sib2x16 Script created with Final Draft by Final Draft, Inc.
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11 INT. PARKER'S LAB - CORRIDOR - LATER 11
Twist and Danyael walk down one of the white tiled
passageways that link the various sections of the base,
passing the occasional white-coated technician.
TWIST
Who does he think he is, ordering
us around like that, anyway?
DANYAEL
He's got a fair point, Twist.
TWIST
Oh no, don't you go sticking up for
him. Just because you and him are
like Bush and Cheney now doesn't
mean you can get away with not
having my back!
DANYAEL
I've always got your back. You know
that.
Twist looks over, and sees in his eyes that he means it. She
starts to smile - just as another person, head down, walks
straight into the duo.
TWIST
Ow! Hey!
The figure looks up - and it's JULIE! She blinks in surprise,
then breaks into a grin and embraces the two vampires.
JULIE
Hey! What are you guys doing here?
TWIST
Oh, you know, the usual. Giant
scorpion monsters chowing down on
people just over the border.
DANYAEL
Oh, and voodoo-powered French dudes
trying to take over the world.
TWIST
Yeah, that too.
JULIE
I know the story, don't worry.
Matter of fact, I had a feeling
you'd show up before long...
(looks round)
Uh, where's Chris?
TWIST
Oh, he had a job to go do.
JULIE
(deflated)
Oh.
TWIST
He'll be back soon. Don't worry.
JULIE
(distracted)
Yeah... yeah, course.
(gathers senses)
Oh, hey, come on you two, I want to
show you my new office.
Julie grabs Danyael's hand and leads him away with a grin,
but as Twist starts to follow she pauses, turning to her left
with a frown.
A doorway marked 'Special Projects - Testing Room #47' stands
before her, and as Twist stares at it, a faint orange GLOW
starts to appear around the door frame.
TWIST
(mutters)
Oh boy...
The glow fades, and Twist looks back down the corridor - but
Julie and Danyael are gone. Twist takes a deep breath, looks
back towards the door, and then steps over. She tries the
handle - and it opens!
12 INT. LAB - SPECIAL PROJECTS ROOM 47 - CONTINUOUS 12
Twist gingerly pushes the door open to reveal a pitch black
room, but before she can speak the lights are suddenly throw
on, flooding the room with bright white light, and Twist just
has time to GASP at what she sees before we:
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
13 INT. YACHT HIRE OFFICE - DAY 13
Chris stands at the counter of a small quayside boat hire
emporium, a clunky phone receiver pressed to his ear.
Over his shoulder, Lake Huron spreads out across the bay with
several other small boats zipping across its surface. A tinny
radio plays nearby as Chris looks round the cheerfully
decorated office.
CHRIS
(into phone)
Well, Doctor, you were right about
the unexplained shipwrecks, but so
far I've not seen any evidence of
any kind of 'creature' being
involved.
PARKER
(filtered; through phone)
Look deeper, Christopher. You've
only scratched the surface here -
my gut tells me there's a lot more
to be discovered here, and if you
haven't already noticed I have
quite a generously-sized gut. I
tend to follow its lead.
CHRIS
I'll be setting out in a boat I've
chartered soon. Not having Twist
and Danyael with me gives me the
advantage of being able to travel
in the sunlight, at least.
PARKER
Aye, it would that. I'll await your
next call, lad.
Chris hangs up, pushing the phone back towards the desk clerk
with a nod. He scoops his bag up from the floor and pushes
the office door open, stepping out onto:
14 EXT. PIER - NEXT 14
Chris strolls along the docks, glancing at the various shapes
and sizes of yachts, dinghies, powerboats and other vessels
moored all along the walkway.
He reaches the end of the pier, checking the keys in his hand
to see the name 'Pugwash Express' written on them.
He looks up - and before him is a small, plain powerboat, the
name 'Pugwash Express' written stylishly on its prow,
accompanied by a grinning image of a cartoon pirate.
Chris rolls his eyes and gingerly steps onto the boat,
tossing his bag to one side and slotting the keys into the
ignition.
MAN (O.S.)
Heading out?
Chris looks up - a middle aged MAN stands on the pier,
looking down on him. He's dressed in a shirt and shorts -
typical yachting club.
CHRIS
That's the plan.
MAN
Well, just so you know, we've had a
lot of... incidents out on the
waves recently.
CHRIS
Yes, so I've heard. Anything you
can tell me about those?
The man looks from side to side, then steps closer, crouching
down to get to Chris' eye level. Chris unties the mooring
ropes linking his boat to the pier.
MAN
It's a pretty weird story,
actually... are you an open-minded
kind of guy?
CHRIS
I've seen my share of strangeness.
