose several times and plowing on – told us how Father Wayne had come home from a radiation treatment this past Wednesday particularly exhausted, spending most of the evening and night in his La-Z-Boy. The next day, it became clear that this time Father Wayne was not regaining his energy, as he'd done before, but was in fact sinking. Father's doctor was called, and he told the priests and staff that Father should immediately be brought to the emergency room.

Father was so weak that it was an ambulance that took him on his last living road trip, rather than a fellow priest or beloved staff member. There at the hospital, the specialists looked him over, and explained gently that nothing more could be done for him – the stents he'd received just last week (I'm not sure if these had been put in his heart, or some other veins or elsewhere – I know he'd had some kind of stomach problem then) were all blocked up again by the cancer; the best that could be done for him would be to just make him as comfortable as possible until the Lord took him back home.

In very typical manner, Father Wayne responded with a simple, accepting statement: "Sounds like a game plan." (This brought smiles and chuckles to us hearing Father Murphy's words now.) So he was put on a morphine drip, which eased his pain considerably. In the company of Father Murphy, our Father Raphael (who serves our Hispanic community), Father Kevin (former associate pastor, now pastoring his own church after some years serving in the Archdiocesan office of vocations – in which he'd counseled me), possibly our military-based Father Dan and I think also our semi-retired Father Leo (also of failing health), Father Wayne received the final sacrament of the Anointing of the Sick, and the prayers of his fellow priests.

And as Father Murphy spoke a particular prayer for this Christian soldier soon to come home, Father Wayne breathed his last.

At the pulpit – actually, striding back and forth before the altar, microphone (needlessly) at his collar – Father Wayne Funk stood a solid six-plus, face red at times with the intensity of his words, voice always strong and keen (though not extremely deep), even shouting a particularly stressed word or sentence. As I mentioned here over Christmas, he was nonetheless a first-rate, stunning role-model of the needful (and oft-neglected) virtue of simplicity, and humility. He pounded home not just the plight of the poor, but their very right to ownership of our own overabundances, and indeed their very ownership of Heaven itself.

We made him cry before the entire church, a few weeks ago, when we stood and applauded his long years of service to the church. And I got a private chuckle out of him the very next Sunday, when I spoke to him obliquely of his through-and-through humility, quoting and EWTN priest's line of how when you realize you've got humility, you've lost it.

Father was not conscious of his humility, or his living as an example for us, beyond his very-conscious service to his duties and responsibilities as priest and pastor, at whatever the cost. Other than the most extremes of discomfort and weariness brought on by his cancer, as well as by its aggressive treatments, he ignored his own slow, drawn-out death and continued living fully and firmly. Even while quick to bark out a frustrated word (once or twice even off-color in my hearing) at the plight of the needy, and at some of the stupider things that some men up and down in the church hierarchy have done, he was even quicker to laugh loud and long at things little and big, too. His own life he disregarded (other than fighting to keep it going – for the sake of his flock), and focused instead on how other lives so badly needed what he'd long since taken to heart and been living out.

Our hymn during Holy Eucharist today began with the line, "We remember how You loved us to Your death – and still we celebrate, for You are with us here..." Certainly those words are addressed to Jesus, and were written out of reflection and meditation on Christ's suffering and death for us. But we are each and all also called to live like Jesus, emulate Him: He himself told us we had it in ourselves, in fact, to do greater things than even He had done. Father Wayne would have snorted at the idea of besting Jesus, of course. He never lived by that objective, but simply by doing as Jesus and His Church instructed him, guided by clear, gentle heart and loving, honest, humble soul... and an awesome capacity for righteous indignation.

Even lying now at rest, he remains standing tall as a loving, devoted giant, a beacon and guide to those of us in need of light and example and strength and big voice and loving heart.

