sib1x03 Script created with Final Draft by Final Draft, Inc.
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20 INT. BAGWELL & STITCHLEY'S - BAGWELL'S OFFICE. DAY. 20
We're watching the corridor via a TV monitor as Chris and
Twist walk off it. Panning back, we see that the monitor is
mounted into a desk in a plush office suite, and sat behind
that desk is BAGWELL, the other owner of the auction house.
A tall, slim man with dark hair, a neatly trimmed beard and
distinguished features, he looks a lot more like the power
behind the operation than frail old Stitchley does
downstairs. He studies the monitors for a few moments before
turning to his side.
BAGWELL
And this girl, is she what we're
looking for?
Travers, stood dutifully by his boss' side, nods.
TRAVERS
Absolutely, sir. The readers picked
her up as soon as she walked in,
and when I went to talk to her I
spotted a few things that confirmed
it - she's a vampire. We're not
sure about
the man with her - I thought I
recognised him but I'm not sure.
BAGWELL
Never mind. Concentrate your
efforts on that girl. We only have
one day before the trace will be
lost, and then all our work will
have been for nothing!
TRAVERS
I understand.
Bagwell hits a button to pause the screen as it shows a clear
shot of Twist. His finger presses against the screen.
BAGWELL (V.O.)
Bring me that vampire.
We hold on the flickering freeze frame image of Twist.
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
21 INT. BODIE'S - PENTHOUSE SUITE. NIGHT. 21
Chris has ten books spread on the bed in front of him as
laptop flickers away, lighting up the concentration on his
face as he makes copious amounts of notes.
Twist, conversely, is on the sofa, hugging her knees and
flicking through the TV channels, not finding anything to
watch. Twist stares out through the window.
CHRIS
If you're bored, you may as well go
for a wander outside, I'm going to
be tied up in here for a while yet.
TWIST
How long is a while?
CHRIS
(indicating the books)
Well, this one's written in Demi
Kurzan, which is a swine to
translate anyway, but I've worked
out that it's actually been badly
translated from the original
Sumerian, so I've got to cross
reference it with these two other
books, and so on and so on.
TWIST
Be still my unbeating heart.
CHRIS
You're going to have to learn more
about this sooner or later, you
know.
TWIST
It can wait. I'm not getting any
older, and neither are you.
Twist heads over to the door, picking up her short black
leather jacket and a wallet off the table.
CHRIS
(without looking up)
That's my wallet.
TWIST
I know. Mine's empty. See ya!
She leaves. Chris sighs and turns back to his books.
22 EXT. WASHINGTON - CITY CENTRE. NIGHT. 22
A happier look is on Twist's face as she walks into frames,
tall buildings and neon lights all around her. She's a city
girl and feels more at home here than stuck in a small hotel
room. People mill around her as she crosses a road, losing
herself in the crowds and window shopping, soaking up the
early evening atmosphere.
23 EXT. WASHINGTON - ALLEY ENTRANCE. NIGHT. 23
She walks past the entrance to an alleyway between buildings
and stops suddenly. She takes her Walkman headphones out and
tucks it back in her jacket pocket before turning to face the
alley, sniffing the air a few times and crinkling her nose
up.
TWIST
Uh-oh… trouble!
She jogs down the alley, disappearing into the darkness.
24 EXT. WASHINGTON - ALLEY. NIGHT. 24
We can just about make out Twist, eyes glinting in the
darkness, and we hear the sounds of a struggle up ahead - a
woman's cries for help and two male voices.
Next to two dumpsters and a lonely streetlamp, two street
punks are harassing a young WOMAN. As Twist gets closer, we
see their snarling faces - they are VAMPIRES, trying to get
their next meal.
VAMP #1
Come on honey, don't fight!
VAMP #2
Yeah, it'll only hurt for a minute…
WOMAN
Oh God, just let me go, please,
I'll give you all my money, please…
TWIST (O.S.)
Hey!!
The vamps look up.
Twist appears, walking slowly out of the darkness towards
them. She does not look happy.
TWIST (cont'd)
You heard the girl.
VAMP #1
Hey, lookit that, Petey, fresh
meat!
VAMP #2
Alright, two for the price of one!