MAN
Well, here's the thing. I reckon
we've had something like eight,
maybe nine shipwrecks out there for
no good reason at all in the last
six months. No bad weather, all the
boats left the harbour in shipshape
condition, so...
CHRIS
So what are the current theories on
what caused the accidents?
The man looks around again, checking that no-one is in
earshot before continuing.
MAN
People come back and say they heard
singing out there.
CHRIS
What kind of singing?
MAN
A woman's voice. Coming out of
nowhere. Nobody seems to be able to
find anything - or maybe they have,
and they just haven't come back to
tell us more, if you see what I
mean.
CHRIS
You think something might be out
there?
MAN
Hell, I don't know. I'd just advise
you to be careful, and if you hear
some girl singing and get the
sudden urge to run your ship
aground, you turn around and sail
the heck right back here.
CHRIS
I'll take that under advisement.
Chris starts the boat's engine with a healthy ROAR. The man
watches as Chris' boat powers away out onto the lake, hands
shielding his eyes from the sun as we cut to:
15 INT. PARKER'S LAB - OCCULT DEPT. - DAY 15
Julie and Danyael step into Julie's new headquarters - and
Danyael whistles appreciatively. The Occult Research
Department is like a huge, high-tech library, with rows and
rows of shelves containing books, files, storage boxes and
spindles of CDs, along with many computer terminals and long
tables overflowing with papers and books.
Several assistants criss-cross the floor, dressed more
casually than the white-coated technicians in other
departments but all looking just as busy.
DANYAEL
Nice.
JULIE
Yeah, it's not bad, is it?
She leads him forward - taking the tour - pointing out
various sections of the room as she goes.
JULIE (cont'd)
We've got databases and records
stretching back over a hundred
years all on file, with more
archived stuff going back even
further than that kept downstairs.
We've got spell books, demonology
texts, monster compendiums -
everything you could ask for,
whenever you need it.
DANYAEL
Man, Chris is gonna have trouble
keeping that British reserve of his
in place when he sees all this...
Julie tries not to flinch at the mention of his name, nudging
Danyael to get his attention again.
JULIE
That's not all. Watch this.
She CLAPS her hands, getting the room's attention.
JULIE (cont'd)
Hey, everyone? This is my friend
Danyael. He's gonna help us with
the research on Manon and his
cronies, and he has valuable first
hand experience of what we're up
against, so can I get a few
volunteers to come talk to him?
Two researchers step forward - both pretty young ladies who
smile eagerly at Danyael.
JULIE (cont'd)
See that? I have 'people' now.
DANYAEL
So I see... how the hell did you
get all this together so fast?
JULIE
It was all ready and waiting. Their
last departmental head went missing
while out on a research mission to
the Amazon, so when Parker offered
me the job this place was just
sitting and waiting for somebody to
come and take it over.
Danyael nods, then turns to the girls - before realising
something and looking round.
DANYAEL
Where's Twist?
JULIE
Oh, I don't know. I thought she was
with you?
DANYAEL
She was right behind us...
JULIE
She'll be okay. You know how she
wanders off. How is she, anyway? I
mean, after... after what happened.
DANYAEL
Uh... let's talk about that later,
okay?
JULIE
No problem.
(to researchers)
He's all yours.
With a grin to Danyael, Julie heads over to her office which
is in one corner of the room, as we cut to:
16 INT. LAB - SPECIAL PROJECTS ROOM 47 - NEXT 16
Twist stands in the open doorway, her hand still on the door
knob.
VOICE (O.S.)
Well, don't just stand there, miss,
come on in!
Twist blinks, then pulls the door closed. She steps forward
into the room she stumbled into - and her initial sense of
alarm gives way to wonder as she heads on in.
She's walked into a large room filled with bulky, upright
tables, each one with a young man or woman lying on them,
connected to an array of monitoring devices either side.
A small army of technicians man the various computer
terminals and monitors, taking notes and checking readings as
the room's authority, the bearded PROFESSOR LEESE, heads over
to greet Twist.
LEESE
You could only be the famous Twist
McFadden, am I correct?
TWIST
(still recovering)
The famous who now?
LEESE
I've heard a lot about you from
Doctor Parker, he says you're quite
the medical marvel!
TWIST
I am?
(beat)
I mean, yeah, I guess I am. What's
all this?
LEESE
Welcome to Special Projects,
division number forty-seven. We
take care of ESP testing and study,
as you can see by our many subjects
on display here.
Twist looks round - the people on the beds are all conscious,
some are talking to the technicians, and all of them seem
perfectly happy with what's going on.
TWIST
Oh, I get it. So this is like what
you used to do with Lizzie, right?