Followup: a couple days after I posted this, a fellow parishioner (I don't recognize his/her name) found it, came by, and added a comment:

M Brennan Feb 19, 2008

Father Wayne and I were on both ends of the political spectrum but on the importatnt issues such as abortion and respect for human life we agreed completely. In his homily during this past Christmas Season in the church hall, he spoke about societies focus on personal possessions. With fire in his voice dispite his failing health, he said "How dare we live in luxury when others don't have enough to eat". Father Wayne has softened my heart as a christian. Rest in Peace, Father

 

Writers' Wednesday: "Thyatira", Act Two

For your enjoyment and imagination-stimulation, here is the second of four acts of friend Chuckles' original script for the series "Star Trek: Enterprise". (See last Wednesday's posting for Act One, and some background on this particular series.) Some very odd things are going on, there on the planet of Thyatira… and Captain Archer and his away-team are clueless, helpless – and threatened.

This script is Copyright © 2005 by Christine Roberts, and is registered with the Writers' Guild of America (WGA).

STAR TREK: ENTERPRISE

"Thyatira"

Written by Christine Roberts

CAST

JONATHAN ARCHER:                        SCOTT BAKULA

TPOL:                                                       JOLENE BLALOCK         

CHARLES "TRIP" TUCKER III:         CONNOR TRINNEER

MALCOLM REED:                                DOMINIC KEATING

TRAVIS MAYWEATHER:                   ANTHONY MONTGOMERY

HOSHI SATO:                                        LINDA PARK

PHLOX:                                                   JOHN BILLINGSLEY

DEBBIE

SMYRNA, Debbie's father

PHILADELPHIA, a teenager

ACT TWO

FADE IN:

EXTERIOR FOREST – DAY

There is a second CLEARING from the forest. Archer, T'Pol, Trip and Reed RUN OUT of the FOREST area and ENTER the CLEARING.

TRIP: I don't believe it.

EXTERIOR BUILDING – DAY

We see a building looking RUN-DOWN.

ARCHER (to T'Pol): Anyone inside?

T'POL: I'm picking up several life forms. (BEAT) No humans.

REED: It's not stable enough for anyone.

ARCHER: In either case, we're going in.

INTERIOR BUILDING – DAY

The team ENTERS the building.

REED: This is getting weirder by the minute.

REED'S POV:

There are several SARDIANS lying on BLANKETS. Some are SITTING UP AGAINST the WALL. ALL appear to be WOUNDED in some way.

ARCHER (impatiently): Get Phlox down here!

TRIP: Aye, Captain.

Trip opens his communicator.

ARCHER: Does anyone see Debbie?

T'Pol scans some more.

T'POL: She is a few kilometers north of us.

ARCHER: You three stay here till Phlox gets here.

As Archer moves toward Debbie, we get a CLOSE UP of the Sardians' INJURIES and HEAR some MOANING and SOUNDS of their PAIN.

DEBBIE is kneeling down next to a bed. SMYRNA, in his 60's, is lying in the bed with a BLANKET over him. Archer stops at the bed.

ARCHER: Who is your friend?

DEBBIE: This is Smyrna. My father.

ARCHER: Pleased to meet you.

Smyrna just MOANS some more. Debbie gets a shocked look on her face. (BEAT) Then we see PHLOX'S HAND holding a SCANNER. Its sound goes on a little.

REVEAL:

PHLOX is standing next to Archer. T'Pol, Trip, and Reed are behind Phlox.

ARCHER: This is Doctor Phlox.

PHLOX: Hello.

ARCHER: He's here to help you.

SMYRNA (surprised): A doctor?

PHLOX: Ah… you can talk.

DEBBIE: He hasn't done that in ages.

ARCHER: Why don't you come over here with me and let the good doctor do his work?

PHLOX: I agree.

Archer, T'Pol, Trip, Reed, and Debbie walk over to a vacant room.

ARCHER: Let's go in here.

INTERIOR CLASSROOM – CONTINUOUS

As the team and Debbie enter. It looks like an old, 20th-century classroom on Earth.

ARCHER: Now we can talk.

