sib1x03
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
1 INT. GREYHOUND BUS. NIGHT. 1
We walk down the aisle, taking in the various passengers
before we get to the back row of seats. CHRIS is dozing, his
fedora at an angle over his face, while TWIST is next to him,
looking pretty bored. She nudges Chris, who mumbles and
shifts slightly. She nudges him again.
TWIST
Bored.
CHRIS
Try the wonder that is sleep for a
few hours if you've got nothing to
do, we'll be in Washington soon.
Chris closes his eye and settles down again. Twist taps her
hands on her knees for a few moments, then huffs and nudges
Chris again. He stirs but doesn't look at her this time, even
though he's awake.
CHRIS (cont'd)
You're like a tired baby sometimes…
TWIST
It's not my fault I don't need to
sleep, is it? You're the one being
all half human and stuff. You
should be more considerate.
CHRIS
Twist…
TWIST
Okay, okay, fine. Go back to sleep.
CHRIS
Thank you, I will.
Twist scrabbles round inside her bag for a few moments before
producing a Walkman. Popping the headphones in, she presses
play, and we get a loud but tinny blast of some kind of nasty
music.
She rocks her head to it for a few more moments before Chris
sits up, looking disgruntled, and she clicks the stereo off
with a smile.
TWIST
Oh good, you're up. Now we can
talk. It'll pass the journey a lot
quicker!
CHRIS
It can't go fast enough at the
moment…
TWIST
So come on, Mr. Moody Britches,
what are we in town for?
Chris grabs a manilla envelope from his bag and tips out the
contents, a set of black and white glossy photos.
CHRIS
Bagwell & Stitchley's Auction
House. It's their big bi-annual
sale tomorrow morning, and I intend
to buy lots of nice shiny new
things.
TWIST
What kinds of things?
CHRIS
Old, dusty books, largely, but the
auction has a more 'specialised'
section. You see, this is one of
the few legitimate occult
dealerships in the country, and
this will be for the sorts of stuff
you can't just wander into the
shops and buy.
TWIST
Such as? Come on, you're the one
with, like, three degrees here.
CHRIS
Weapons, spells, scrolls, forbidden
literature, artefacts, mystical
objects, things like that.
TWIST
(not impressed)
Sounds swell. So when do I get to
do some real shopping with those
fake AmEx cards of yours?
CHRIS
Who says they're fake?
TWIST
The people at Bloomingdale's did
when I tried to use them last week.
Chris rubs his eyes wearily.
TWIST (cont'd)
But hey, don't worry about it,
chief! I told them you'd pay the
bills off soon enough and they let
me keep all the neat stuff I
bought.
CHRIS
That explains the extra suitcases…
Twist just beams brightly back at him. Chris sighs and looks
back out through the window.
2 EXT. WASHINGTON HIGHWAY - GREYHOUND. NIGHT. 2
Looking down on the bus from outside as dusk sets in all
around us, we pan back from Chris looking out and float
upwards, taking in the capital city's lights.
3 INT. BAGWELL & STITCHLEY'S - BASEMENT. NIGHT. 3
We pan across rows and rows of shelves inside a disused
storeroom, each one covered with a selection of objects
covered by drapes against the dust. We head into the centre
of the room, a large rectangular space which is currently
adorned with painted mystical symbols, and a large magic
circle has been marked out on the floor.
Flaming torches light the room up, and as we watch a
struggling VAMPIRE is dragged into the room down steps
opposite us by two hooded CULTISTS.
VAMPIRE
Let go a me, you religious nutjobs!
What the hell do you want?
The cultists do not speak as they approach the circle and
throw the vampire forward. He stumbles to the ground inside
it, and leaps back up with a snarl to attack his two
opponents, but hits some kind of magical barrier and is
thrown back onto the floor.
He stands and faces the cultists defiantly.
VAMPIRE
Okay, you got me this far. Now
what?
The cultists, still silent, part and take up positions either
side of the magic circle as a third figure walks down into
the room, his face obscured by his hood.
