QUANTUM LEAP
Hurricane

QUANTUM LEAP (March 1989 - August 1993) -- season 4, episode 3 -- "Hurricane" It is August 17, 1969, Sam meets Camille and possibly a killer when he leaps into a deputy sheriff in a small Mississippi town lying in the path of a deadly hurricane. In this hour-long sci-fi/drama, James Morrison plays Joe Deever.

Sam leaps in to Deputy Sheriff Archie Necaise. The winds are blowing so terribly the gorgeous brunette in front of him has to yell to be heard. Lisa is packing her car, careful to make room for her antique lamp shade. The lovely redhead handing that treasure to her insists it was no trouble helping her get out before the Hurricane. Hurricane! Oh, boy.

After seeing Lisa off, Sam discovers she was the ex, and this redhead is the current romantic interest, Cissy. After getting caught making out in the car by his police car radio operator (who makes a correct assumption), Sam and Cissy are ordered to evacuate a hurricane party going on in a co-op downtown.

But even after much insistance, the half-intoxicated residents refuse to budge. So Sam and Cissy abandon them and seek refuge themselves at Unabelle’s, a designated hurricane shelter. Al, Sam’s holographic advisor from the future, finally appears and fills in the missing pieces for Sam.

Sam is probably here (with 92% accuracy) to save Cissy Davis from getting killed at 10:30 p.m. in her home across town. Sam asks Cissy if she’s left anything behind she wants to go back for. Her answer is no. Al sets up Sam’s dilema by telling him that Archie was famous for rescuing that hurricane party right after a power outage that happens at 10:15. It will be impossible to save the party AND save Cissy if she leaves Unabelle’s, so Sam decides to keep a close eye on Cissy.

Cissy leaves the front room to help Unabelle in the back of the house when Lisa arrives. Still hopelessly pining for Archie, Lisa delivers a heartbreaking plea to reunite. Sam tries to let her down gently, and she seems to understand but is still distraut. She disappears out into the storm.

An extended family arrives next -- Grandma, Grandpa, their daughter and her two kids, and Joe. Al interrupts another passionate moment between Sam and Cissy with the news that Joe is not only a violent type, but also an insanely jealous type -- who also happens to be Cissy’s ex -- AND is the last person known to have seen her alive. Sam begins to suspect foul play may be involved in Cissy’s death and holds her even closer. Then, as Sam is called to the phone, Joe makes his move on Cissy.

"Heck of a night. Reminds me of Audrey, back in ‘57 remember?"

Cissy moves with Joe to the window, "When we stood up onto the seawall, or when we climbed up into the trees?"

Joe continues, "The trees. It’s just like we were seven years old again. Swaying in the wind, back and forth. Hanging on for all we were worth, 40 feet above the ground. Havin’ the times of our lives.... He treatin’ you right?"

Cissy groans, "Joe..."

"Just lookin’ out for ya is all. But you want me to butt out."

Cissy reassures, "I want you to be the friend you’ve always been."

With a hard look, Joe answers, "You know what the three worst words in the English language are? Let’s be friends.... It’s just hard watching you with him, that’s all. Particularly since we are... since we were so close."

Cissy moves away, and Joe catchs hold of her. Al gets Sam’s attention who drops the phone and runs to Cissy’s aid. Joe backs off, and Sam informs her he’s leaving to get the partygoers out. Cissy starts to come, too. Sam begins to argue her out of it as Cissy calls for her dog, Beaufus. Grandpa mentions Joe took him to the kitchen, and then Joe admits he let the dog out into the storm. Cissy instantly rushes to go get him, but Sam persuades her to stay by promising to get Beaufus himself.

Sam goes out; first for the dog, then to the party. Across town in the blinding rain after securing Beaufus in the back seat, Sam thinks he’s saved Cissy and soon to leap. When Al suddenly appears and informs Sam he HAS changed history, except now Cissy dies at Unabelle’s. Now Sam knows it’s foul play, but twelve lives require his immediate attention. When he arrives at the party he wastes no time arguing with the tenents. He fires his gun behind them and shoos them out like sheep -- ordering them to the nearest safe house, a bank two blocks away.

As Sam speeds back to Unabelle’s, a window blows out in the front room. Cissy shuffles everyone into a back room when she hears a knock at the door. Unaware of her intended fate, Cissy opens the door and finds -- Lisa. The holographic Al looks on helplessly as Lisa draws out a long steak knife and attemps to eliminate this obstacle from her romantic goal.

Cissy puts up a valiant fight, but Lisa is the determined. Sam arrives just in time to prevent Lisa from killing Cissy and then herself. As Lisa sobs, Cissy and Sam try to comfort her.

Morning arrives and the storm passes, but still Sam hasn’t leaped. As Cissy escorts the other guests out the door, she expresses to Sam her concern about Lisa’s future. Sam guesses that with proper treatment, Lisa turns out okay, and Al confirms it. Sam suggests that Cissy would make a good candidate for psychological work, and, though at first she seems hesitant, Al confirms she does go on to become a psychotherapist. Sam’s true mission now complete, he wistfully departs.

What Did James Say?
An interview with James
Printed with permission by Sharon Major, PQL (Project Quantum Leap)

PQL:  As a fan of Quantum Leap, some of us first became acquainted with your work when we watched the QL episode, "Hurricane."  Was that the first role on QL that you had auditioned for?    Any tales or amusing stories to tell from the set and/or working with Scott or Dean?

JM:   As near as I can remember, it was the first time I'd auditioned for the show.  I remember meeting the director, Michael Watkins, in the reading and had a great feeling from him.  He's a very down to earth and accessible man and I've run into him since on BROOKLYN SOUTH.

It's been a long time and I'm afraid all I really remember is how warmly Scott and Dean welcomed me to their set and how pleasant they were. That's the exception to the rule in the episodic television world and that impressed me.  The difference between an advanced actor and the less accomplished one is that the advanced actor works without stress, fear and anxiety.  That goes for human beings too.  I remember them being advanced. It was a nice week.  Since I usually allow my character to dictate how close I get to the other actors on the set, I didn't really have much interaction with them.  (I was playing the resentful outsider yet again.)  I wish I smoked cigars then, though.  I recall that Dean was smoking a nice Churchill.

PQL:  As in QL, many of your characters seem to have an enigmatic quality. Is this complexity of character something you seek when choosing a role, or would you say that this is something you bring to a role? If the latter, is this something you think you are able to convey in an audition, or does it develop as you work with the part?

JM:  Generally speaking, when you're just a working stiff, you take what you can get.  Certainly you can choose what roles you take - and you should - but the choices are not as great as you'd think until you reach a certain - how shall I put it? - a certain "plateau".  I imagine I bring an enigmatic quality to the role more times than not.  But I'm sure it has a great deal to do with the fact that it's usually very quick when the camera roles you have to be ready with something.  And for the most part, the writing for television is so poor that you're completely mystified most of time and that reads as enigmatic. :)  Also, I think people see my audition and say, "We have no idea what he's doing.  Let's cast him as the enigmatic guy." Seriously, though, I enjoy the ambiguities of life and those things that perplex us.  I probably have an unconscious tendency to push myself into the obscure places to see if there are any interesting answers to be found.

Thanks for asking. Warm regards, James Morrison

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