Leese's expression darkens, and he glances round before
ushering Twist over to a quieter corner of the room.
LEESE
I understand you encountered the
fugitive Miss Duncan on one of your
recent visits here?
TWIST
'Fugitive'?
LEESE
I think I'd better fill you in on
why she's no longer with us.
Twist folds her arms, fixing Leese with a suspicious glare.
TWIST
Yeah, maybe you had.
LEESE
Miss Duncan was one of our most
exceptional patients. Her abilities
developed rapidly from the day she
arrived here - she soon surpassed
basic low-level ESP standards and
moved on to telekinesis and
telepathic talents.
TWIST
I saw her in action, I know what
she can do now.
LEESE
I'm afraid those powers came with a
heavy price - a heightened sense of
paranoia and an increasingly
erratic personality shift that
brought a major persecution
complex. She became convinced we
were going to literally cut her
open to see what made her tick, and
one day... well, let's just say she
decided to use her talents to get
away from us for good.
TWIST
What happened?
LEESE
She put several people in the
hospital, one of them permanently,
and made her escape from this
facility shortly after Doctor
Parker took it over. Since then,
she keeps coming back, making
raids, sabotaging our equipment and
attempting to 'liberate' our other
test subjects.
TWIST
Yikes.
LEESE
Every time we've tried to stop her -
well, I'm sure you know how that
goes.
TWIST
Up close and personal. Very
'Carrie.' She, uh... she wasn't
exactly full of praise for this
place.
LEESE
(shakes head sadly)
It's a terrible waste. To see a
girl with powers like hers fall
into the grip of psychosis like
that...
Twist eyes him, trying to decide if she buys the story or not
- but with a nod, seems to accept his version of events.
LEESE (cont'd)
You, on the other hand... you're
someone I've always wanted to meet.
TWIST
Well, obviously I'm flattered, but
I don't really date older men, so-
LEESE
I meant with regards to your own
psychic abilities.
Twist freezes - she quickly recovers, trying to act casual.
TWIST
I'm sorry, my what?
(quickly)
Hey, is that the way out? Maybe I
should just-
LEESE
Osbourne monitored all of his
patients at all times, Miss
McFadden. Your conversations with
Miss Duncan when you were here
before the incident in New York
have been documented and studied.
Several times, I should add.
TWIST
(caught out)
You don't say...
Leese motions for one of his assistants to head over, clearly
excited at the prospect of talking to Twist at last.
LEESE
If you wouldn't mind, I'd just like
to run a few simple tests on you.
Nothing drastic, I promise. Some
bloodwork, a few MRI scans, and
some basic psychometric tests.
Twist considers this, looking round the well-equipped lab.
LEESE (cont'd)
There would, of course, be
financial reimbursement for your ti-
TWIST
(quickly)
I'll do it. As long as you and your
oompah-loompahs in here promise me
whatever happens in Vegas, stays in
Vegas.
LEESE
You have my word. This falls under
doctor-patient confidentiality,
after all!
TWIST
Good. I don't want the others I
came here with knowing about...
well, you know. My 'talent.'
LEESE
I understand. Would you like to
come this way?
Leese leads her away, and as Twist and Leese head towards one
of the vacant beds we cut back to:
17 INT. LAB - JULIE'S OFFICE - NEXT 17
Julie is behind her desk, going through some paperwork as the
office door opens and Danyael steps inside.
She waves him over, and he closes the door behind him - the
room is sealed off from the noisy clatter of the department
outside, while the office itself is pretty bare - no
decoration to speak of.
JULIE
Thinking how plain it looks, right?
DANYAEL
It is kinda... beige.
JULIE
They cleaned it out when the last
guy went missing, so I guess it's
up to me now to start adding my own
little touches again!
Danyael takes a seat, watching Julie as she struggles through
the mountain of paper before her.
JULIE (cont'd)
I don't know how I'm ever going to
catch up on all this... maybe I
should've taken a better look
around before I signed up, huh?
DANYAEL
Why'd you do it?
She stops, surprised by the bluntness of his question.
DANYAEL (cont'd)
Sorry, that didn't come out right.
I meant-
JULIE
No, it's okay, I know what you
meant.
She looks at the paperwork for a thoughtful beat, then shoves
it all to one side, giving Danyael her undivided attention.
JULIE (cont'd)
What did Chris tell you?
DANYAEL
Not much. Less than that, in fact -
he just said you were staying here,
and that's all we've gotten out of
him. He got pretty tetchy about it
whenever we tried to bring the
subject up, so me and Twist gave up
asking.
JULIE
Sounds like him, alright.
DANYAEL
So d'you want to fill me in?
JULIE
It's...