VAMPIRE
What is this, some kind of mass?
(laughs)
You gonna pray me to death?
The third cultist raises his hand, palm first, towards the
vampire, and we see that he has the same symbol as the circle
drawn on his palm. As we watch, the symbol starts to glow
with yellow energy, and around the vampire the circle does
exactly the same.
The circle suddenly flares brilliantly white and we hear the
vampire SCREAM, before the light fades again.
Inside the circle, just a skeleton remains, still upright and
its arms raised in an attempt to protect itself.
The cultist steps forward calmly and removes the skull, after
which the rest of the skeleton collapses into dust.
The cultist turns it over in his hands and speaks.
3RD CULTIST (V.O.)
And now, we just need one more
vampire…
From the skull, we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
4 INT. WASHINGTON BUS STATION. NIGHT. 4
Chris and Twist step down off the bus and into the station.
Chris steps over to the baggage hold and retrieves his and
Twist's luggage as she looks around the inside of the
station.
She wears the same bored look as when she was pestering Chris
on the bus. She looks round as he dumps her two very heavy
suitcases down next to her.
CHRIS
Good grief, woman! What on earth
have you got in there?
TWIST
Women's things. You wouldn't
understand.
CHRIS
Well, we'll have to try and travel
light for a bit, we're going to be
picking up some heavy items.
TWIST
You can carry them, then!
Chris glares at her but the look bounces right off her. He
reaches into his jacket and retrieves a folded flyer for the
auction. He opens it up and shows it to Twist.
It shows the exterior of Bagwell & Stitchley's, an old
fashioned, large building, with some discreet occult symbols
forming a border around it.
CHRIS (V.O.)
That's where we're going. All we
need is somewhere to stay the night
for now and then we hit that first
thing.
TWIST
And where are we going to get the
money for all of this exactly? I
thought we were broke!
CHRIS
I have my connections.
TWIST
You mean we're ripping people off?
There is a long beat before Chris shoulders his bag and walks
off screen. Twist smirks and jogs after him.
5 INT. CAB. NIGHT. 5
The duo pile into the back of a taxicab.
CABBIE
Where can I take you folks?
CHRIS (O.S.)
Nearest safe house, we need a place
for the night.
The cabbie turns round with a broad smile.
CABBIE
No problem! I know just the place.
Hang on tight!
6 EXT. OUTSIDE STATION. NIGHT. 6
The cab revs it engine and screeches away from the kerb,
narrowly missing a few pedestrians as it heads off.
7 EXT. STREET - BODIE'S GUEST HOUSE. NIGHT. 7
The cab skids to a halt on the pavement outside a dilapidated
guest house, three floors high and looking like it could fall
down at any moment. A buzzing neon sign reads 'Bodie's'.
Chris and Twist step out and the cabbie helps them get their
luggage. Chris hands him a few bills and with a nod of his
head he jumps back in his cab and roars off.
Twist looks up at the guest house, distaste on her face.
TWIST
Travelling in real style again,
huh…
CHRIS
Oh, stop complaining. This place is
just fine.
Chris walks up the steps and inside as Twist follows.
8 INT. BODIE'S GUEST HOUSE - RECEPTION. NIGHT. 8
The inside of the building isn't much better - peeling
wallpaper adorns the reception area, and a mis-shaped desk
houses BODIE, a fat, sweaty-looking man with balding hair and
a cigar hanging out of his mouth. Bodie doesn't look up from
the paper he's reading as Chris approaches.
BODIE
Rates are twenty-five a night, no
refunds. You get yer own food, and
w-
CHRIS
Bodie, are you going to talk to
your old buddy Chris like that?
Bodie looks up, and as he recognises Chris a grin breaks out
across his face. He reaches out a hand and Chris shakes,
although Bodie doesn't notice Chris wiping his hand clean on
his jacket afterwards.
BODIE
How the hell you been, Chris? Been
too long, man, too long.
CHRIS
Had a few errands to run. I'm back
in town for a few days, any chance
of the old penthouse suite?