TWIST
Well, they say gentlemen prefer
blondes, but you two ain't
gentlemen…
With a HISS, Twist bares her own fangs. The woman whimpers in
fear as the two vamps look surprised - they don't get
attacked by their own kind very often.
TWIST (cont'd)
And I ain't your average blonde.
The first vamp jumps at her with a roar, she catches him in
mid-air and SLAMS him face first into the alley wall.
As he drops, the second vamp throws the woman to the ground
and steps forward, but Twist is already there, landing three
quick punches and then grabbing the vamp's arm, wrenching it
round and hurling him over her shoulder to THUD into one of
the dumpsters.
TWIST (cont'd)
Come on! This is the most exercise
I've had for days… Fight back!
With a look of terror, the vamps run off back down the alley.
Twist throws her hands up in despair.
TWIST (cont'd)
Phooey. Punks!
She turns round to their intended victim, sprawled sobbing on
the alley floor. Twist reaches out a hand, and the woman
looks up at it with fear.
TWIST (cont'd)
Relax, I'm with the good guys. The
rescue ought to have proved that!
The woman slowly reaches out and Twist helps her up.
WOMAN
T-Th-thank you…
TWIST
'S cool. It's what I do.
WOMAN
W-What are you?
TWIST
Me? Vampire.
Twist realises she should have phrased that a bit better.
TWIST (cont'd)
A good vampire, trust me. There's a
few of us around. I'm Twist. You
are?
WOMAN
Josie. J-Josie Brown.
TWIST
Well then, J-Josie Brown, you'd
best get home and keep more of an
eye out for trouble in future. I'm
not always going to be around to
help you out.
JOSIE
Thank you, thank you. Do you know
about the other attacks?
TWIST
Nope, what other attacks?
JOSIE
This has been happening for a few
weeks now, people keep being
mugged.
TWIST
Hate to break this to ya, but
nothing new there, sweetheart!
JOSIE
It's different. They don't just get
mugged, they get… they get killed.
TWIST
(puts fingers to jugular)
Let me guess, two bite marks here?
JOSIE
It's been happening a lot lately,
everyone around here's terrified
about it. The police aren't doing
anything about it either.
TWIST
They never do, they're not so hot
with things they don't understand.
Josie, you get yourself home, I'll
check out what's going on here.
Josie nods, gathers her bag from the floor and heads off,
jogging out of the end of the alley and off screen.
TWIST (cont'd)
And this looks like a job for…
25 INT. BODIE'S - PENTHOUSE SUITE. NIGHT. 25
As before, Chris looking up from the books around him.
CHRIS
Vampire attacks?
TWIST
She said they'd been happening all
over town. Could be a nest.
CHRIS
Twist, we don't have time for this.
TWIST
What do you mean, 'don't have
time'? We're the good guys, aren't
we?
CHRIS
Don't get any ideas, we don't go
around doing that 'help the
helpless' stuff. We've got a job to
do and if we let everything that
comes our way distract us, then
we're never going to get finished.
TWIST
Screw that! I need all the help I
can get with my rap sheet, and if I
can pay back the world a little
every time I help someone out, then
you're damn sure that's what I'm
gonna do! And you, my stuffy
British friend, are going to help
me, or I'm walking.
Twist sweeps the books off the bed, glaring right into Chris'
face. They stare each other out for a few moments, before
Chris sighs, bows his head, then nods.
TWIST (cont'd)
That's better!
CHRIS
I'm not a bad person, Twist. I'm
sorry that people need help at all,
but the reason I'm still on the
road now is because I used to keep
stopping to help people on the way.
when it's a job to get us some
money, that's a different matter,
but trying to be the good Samaritan
in every city we pass through...
That just doesn't work anymore.
TWIST
What changed?
Chris goes very quiet, and Twist rolls her eyes.
TWIST (cont'd)
I get it, long story. Never mind.
Look, let's just do a sweep, if
nothing turns up, we leave it.
Deal?
CHRIS
Deal.
TWIST
Groovy. Now, what she said was-
CRASH! The room's windows burst inwards and the penthouse's
door is kicked open. Two black clad ASSASSINS have just
rappelled down the outside of the building and kicked their
way inside, with two more in the doorway.
Chris and Twist look each way, then with one co-ordinated
movement leap off the bed, Twist towards the door and Chris
towards the window.