CUT TO:

EXTERIOR SPACE – ENTERPRISE (OPTICAL) is orbiting the planet.

ARCHER (O.C.): Captain's log, supplemental. We have learned these people call themselves "Sardians," after the name of the city that is located here.

CUT TO:

INTERIOR CLASSROOM

It is much later. Archer, T'Pol, Trip, Reed, and Debbie are in the classroom.

ARCHER (O.C.) (CONT'D): Or that used to be located here. Debbie has informed us that these strange phenomena have been going on for five months now.

T'POL: We came here because we received a distress signal that was sent from your house.

DEBBIE: That's crazy.

T'POL: I assure you, I am not making this up.

DEBBIE: But no one here has any idea how to do anything like that.

Archer, T'Pol react.

ARCHER: You mean nobody on this whole planet?

DEBBIE: Yes.

There is a KNOCK at the DOOR.

ARCHER: Come in.

Phlox OPENS the door slightly.

PHLOX: I think you need to come out here.

Archer takes this in.

ARCHER: Okay.

Archer then exits.

INTERIOR BUILDING – CONTINUOUS

ARCHER: What did you find out?

PHLOX: This is really bizarre.

ARCHER: That's all I've been hearing since I got here.

PHLOX: I found out that Smyrna has wounds from the explosions.

ARCHER: That's treatable. (BEAT) So what's the problem?

PHLOX: After treating him another condition appears.

Archer takes this in.

ARCHER: What are you saying?

PHLOX: It's not just Smyrna; I've noticed this on other people here.

ARCHER (impatiently): Doctor?

PHLOX: It is like someone or something else is in charge. Someone doesn't want these people to get better.

Archer takes this in and becomes angry. He then opens the door.

ARCHER: T'Pol…Trip!

They both ENTER and RUSH OVER to Archer.

TRIP: You called, Captain?

ARCHER: I want the two of you to get over to Debbie's house and locate the device that is sending those signals!

T'POL: Right away, Captain.

They BEGIN to LEAVE.

ARCHER: Wait!

They STOP when Archer calls them.

TRIP: You called, Captain?

ARCHER (angry): I don't care if you have to rip out everything in that place. Just find it!

They both react.

ARCHER (impatiently): Well?

TRIP: We're going.

Then they LEAVE. Phlox uses the scanner on Archer.

ARCHER: What are you doing?

PHLOX: You're not acting like yourself. I just wanted to see who you are.

ARCHER: Well?

PHLOX: Yep. You're the Captain.

ARCHER (impatiently): Thank you.

Archer LEAVES.

PHLOX: (to himself): Unfortunately.

CUT TO:

EXTERIOR HOUSE – MOVING – DAY

T'Pol and Trip are ENTERING the clearing. T'Pol is looking at the SCANNER as she moves it back and forth. Trip looks around and…

TRIP'S POV:

He sees a WHITE HORSE with a CROWN on its HEAD as it GALLOPS past him. Trip reacts.

TRIP: Oh my gosh!

T'Pol stops scanning and looks up.

T'POL: What is it?

TRIP: I just saw a horse!

T'POL (while scanning): I'm not picking up any such creature.

TRIP (impatiently): I'm telling you, I saw it!

T'Pol moves up to the house.

T'POL (ignoring Trip): Let's go inside.

TRIP: You don't believe me, do you?

They both walk up to the house.

INTERIOR HOUSE – MOVING – CONTINUOUS

They both ENTER. T'Pol continues to scan.

TRIP: I tell you, it was real.

T'POL: How real?

Trip looks around.

TRIP (as he POINTS to the KITCHEN): As real as that.

TRIP'S POV:

There is a LION ROARING at the both of them. T'Pol and Trip react.

TRIP (impatiently): I say we get out of here.

T'Pol continues to scan.

CUT TO:

INTERIOR BUILDING – DAY

At the same time there is a ROAR of THUNDER. Some of the people react.