Bodie reaches under the counter and fetches a key.
BODIE
For you, Chris, the house is always
open. You remember the way up,
right?
CHRIS
Yes, thanks, Bodie.
BODIE
(leers at Twist)
Keeping better company these days?
TWIST
Hi there. I'm Twist.
BODIE
You can twist me round your little
finger any day, darlin'!
He chuckles as Twist, grin still in place, throws Chris a
look to suggest they should be going. Soon. Like, now.
CHRIS
Knock it off, Bodie. Twist's
working with me.
BODIE
Oh, you still after that crazy-ass
'cure' thing, huh?
CHRIS
Yes, that's the one.
BODIE
Heh, good luck with that, man.
Lift's still in the usual place.
CHRIS
(to Twist)
Let's go.
Twist tries to ignore Bodie checking her out as they walk
past the reception desk.
9 INT. BODIE'S - ELEVATOR. NIGHT. 9
The carpets and wallpaper look in need of replacing and the
light fixture overhead flickers.
TWIST
I dread to think what you did to
make that guy like you so much…
CHRIS
There were a couple of gangsters
roughing up his clients, so I took
care of them, saved the business.
Now I've always got a place to
stay.
TWIST
I'd be touched, if it wasn't for
Uncle Fester back there drooling
quite so much at the sight of me.
Twist throws her hair back over each shoulder, mock fashion
model style.
TWIST (cont'd)
I mean, I know I'm stunningly
beautiful and all, but these goods
aren't on show for anyone, you
know?
CHRIS
Oh yes, I forgot, you're saving
yourself up for… who was it?
TWIST
(as the doors close)
Antonio Banderas. As Armand.
10 INT. BODIE'S - PENTHOUSE. NIGHT. 10
The 'penthouse' suite actually isn't too bad - it's the
cleanest room in the building, with a commanding view of the
city. Chris is typing away at a laptop, the room dark but his
face lit by the screen's glow. From behind the bathroom door
we hear the shower running and Twist's voice, singing along
to Fiona Apple's 'Criminal'. Chris dials a number in on his
phone.
CHRIS
Neuro, you there?
NEURO
(filtered; through phone)
This is he. Speak, o traveller.
CHRIS
Need a favour, if you'd be so kind?
Chris leans forward and taps on the laptop keyboard.
CHRIS (cont'd)
I'm in the nation's capital to do
some shopping, but coming up short
in the credit department. Any
chance you can wing some funds my
way?
NEURO
Your PC plugged in and hooked up?
CHRIS
Ready and waiting.
NEURO
Alright then, keep one eye on your
funds and you can thank me later.
CHRIS
Cheers, Neuro. Speak to you in a
bit.
Chris hangs up and leans back in his chair, hands behind his
head with a satisfied sigh.
On the laptop screen, the amount of money in the account
starts to creep up, a few dollars at a time.
11 EXT. BAGWELL & STITCHLEY'S. DAY. 11
Chris walks up the street towards the outside of the auction
house, joining a queue of potential buyers. Placards outside
advertise the auction, but they make no mention of the occult
side of the auction - this is obviously only for people in
the know.
Chris' phone rings as he's about to enter.
TWIST
(filtered; through phone)
You made it in yet?
CHRIS
Almost, give me a couple of
minutes. You still okay to get
inside?
12 EXT. BAGWELL & STITCHLEY'S - DELIVERY ENTRANCE. DAY. 12
Twist lurks in the shadows, eyes on the large steel shuttered
doors where delivery trucks unload, a thick blanket over her
head against any stray sunlight.
TWIST
Yup, I'm out back, waiting for you
to open the doors. Trust today to
be one of the sunniest days of the
year, eh?
CHRIS
(filtered; through phone)
Murphy's Law, my dear. Hang tight
for a few more minutes and I'll get
you safely inside.
Twist hangs up and huddles down.
13 INT. BAGWELL & STITCHLEY'S. DAY. 13
Chris passes by three large auction rooms - a lectern on
stage and rows of chairs, which are rapidly starting to fill
up with clients - and a few burly looking security guards
that keep an eye on everyone.