DANYAEL
And don't you dare say
'complicated,' either!
JULIE
(grins)
Then I guess you've already got a
pretty good idea why I didn't feel
comfortable working with you guys
any more.
DANYAEL
Let me guess, you told him how you
feel and he shot you down, right?
JULIE
Something like that.
DANYAEL
Yeah, well, I know how that feels.
Trust me.
JULIE
(sighs)
I wish things had worked out
differently, Danny. You know how
much you guys mean to me.
DANYAEL
Hey, you got an offer of somewhere
else to go, I understand that. Your
own office, a bunch of underlings
and, I'm guessing, a much bigger
pay check than the big fat zero
Chris pays us each month...
JULIE
I'll admit, this place does have
its perks. It's like the job I was
doing for David, only... better.
DANYAEL
Is it permanent? I mean, are you
staying here for good?
JULIE
Maybe. I don't know yet. I'm gonna
give it six months, see how it goes
from there.
Danyael nods, and the conversation lapses for a beat.
DANYAEL
He misses you, you know.
Julie is silent as Danyael continues.
DANYAEL (cont'd)
He won't say it, mainly 'cause I
think he's still too pissed about
you leaving, but... I can tell.
JULIE
Danny...
DANYAEL
Hey, it's okay. I'm not trying to
get a confession out of you or
anything. Just thought you should
know, is all.
He stands with a smile.
DANYAEL (cont'd)
I'm gonna go find Twist and come
right back, okay?
JULIE
Okay.
He leaves the office, and when she's alone again Julie lets
her smile drop. She looks across at the heaped paperwork with
a sad sigh, before we cut back to:
18 EXT. LAKE HURON - DAY 18
Chris is making good progress across the lake, a spread of
satellite photos across the cabin's dashboard and a compass
weighing them down.
Chris consults the compass and makes a slight steering
adjustment, keeping the power steady.
He looks out across the waves - apart from a slight veil of
mist there's nothing on the horizon. No other boats, no land
masses, and so far, no singing.
Until a faint melody drifts across the air towards him. Chris
snaps to attention, powering the engine down and leaving the
boat bobbing in the water.
The singing starts up again - the same soulful, deep female
voice as before - and Chris looks all around as he tries to
get a bearing on the voice's location.
The voice becomes louder, and Chris' eyes seem to glaze over -
and as he turns back to the wheel, bringing the engine back
up to speed and rotating the steering wheel to face a new
direction, his blank expression suggests he's no longer in
the driving seat!
The island at the centre of the mystery is soon coming into
view out of the mist, and as Chris increases the throttle,
the powerboat starts to bounce dangerously across the waves,
eager to reach the source of the song.
The boat shows no sign of stopping as it rockets towards the
sore, Chris' knuckles turning white as he grips the wheel
even tighter.
The singing is much louder now, and Chris is visibly
straining to get to it as fast as he can, not caring about
the jagged rocks rushing towards him...
... until with a terrific CRASH, the powerboat piledrives
into the first cluster of rocks and almost shears itself in
two, EXPLODING in a burst of hull fragments and flames.
As flaming chunks of the wrecked boat rain back down out of
the sky, and what's left of the hull continues to putter
towards the island's shore, we:
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
19 EXT. ISLAND - SHORE - DAY 19
Back on the beach. Waves break on the shore and drag
themselves back out - and they bring fragments of Chris' boat
with them.
The wreckage is littered across the beach - joining other
remnants of less fortunate travellers and their boats.
Chris soon comes into view, face down in the surf, his
clothing scorched and blackened from the explosion that
pitched him off the powerboat.
He stirs at last, pushing himself up and shaking his head to
clear away the water. He sits upright with a wince, and peels
away one side of his jacket to reveal a dark red stain on his
short - looks like he took a bad hit.
With a deep breath, Chris pulls himself up to his feet, his
legs buckling for a beat, but he finally manages to stand up
straight and take a look around.
Noticing the wreckage and what's left of the bodies of other
victims, he realises he's the first person to arrive on the
island and live to tell the tale.
The island feels out of place, given the fact that it's in
the middle of a Great Lake - the beach soon gives way to a
chaotic landscape of dark rocks, twisting and arching away
from him.
Chris looks back out across the water, but a thick bank of
mist surrounds the island - he can't see any further than
about forty feet away from the shore.
With no direction left but on into the depths of the island,
Chris kneels back down, splashes a little water into his face
to keep himself alert, and then heads up the shore, towards
the rocky island waiting beyond.
As he puts his first foot on the dark landscape, he freezes,
his head whipping round - did he just hear something?
He narrows his eyes - but there's nobody there. Turning back
to the island, he heads onward as we cut back to:
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