SMYRNA: It's happening again.

There is BANGING at the DOOR. Archer answers it.

ARCHER: The door is unlocked…

As he begins to open the door, we see HAIL FALLING. As the door opens all the way, PHILADELPHIA, a teenage boy, falls toward Archer, who grabs him.

ARCHER: Someone help me!

Reed runs over and closes the door. Phlox comes over and scans Philadelphia.

PHLOX: What is your name, son?

PHILADELPHIA: (struggling): Phil… adel… phia.

ARCHER (disbelieving): Philadelphia?

Reed starts laughing.

PHLOX: I fail to see the humor.

REED: I'm sorry. It's just that, where I come from we happen to have a city with that same name.

Archer takes this in.

ARCHER: This is getting weirder by the minute.

REED: Just don't tell me this was in your dream.

ARCHER: No. (beat; reacts) It wasn't.

PHLOX: Let's carry him over to the bed.

Archer and Reed carry Philadelphia over to a bed. Phlox continues to scan the boy.

REED: Is he going to make it, Doctor?

ARCHER: Of course. There was only some hail out there.

PHLOX: It's too late.

ARCHER: Are you trying to tell me he's dead?

PHLOX: I believe I already said that.

Phlox leaves. Archer and Reed react.

CUT TO:

INTERIOR HOUSE – DAY

T'Pol is scanning the lion. Trip is slowly backing up toward T'Pol.

TRIP (nervous): What are you finding?

T'POL: It's coming from the kitchen

TRIP: I can see that.

T'POL: I mean the signal.

TRIP: Don't tell me the lion is the signal.

They both look at each other and react. Then T'Pol looks at the scanner.

T'POL: It's gone.

TRIP: You mean the signal, or the lion?

T'Pol looks toward the kitchen and reacts.

T'POL: Both.

TRIP: That can't be.

Trip looks toward the kitchen.

TRIP'S POV:

The kitchen looks the same, except the lion is gone.

TRIP: Okay. Now I feel like I'm losing my mind.

T'Pol reacts. She turns toward the door.

T'POL: I'm picking up another signal.

TRIP: A distress call?

T'POL: Almost. It is outside, and moving.

They both RUN OUT the door.

EXTERIOR HOUSE – MOVING – CONTINUOUS

As they ENTER the area. We HEAR an EAGLE SHRIEKING.

T'POL: There it is.

We see the EAGLE FLYING in the sky.

TRIP: The signal? That's a bird – looks like an eagle.

T'POL: No. I'm telling you the truth. I'm picking up the signal in the air.

TRIP: Uh-huh. I think we'd better have Enterprise sends us another scanner. Yours is broken.

T'POL: I fail to see how you would think this scanner can be broken when it is clearly working properly.

TRIP: Quit arguing with me. You're driving me crazy.

Then we see a RED HORSE GALLOP past them. T'Pol and Trip react. T'Pol scans.

TRIP: Don't tell me. Let me guess. Your working scanner didn't pick that up either?

T'POL (reacts): No, it didn't.

TRIP: I told you it's not working.

T'POL: Perhaps you are right.

Trip pulls out his communicator.

TRIP: Trip to Enterprise...

Trip is interrupted when HAIL STARTS FALLING. He and T'Pol RUN back to the HOUSE.

INTERIOR HOUSE – DAY – CONTINUOUS

As they RUN INTO the house and CLOSE the DOOR.

TRIP: That was close.

T'POL: I agree.

Trip is trying to catch his breath, and we...

CUT TO BLACK.

END OF ACT TWO

 

Writers' Wednesday: "Thyatira", Act One

Do you watch "Star Trek" in syndication? Did you grow up watching any of its, uh, six different series? Do you notice the various "Star Trek" novels in the science-fiction section of your favorite book store?