14 INT. BAGWELL & STITCHLEY'S - DELIVERY BAY. DAY. 14
Chris sneaks into frame at the top of a staircase above the
bay. We can see the shutters that lead outside, and below us
are several large trucks and teams of workers.
Chris spots something, and with a grin holds up his hand,
clenching his fist and muttering something under his breath.
Blue energy starts to gather round it, then he glances over
to the left again and THROWS the energy on.
An unmanned truck sits by one side of the bay, and as Chris'
spell hits it, it starts to roll forwards. A few workers have
to dive out of the way as it CRASHES into the opposite wall,
tipping onto its side and spilling its contents.
Workers shout at each other as they crowd round the wreck,
trying to work out whose fault it was.
With a sly grin, Chris sneaks down the stairs and over to a
small door leading outside.
15 EXT. BAGWELL & STITCHLEY'S - DELIVERY ENTRANCE. DAY. 15
Twist looks up as the door opens and Chris pokes his head
out, beckoning to her. She hops up and makes a dash for the
door, and Chris shuts the door after her.
16 INT. BAGWELL & STITCHLEY'S. DAY. 16
Chris and Twist walk down one of the corridors leading back
to the auction rooms. One of the guards eyes Twist
suspiciously, but she just waves a cheery hello at him.
Chris stops outside the first auction room.
CHRIS
Right, I'm going in here to make a
start. You stick around here and
try not to get into any trouble,
okay? There are a lot of unsavoury
people round here, so keep a low
profile.
TWIST
(salutes)
Aye, cap'n.
CHRIS
And for god's sake, don't wink at
anyone, or wave, or nod, or
anything like that, because you'll
end up buying us several thousand
dollars worth of used cutlery or
something.
TWIST
I'll sit on my hands in the corner
till you come back, sensai.
CHRIS
Somehow, I doubt that…
Chris heads into the room, and Twist takes a moment to look
around. The walls are adorned with paintings, and skylights
overhead cast patches of sun down which she is careful to
step around. She stops next to one of the paintings and leans
forward for a closer look.
It's a medieval battle scene, lots of blood and death - two
opposing armies tearing chunks out of each other as storm
clouds gather overhead.
VOICE (O.S.)
It's magnificent, isn't it?
Twist leans back and looks round - stood next to her is
TRAVERS, a tall, handsome looking man in a suit.
TRAVERS
Marcelli, late sixteenth century,
depicting the final clash between
two medieval warlords in ancient
Italy.
TWIST
It's missing something.
TRAVERS
Missing?
TWIST
Yeah. It needs something about
here.
She points to one corner of the painting, then steps back to
ponder again. Travers has a bemused smile on his face.
TRAVERS
What would you suggest?
TWIST
Something to offset all the blood
and carnage, like a couple of
fluffy kittens or something… you
got a pen?
Travers chuckles and holds out a hand which Twist shakes.
TRAVERS
Hello there, I'm Bill Travers, I'm
Mr. Bagwell's assistant.
TWIST
I'm Twist. I'm here with a
colleague, he's in the auction at
the moment.
TRAVERS
Ah yes, you must be here for our
more… exotic items.
TWIST
That's his kind of thing alright!
TRAVERS
I take it you're not much of an
antiques kind of girl?
TWIST
Me? Heck no, the oldest things I
own are this jacket and my Madonna
LPs.
Travers smiles again, bemused by this unusual visitor to the
auction hall.
TRAVERS
Mind if I show you around a bit? I
don't get much chance to meet
anyone but stuffy art collectors
these days.
Twist looks him up and down. Chris told her to wait, but this
guy is pretty cute - what harm can it do?
TWIST
Okay. Just don't let me buy
anything, he took my credit cards
off me.
TRAVERS
You're in safe hands. Follow me.
The two walk O.S. We pan across and look in on the auction
which is just starting.