Chris leaps to the attack, trading blows with the first two
assassins, who are brandishing taser sticks.
A jump kick slams the first attacker into the doorframe, and
as he falls Twist takes a hit off the second.
TWIST (cont'd)
Ow! That just bought you a month of
hospital food, creep!
They step to it - the attacker is fast but Twist's boosted
vampire reflexes kick in as she vamps up and sends a flurry
of punches, chops and jabs his way.
Chris scoops up a sword from the floor and swings it round,
SLICING through the arm of one of his attackers and leaving
it lying on the ground.
As that man yells and staggers backwards, clutching what's
left of his arm, the second lunges forward with his taser,
but Chris dodges and with an elbow to his chest knocks him to
the ground.
Twist lands an uppercut to her attacker's jaw which sends the
man staggering backwards, out into the corridor and then flat
on his back. She turns back round to Chris.
The man with half an arm slumps to the floor, and as the man
with the taser tries to zap Chris again, he grabs his hand,
reverses the taser and tags the man with it.
Electricity courses over his body, and he judders before
keeling over backwards to the ground, knocking the TV to the
floor as he falls. Chris rolls his eyes and sighs.
CHRIS
They never just fall over, do they?
They've always got to hit something
on the way down…
TWIST (O.S.)
Chris! The other one!
Twist is pointing out through the doorway. Her first attacker
is still slumped by the doorframe, but the one she knocked
out into the corridor is missing.
TWIST (cont'd)
Goon number four got away, come on!
Vamos!
She races out through the door after him. Chris makes it to
the door, sword still in hand, and throws one glance back
over the now wrecked room before following her.
26 INT. BODIE'S - STAIRS. NIGHT. 26
The assassin bounds down the stairs, taking three at a time
as he runs for the exit. Seconds later, Twist leaps down the
steps after him, closely followed by Chris.
27 INT. BODIE'S - RECEPTION. NIGHT. 27
Bodie, behind his desk, looks up as the assassin races past
him and out through the main doors. He shouts out to Chris as
the duo race past moments later.
BODIE
Hey, Chris! You better not have
messed up that room!
CHRIS
(over his shoulder)
I'll pay for it when I get back!
Chris and Twist exit. We stay on Bodie for a second as he
mutters and picks up his newspaper again.
28 EXT. WASHINGTON - CITY CENTRE. NIGHT. 28
The man runs across a street and into one of the city's main
avenues, barging people out of the way as he goes.
A car screeches to a halt to avoid him as he darts across a
road, and he slides across the bumper to keep moving. Chris
and Twist are visible in pursuit behind him.
TWIST
Why do they always have to run?
CHRIS
Must be in the job description!
Come on, don't lose him!
29 EXT. BAGWELL & STITCHLEY'S - REAR ENTRANCE. NIGHT. 29
We're looking at the loading bay doors from a distance as our
would-be assassin races up to the door, fumbles with a set of
keys and then disappears inside. Staying on the doors, Chris
and Twist lean into frame.
CHRIS
I wonder what he's doing here?
TWIST
Well, I'm no detective, but do you
think maybe those goons work for
Bag Lady and Stitch-Up, or whatever
they're called?
CHRIS
Looks that way… Why were they after
us, I wonder?
TWIST
You think they want their stuff
back?
CHRIS
Could be, it'd be a good gig,
wouldn't it? Sell rare items for
millions of dollars at a time and
then just steal them back and kill
the people who won them.
TWIST
I hope eBay don't start doing that…
CHRIS
Come on, let's go take a look
inside.
The duo scamper across the small gravel courtyard and up to
the back door of the building.
Chris tries the door handle but it's locked, so he steps back
and whispers one magic phrase. We hear the lock CLICK.
TWIST
Show-off.
Chris puts a finger to his lips as they step inside.
30 INT. BAGWELL & STITCHLEY'S - CORRIDOR. NIGHT. 30
Chris and Twist pad silently along. They can see lights from
underneath a service door at the end of the corridor, and
they take up positions either side of it.
CHRIS
(whispers)
Ready?
TWIST
(whispers)
Ready.
(beat)
Wait, for what?