As a franchise, it's doing quite well. There's another movie in the works, and just-maybe perhaps we'll get to see another series again. Some episodes (pick your series) were particularly good – I have in mind, say, the award-winning "The City on the Edge of Forever" from the original series, and my own favorite, "The Inner Light", from "The Next Generation". "Deep Space Nine" kicked out a number of good ones, and Daughter One and I watched and enjoyed a good deal of "Voyager" while it was on the air.

The most recent series, "Enterprise", was a bit of a ratings-disappointment, and its plug was pulled after four seasons? Myself, I found it pretty good, though by the time it was running, I'd ceased watching most television, and so missed much of it.

Semi-adoptive sister Chuckles helped spearhead a vast international effort to keep "Enterprise" on the air a few years ago, when UPN had decided not to renew it. Her work included organizing a convention, protests at UPN network locations around the world, and so on. Their efforts did not pan out, unfortunately, but it was quite an, uh, enterprise, if I might put it that way.

As is often the case with a television series she likes, Chuckles did also write up a script for "Enterprise" (as well as one for "The Next Generation"), and submitted it. She even met with a number of the higher-ups in the franchise, pitching further script ideas, which went over quite well… although did not result in this particular script being filmed. So to do her hard work justice, I'm going to run her script here over four weeks, one act per week (teaser included) on Writers' Wednesday.

This script is Copyright © 2005 by Christine Roberts, and is registered with the Writers' Guild of America (WGA).

STAR TREK: ENTERPRISE

"Thyatira"

Written by Christine Roberts

CAST

JONATHAN ARCHER:                   SCOTT BAKULA

DEBBIE

T'POL:                                                JOLENE BLALOCK  

CHARLES "TRIP" TUCKER III:   CONNOR TRINNEER

MALCOLM REED:                          DOMINIC KEATING

TRAVIS MAYWEATHER:             ANTHONY MONTGOMERY

HOSHI SATO:                                  LINDA PARK

PHLOX:                                             JOHN BILLINGSLEY

TEASER

FADE IN:

EXTERIOR HOUSE – DAY

As we see explosions going on all over the place. The noise gets louder.

INTERIOR HOUSE – LIVING ROOM – DAY

ARCHER and DEBBIE, in her 20's, are in the living room. Debbie is crying as Archer tries to calm her down.

ARCHER: I'm here to help you.

Debbie is still crying.

ARCHER (CONT'D): Why don't you let me help you, Debbie? I can help you and your family get out of this hellhole!

DEBBIE: I can't. (BEAT, SOBBING) The bombing is scaring me so much!

She then looks toward the floor.

DEBBIE'S POV:

We see her feet planted firmly on the floor.

DEBBIE (CONT'D, FEARFULLY): I can't even move!

Archer has a worried look on his face.

ARCHER (WHILE RUNNING UP TO HER): I'm coming!

He gets to her. The GROUND begins to MOVE back and forth, like in an EARTHQUAKE. Archer has trouble reaching over to her.

DEBBIE (SCREAMING): Help me!

ARCHER (FRANTIC): Here I am! Just hold on!

The ground continues to shake some more. We see there is an opening in the floor now. Debbie begins to fall. There is fire coming from below.

DEBBIE (AS SHE IS FALLING THROUGH THE FLOOR): Hel…p!

ARCHER (FRANTIC): No! Don't!

He reaches out to her and grabs one of her hands.

DEBBIE: Don't let go of me, please!

ARCHER: Grab my hand!

Debbie swings her hand and misses.

DEBBIE: I can't!

ARCHER: I'm slipping!

Archer is sweating as he tries to pull Debbie up.

DEBBIE: Please! Don't let…!

We hear Debbie screaming as she falls through the floor and disappears.

REVEAL:

We're in…

INTERIOR CAPTAIN'S QUARTERS – (OPTICAL)

Archer is in bed and waking up. There is sweat all over his face. We can hear heavy breathing as he tries to calm down. He clutches at his chest.