17 INT. BAGWELL & STITCHLEY'S - AUCTION ROOM. DAY. 17
Chris sits towards the rear of the room, watching the
auctioneer as he steps up behind the lectern. This is
STITCHLEY, one of the owners, an elderly man with gold-rimmed
glasses and an arched, hawk-like nose.
He taps his hammer on the edge of his lectern to get the
room's attention, as two assistants walk out from backstage
with a set of large, dusty leather-bound books in their
hands.
STITCHLEY
Good morning, everyone, welcome to
Bagwell and Stitchley's. Glad to
see such a full and varied turnout,
once again! Today's first item will
be lot number 117, the complete set
of Dureno's Dialogues, dating back
to approximately 800 A.D. We'll
start the bidding at twenty-five
thousand.
The auction begins - people raise their hands or nod, and
Stitchley keeps track of it all, raising the bids until Chris
makes a late bid.
STITCHLEY (cont'd)
Eighty thousand, gentleman at the
back. Do I hear eighty-five? Going
once… twice…
(taps hammer)
Sold, for eighty thousand dollars.
Chris grins and ticks off one item on a long list in his
hand, looking particularly pleased with himself.
18 INT. BAGWELL & STITCHLEY'S - CORRIDOR. DAY. 18
Twist and Travers walk along, Travers pointing out various
objects of art as Twist listens, one eye on him.
TRAVERS
(points to a tapestry)
See that up there? That predates
the Bayeaux Tapestries, it's from
ancient England and is currently
priceless. It's just a fragment but
we believe the rest is still out
there, somewhere.
TWIST
Don't you ever get troubled by
thieves, having all this kind of
stuff around? And especially with
so many occult things on your
books.
TRAVERS
We have an extensive security
system. Alarms, guards, magical
barriers, the works. Mr. Bagwell
takes all this very seriously,
nothing gets in or out of here
without us knowing!
TWIST
(cheeky grin)
His hiring policy seems to be
working, at least…
They walk forward a few more steps when Twist almost steps
straight into a sunbeam filtering down from an overhead
window. With a YELP she hops back.
TRAVERS
What's wrong?
TWIST
(evasively)
Huh? Oh, that. Er, nothing, I just
have, uh, very sensitive skin. Try
to stay out of sunlight, you know?
There's a beat before Travers smiles disarmingly again.
TRAVERS
Yes, I do, my sister's like that. A
few minutes out in the sun and she
goes a lovely shade of lobster.
TWIST
Heh, yep, that's me alright!
They walk on, but we notice Travers looking at Twist entirely
differently, as though he's worked something out about her.
The pair walk off camera.
19 INT. BAGWELL & STITCHLEY'S - OUTSIDE AUCTION. LATER. 19
Twist stands, looking around as she waits for Chris to file
out with the others. She spots him and waves.
TWIST
What'cha get me?
CHRIS
Well, there was this antique
Egyptian necklace that caught my
eye…
TWIST
(claps hands excitedly)
Oo!
CHRIS
But when the bidding passed three
million I thought I'd better stop.
TWIST
D'oh!
CHRIS
I managed to pick up some great
finds though, like all these books
on Australian mysticism, which you
jus-
TWIST
(interrupts)
Fascinating. So, anyway, I met this
sweet guy, and he showed me round
the place, said anytime we're
looking for something we should
give him a call!
Twist takes a business card from her shirt pocket.
TWIST (cont'd)
Bill Travers. Seemed like a nice
guy too. Very buff.
CHRIS
I might have known you'd find some
way to pass the time…
TWIST
What? I wasn't going to stand
around by myself if there was a
cute guy I could be talking to, was
I?
CHRIS
Bill Travers… I'm sure I know that
name from somewhere…
TWIST
(snatches card back)
Well, he's my contact now, so nerr.
CHRIS
Whatever keeps you quiet. Come on,
I need to go pay for my winnings.
TWIST
I don't want to know where you got
the money from, do I…
CHRIS
No, you don't.
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Script created with Final Draft by Final Draft, Inc.