CHRIS
Well, I was going to bust the door
open and see what's down there…
TWIST
Hadn't we better listen a little
first? There could be another few
dozen of those half-baked assassin
guys down there, and even though
they weren't that tough I don't
fancy taking on a whole platoon of
them!
CHRIS
Good point. Okay, give me a second.
Chris sits down on the floor, facing the wall. Twist looks
on, wondering what he's doing.
His eyes are closed and he's subvocalising a long string of
incantations as the camera draws close to him.
We head towards the wall, but just as we're about to hit it
the wall fades away and the camera floats down and into the
storeroom we saw in the Teaser.
31 INT. BAGWELL & STITCHLEY'S - BASEMENT. NIGHT. 31
We're watching the scene through the spell Chris has just
cast, so the camera appears to be floating in mid-air,
bobbing gently with a blurred effect.
This time there are no hooded cultists in the basement, just
Travers, on his knees marking out a fresh magic circle on the
ground. He looks up as the assassin walks up to him, and the
man tears off his balaclava, looking breathless.
TRAVERS
You took your time.
(beat)
Where are the others?
ASSASSIN
Gone. All of them.
TRAVERS
Well, that's no good. Mr. Bagwell
isn't going to like that at all!
ASSASSIN
We surprised them, they were
staying in this fleapit downtown so
we just broke in, but…
TRAVERS
But what?
ASSASIN
They… fought back. Took Martin's
arm straight off and beat Davies
and Hartley to the floor in
seconds.
Travers pauses as he considers this for a few moments.
TRAVERS
What about the girl?
ASSASSIN
That's who fought me. She's pretty
feisty, you know! And she's-
TRAVERS
She's perfect. She's all we'll need
to complete the summoning.
ASSASSIN
Yeah, well, vampire or no vampire,
I don't get paid enough for this
crap.
The man walks away, leaving Travers with a cheshire cat grin
on his face.
32 INT. BAGWELL & STITCHLEY'S - CORRIDOR. NIGHT. 32
Chris' eyes snap open, and he lets out a breath and falls to
the side a little, but Twist is there to keep him up.
TWIST
Well? What did you see?
Chris tries to catch his breath to answer.
CHRIS
I'm not sure, but I think we need
to spend a little more time looking
into this place…
Twist's head snaps round - two voices are approaching.
TWIST
Sounds like the night patrol -
Travers told me they have a lot of
magical protection over the goods
in this place.
CHRIS
Let's make a strategic withdrawal
then, I'll come back in the morning
and look round.
Twist helps Chris to his feet and the two sneak back away
down the corridor. Chris looks up towards the ceiling as they
head out.
Chris missed one thing - the tiny camera mounted high in the
ceiling that's watched their every move. It's red light
blinks once.
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
33 INT. BAGWELL'S OFFICE. MORNING. 33
Bagwell is sat behind his expensive-looking desk, sipping a
coffee and reading the morning paper. He finishes the drink
and throws the paper down on the desktop, standing and
leaving the room.
We stay on the scene and look up towards the ceiling, aiming
up at an air vent.
34 INT. AIR VENT. MORNING. 34
It's cramped up there, and Chris is stuffed uncomfortably
inside. His bag lies in the tunnel next to him, and he
retrieves a small electric screwdriver from it, beginning to
carefully remove the bolts holding the grille in place.
He takes the last bolt out and puts the screwdriver away,
bringing out a small glass ball with a glowing sphere of
purple energy inside it.
35 INT. BAGWELL & STITCHLEY'S - SECURITY. MORNING. 35
A guard sits with his feet up on the control desk, a small
bank of video monitors opposite him, as he reads the paper
and sips at his drink. He isn't paying attention to the wall
of screens.
Close up on one screen, we see the camera is looking out over
Bagwell's office. We see the grille start to move as Chris
removes it, then a line of purple interference runs across
the screen and everything is back to normal.
36 INT. BAGWELL'S OFFICE. MORNING. 36
Chris moves the grille out of the way and peers down into the
room, scanning to make sure nobody is around.
He sees the desk with a closed laptop on top, Bagwell having
left by the only door and locked it behind him.
Chris grins and lowers himself down out of the vent, letting
go and dropping the last few feet to the floor, landing
lightly on his feet.
