Episode 2: The Colonel

[SCENE I. Desolation Island. The surrounding waters are strewn with shipwrecks, but MELISSA brings the Regret to a suspiciously man-made-looking harbor safely. There, they pull some camouflage netting over the boat and disembark.]

MELISSA: So, what usually happens on spooky mist-filled islands made entirely of precipitous rocky cliffs?

SARAH: Usually the heroes nearly fall to their deaths, chasing some mysterious fog-shrouded figure.

LINA: In fairness, that’s usually a good indicator that they’re worth chasing after.

MELISSA: Why does our father want us to fall to our deaths on his island? Did we offend him in some way?

LINA: Maybe he knew that his daughter was a meddlesome busybody and left information concerning a death trap out for her.

MELISSA: That seems unlikely.

(They climb up the treacherous rocks. At the top is a very militaristic looking entrance which apparently leads down into the heart of the island.)

LINA: Did I mention I don’t like getting shot?

SARAH: It’s probably not that bad. Bullets are very small.

(A voice from within the island calls out.)

VOICE: Who goes there?

MELISSA: People actually say that?

VOICE: Don’t come any closer! This is private property!

(A figure, THE COLONEL steps into the entryway. He is dressed in a conservative grey suit, and sports a neat little mustache.)

THE COLONEL: What are you–wait. Melissa? Melina?

MELISSA and MELINA: It’s the Colonel!

SARAH: Who?

MELISSA: The Colonel.

THE COLONEL: Your father didn’t say you’d be coming. I don’t hear much from him these days, though. Thought maybe he’d given up.

MELISSA: Given up?

THE COLONEL: You’d better come inside. (He makes an ‘after you’ gesture and follows them inside. A set of stairs leads down to a secured door, which is guarded by a pair of armed guards. A labyrinth of rooms later and they are in a private study, with ‘THE COLONEL’ written on the door.)

MELISSA: So, uh–

THE COLONEL: Don’t you worry, we’re safe from the beast here. The labyrinth is inescapable, and the walls are soundproof.

LINA: Soundproof?

THE COLONEL: Are you telling me Dimitri Xenakis sent his daughters to Desolation Island without telling them what sort of beast was locked up below?

SARAH: It’d be pretty much par for the course for him.

THE COLONEL: Okay, true. (He leans on his desk.) Your father’s captured a siren.

MELISSA: Like the kind that go on police cars?

THE COLONEL: No.

MELISSA: Why did he build an island labyrinth to imprison a siren?

THE COLONEL: Out of kindness.

(Some armed guards arrive.)

THE COLONEL: I’m afraid I have work to be doing. The men will show you to your room. Will you be joining us for dinner tonight?

SARAH: Well, we–

MELISSA: We’d love to!

(The guards escort them to a room which has three very spartan-looking beds in it, and little else.)

SARAH: Who is that?

MELISSA: He’s the Colonel.

SARAH: Yes, but who is he?

LINA: He’s a friend.

SARAH: Is it the mustache? Did he cast some sort of evil mustache magic on you?

MELISSA: We’ve known the Colonel since we were kids. It’s fine.

SARAH: This whole thing is weird.

MELISSA: Is it? I’ve sort of stopped noticing.

SARAH: Well, I’m going to go walk around. (She departs, and finds her way to a room marked ‘ARMORY.’ Inside there are weapons, and countless spools of fishing wire, along with quite a lot of beeswax. She stuffs beeswax in her ears and arms herself with fishing wire and continues exploring until she finds a door marked ‘LABYRINTH.’ She steps through and begins to explore, trailing fishing wire behind her. The labyrinth is cunningly designed, but she seems quite patient.)

 

[SCENE II. Desolation Island’s cafeteria. MELINA and MELISSA are eating dinner with THE COLONEL. There is no sign of SARAH.]

MELISSA: I think Sarah thinks there’s something sinister going on here.

THE COLONEL: (Chuckles.) Nothing sinister, my lass. But your father was looking for a way to make it so the siren’s song wasn’t quite so . . . .

LINA: Deadly?

THE COLONEL: Aye. But I fear he’s abandoned the project. So now we’re the jailers of this majestic creature. And one day there won’t be anyone left to keep the prison. I’d hoped your father might have–

LINA: No, Lissa pretty much just found out that we owned an island and decided to come see what it’s about.

THE COLONEL: Too much to hope for, I suppose.

(A moment of silence.)

THE COLONEL: So, where is your friend, anyway?

MELISSA: Oh, she’s probably around somewhere. She likes exploring.

THE COLONEL: Well, so long as she doesn’t wander into the labyrinth she’ll be safe. The beast is quite dangerous.

MELISSA: Oh. Good.

LINA: Yeah, Sarah would never do anything dangerous.

MELISSA: She’s reliable like that.

THE COLONEL: Well, any friend of the Xenakis family would have to be just as steadfast and trustworthy as they are, I’m sure.

(MELINA chokes on her drink. MELISSA manages to stifle a laugh.)

MELISSA: That’s us. Steadfast and trustworthy.

 

[SCENE III. The labyrinth. SARAH is still exploring, though it’s hard to tell if she’s gotten anywhere. She certainly looks to be getting bored with her explorations.]

SARAH: Okay, I’ve definitely been here before.

(A SIREN watches her from behind, and begins following after. Eventually, SARAH sits down against a wall and sighs, and the SIREN steps in front of her. She appears as a woman wearing a cloak made of beautiful white feathers.)

SARAH: (Standing.) Uh, hi. I probably can’t hear you, on account of the wax.

(The SIREN pantomimes writing something down.)

SARAH: I probably have a sketchbook or something. (She rummages in her pockets and eventually produces a small notebook, and hands it to the SIREN, who writes something, then hands it back.) You, uh, want me to help you? Okay. (The SIREN tugs at SARAH’s sleeve.) I guess I’ll come with you, then.

(SARAH and the SIREN make their way deeper into the labyrinth. SARAH, notably, forgets the fishing wire as she does so, but the SIREN looks like she knows where she is going. TBC.)

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