CUT TO BLACK

END OF TEASER

The premise of "Enterprise" is that we're in the very early history of humankind's forays into interstellar space. It's a century or so before the era of Kirk, Spock, et al., and much of what was old hat or well established during the other series, is only just now being formulated or discovered: the United Federation of Planets, the Prime Directive, and so on. So the whole concept of a "final frontier" is much more evident in both look and feel... and in the experience.

ACT ONE

FADE IN (NOTE: episode credits fall over opening scenes)

INTERIOR CAPTAIN'S MESS – (OPTICAL)

At warp, Archer, T'POL and TRIP are SEATED, having breakfast. T'Pol is having a bowl of cream soup. Trip is having eggs and toast. Archer is having orange juice.

TRIP: Why aren't you having your usual breakfast?

Archer is puzzled.

T'POL: Yes, Captain.

Archer takes it in and then looks at her.

ARCHER: Yes.

T'POL: You are not eating your usual breakfast.

TRIP (CONCERNED): You didn't have that dream again.

Archer slowly turns to Trip.

TRIP (CONT'D, DISAPPOINTED): You did have it again.

T'POL (TO TRIP): How can you tell?

TRIP (SARCASTIC): Isn't it obvious? The way he's not eating anything?

T'POL: Maybe he isn't hungry.

Archer gets up and walks over to the window.

TRIP (TO T'POL): See? What did I tell you?

T'POL: Is there something wrong, Captain?

ARCHER (SLIGHTLY PUZZLED): It is usually the same dream every night…

T'POL: Was something different this time?

ARCHER: I see the same girl every night. I can describe her perfectly…

TRIP (INTERRUPTING): But…?

ARCHER: But, this time… (BEAT) …she didn't make it.

TRIP: I'm sorry.

T'POL (TO TRIP): Why are you apologizing? It was a dream.

Archer returns to the table and sits down.

ARCHER: It was so real. Like you two are here in front of me right now.

T'POL: That is how dreams frequently are. They are images created by the subconscious…

ARCHER (INTERRUPTING): This isn't like a psychology class. So I don't need a lecture on the subject!

T'Pol reacts.

ARCHER (CONT'D): The thing is, I've been having these… visions every night.

T'POL: Maybe you should see Doctor Phlox?

Archer and Trip shoot T'Pol a look.

HOSHI'S COM VOICE: Captain.

Archer gets up and taps a button, opening the com channel.

ARCHER: Archer here.

HOSHI'S COM VOICE: We are getting distress calls from a planet two light-years away.

ARCHER: Set a course for it. I'll be up there. Archer out.

CUT TO:

EXTERIOR SPACE

ENTERPRISE (OPTICAL): is dropping out of warp.

INTERIOR BRIDGE – (OPTICAL)

Archer, T'Pol, REED, MAYWEATHER, and HOSHI are at their stations.

ARCHER: Is this the planet where the distress call came from?

HOSHI: Yes, Captain.

T'POL: The planet is called "Thyatira". Scanner readings suggest it has been inhabited for thousands of years. Yet there is no record of any type of contact before now.

REED: Well, there's a first time for everything.

Archer takes this in.

ARCHER (TO HOSHI): Open a channel.

Hoshi taps a button, opening a com channel.

ARCHER (TO COM): This is the Federation starship Enterprise, answering your distress call.

HOSHI (TWO BEATS): No answer, Sir.

ARCHER (TO REED): Where down there are the distress calls originating from?

REED: On the northeast quadrant of the planet.

MAYWEATHER: I have the coordinates for you, Captain.

ARCHER: Good. I'll designate a team to go down and investigate.

MAYWEATHER: Yes, Captain.

CUT TO:

EXTERIOR PLANET'S SURFACE – DAY (OPTICAL)

There is a lot of forest in this area. There are so many trees that not much daylight is coming through. We hear birds and insects.

EXTERIOR FOREST – DAY

We see Archer, T'Pol, Trip, and Reed moving through the forest. T'Pol and Trip are combing the area with their scanners. Archer and Reed are armed with phaser pistols. We follow the team as they make their way to the clearing.