He steps up to the desk, waves his hand over the laptop once
and we see a green glow before he opens the laptop.
Bagwell's screensaver is an image of Britney Spears. Chris
grins, tuts and shakes his head.
CHRIS
What is it with these would-be evil
masterminds and their pop tarts?
With a few deft keystrokes he starts up the laptop, trying to
open a few folders. Each attempt is met with a BEEP and an
error message, and he frowns as he realises the terminal is
locked. He closes his eyes, cracks his fingers and takes a
deep breath.
A light green hazy glow starts to form around his fingers,
and as Chris holds his hands over the keyboard, a pair of
ghostly hands form out of the mist and start to rapidly type
away at the keyboard.
After a few moments, a happy BLEEP is heard, and Chris opens
his eyes to see that the spell has given him free access. He
sits down to search through it, his brow creased with
concentration.
37 INT. VAMPIRE NEST. DAY. 37
We're looking at the iron door from inside a run down old
apartment building, graffiti scrawled on the walls and refuse
littering the floors. Someone is KNOCKING on the door, and as
the sound echoes around a rough looking VAMPIRE walks into
frame. He mutters and opens the door.
VAMPIRE
Yeah, what?
A fist streaks into frame, clocking the vamp on his nose. He
yells and stutters backwards.
Twist steps inside, shaded from the morning sun outside, but
wearing shades nonetheless. A stake is in one hand.
TWIST
Three guesses. Avon ain't calling.
The vamp snarls at her, but she just raises an eyebrow and
doesn't flinch. The vamp can sense that she's tougher than
she looks and backs up a little.
Twist steps into a small, dirty room with a table covered
with empty food cartons and a patchy sofa spread around the
room. Twist paces up to the table and inspects one of the
cartons.
TWIST (cont'd)
Chinese?
VAMP
(defensive)
Hey, I like the sauce! Business is
slow, anyway, you know.
Twist picks up and sniffs one of the cartons. She nods - it
does smell good, but she puts it back down and walks towards
the vamp, who backs away nervously. He's quite small and not
particularly fearsome.
TWIST
That's not why I'm here. I need
some information.
VAMPIRE
What on?
TWIST
This is the only vamp nest round
here. I know, because I've spent
all morning checking, and I'm now
tired and more than a little
irritable. If I have to ask you a
question twice, I will not be
happy. Clear?
VAMP
G-go ahead, ask what you want.
The vamp nods and steps back again, tripping into one of the
sofas and landing in its seat. Twist grins.
38 INT. BAGWELL'S OFFICE. MORNING. 38
Chris is still at work. The laptop screen shows several
folders are open, and Chris' hand rests against his chin as
he ponders what he's seeing.
CHRIS
What are you up to, Mr. Bagwell?
Chris hears voices outside and quickly closes the laptop,
walking back up to stand beneath the air vent. With one
superhuman jump he leaps upwards and catches on the edge of
the grille, swinging himself up and out of sight just as the
door opens and Bagwell and Travers walk back in.
Chris lowers the grille gently back into place but still
looks out into the office. We see Bagwell sit down and
Travers take the seat opposite.
BAGWELL
So our retrieval operation didn't
go according to plan last night?
TRAVERS
No, sir. Our team was neutralised
and returned empty-handed.
Literally, in one of the cases.
BAGWELL
And where is this Chris Berkeley
now?
TRAVERS
We don't know, he's not at his
original lodgings, we've had it
under surveillance since the raid.
BAGWELL
Well then, Travers, I suggest you
find him and the girl quickly. We
have several business interests in
the area that won't like the idea
of some random do-gooder running
around, getting in the way. We are
rapidly running out of time and I
do not want to explain to our
employer why we failed in this
task. Is that clear?
TRAVERS
Yes, sir.
BAGWELL
Good. You may go.
Travers gets up and leaves. Bagwell waits until he's out the
door and then picks up his phone to make a call.
BAGWELL (cont'd)
I need your men to be ready for
tonight. We may have someone in the
area who could pose a problem.
(beat)
No, not at all. I intend to deal
with it, but to be on the safe side
I want everyone assembled here as
planned.
Inside the vent, Chris breathes out, glad that the danger has
passed, and starts to shimmy back down.
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Script created with Final Draft by Final Draft, Inc.