ARCHER: How much further?

T'POL: The coordinates are a few meters ahead, Captain.

TRIP: I'll be glad to get out of this area and see something other than trees.

REED: Not much for wildlife, I take it?

TRIP: Let's put it this way: I prefer people over birds, myself. (BEAT) And whatever else is out here.

EXTERIOR HOUSE – DAY

Archer, T'Pol, Trip, and Reed reach a clearing. Archer has a shocked look on his face. He appears as if he can't move. T'Pol, Trip, and Reed notice the look on his face. Not picking up the connection.

T'POL: Is there something wrong, Captain?

Archer remains still, looking.

TRIP: You're scaring me, Captain.

REED: I agree.

T'Pol scans the area.

ARCHER'S POV:

We see the exact same house that was in Archer's earlier dream. It is in every way the same, down to the last detail.

ARCHER: This is the house that was in my dreams.

Reed and Trip react to this news.

TRIP: Oh my God.

REED: You took the words right out of my mouth.

Archer gets excited and begins to run up to the house.

ARCHER: Debbie!

T'Pol reacts.

T'POL: Debbie?

Trip and Reed become excited.

TRIP:         /     REED:

Captain!    /     Captain!

Then they run after Archer. Archer, T'Pol, Trip, and Reed reach the front door together.

T'POL (SCANNING): This is where the distress signals are coming from.

REED: From this house?

T'POL (TO REED): I believe that is what I said.

ARCHER: Let's go in.

He tries to open the door.

TRIP (INTERRUPTING): Shouldn't we knock first?

Archer takes this in.

ARCHER: You're right.

Archer knocks. No one answers. Trip gets excited.

TRIP: Let's go in.

INTERIOR LIVING ROOM – MOVING

We see the living room. Again everything is in the same detail as it was in Archer's dream.

ARCHER (YELLING): Is anyone here?

T'Pol continues to scan. Reed and Trip look around the living room. REED moves into the kitchen.

REED'S POV:

It looks like a typical kitchen on Earth.

Trip runs down the hallway. He quickly looks into the bedroom.

TRIP'S POV:

The bedroom looks normal. There is typical furniture in the room with pictures of people hanging on the wall. The people look almost like humans, but are disfigured a bit. He picks up and examines a picture that resembles Debbie.

CUT TO:

Trip and Reed enter the living room. Trip is carrying the picture. He hands this picture to Archer.

TRIP: Is this what your "Debbie" looks like?

ARCHER: Almost. Except for these markings.

REED: This is too much of a coincidence.

ARCHER (TO T'POL): Where exactly are those signals coming from?

T'POL: Unfortunately, I cannot seem to pinpoint it within this house.

ARCHER: But it is coming from this house?

T'POL: Affirmative.

There is a sound of the doorknob rattling.

REED: Someone's coming.

TRIP: It could be that Debbie.

Archer looks toward the door. He looks anxious and begins to sweat.

REED: Captain?

The door opens and we see Debbie, looking exactly as in the photo, entering. Debbie has a shocked look on her face.

ARCHER (TO DEBBIE): Wait!

Debbie begins to run off.

EXTERIOR HOUSE – MOVING

As Archer, T'Pol, Trip and Reed run outside after her.

ARCHER: Debbie! Stop!

Debbie stops and turns around.

DEBBIE: How did you know my name?

ARCHER: You wouldn't believe me if I told you.

TRIP: I agree.

All of a sudden there are lightning bolts striking the ground, and thunder coming from the sky. Everyone looks up.

REED: There's not a cloud in the sky.

TRIP: That's impossible.

DEBBIE (FRIGHTENED): It's happening again!

Archer grabs Debbie's arm.

ARCHER: What is happening?

DEBBIE: Let go of me!

She then runs off into the woods.

CUT TO BLACK.

END OF ACT ONE