sib1x04 Script created with Final Draft by Final Draft, Inc.
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13 INT. BRENDA'S APARTMENT - FRONT ROOM. NIGHT. 13
Chris pulls a dust cover off an old sofa and scrapes it along
the wooden floor to the centre of the room. He switches on
the old TV set, and a little play with the aerial produces a
decent signal.
Chris lays his bag down on the sofa and opens it to reveal
his occult texts. Laying them down one at a time on the
floor, he sets himself up for an evening's study. The TV is
showing the report of the premiere Twist is at.
14 EXT. OUTSIDE CINEMA. NIGHT. 14
A wide shot, looking towards a building in the upper left of
the frame as the crowd of fans and brightly lit cinema canopy
occupy the bottom right corner. We can see a black clad
figure making its way across the rooftop.
We pan back down and pick up Twist, joining in with the fans.
Another black limo pulls up and the cheering steps up a
decibel or two.
A dozen camera flashes illuminate the scene as an elegant,
tall actress steps out, wearing a long white dress and
flashing a dazzling smile to the crowds.
Twist tries to recognise the actress but fails, so she turns
to the woman next to her.
TWIST
Who's that again?
WOMAN
(hysterical)
It's… it's… oh my god! Oh my god!
TWIST
Uh, great… thanks.
Twist realises she won't get any sense out of the woman and
settles for waving at the actress as she walks past.
TWIST (cont'd)
(quietly)
Heh, I am way prettier than her…
15 EXT. STREET - NEAR CINEMA. NIGHT. 15
We're looking towards the premiere crowd ahead, from about
fifty yards down the street. A figure drops silently into
frame, standing from a crouch and walking steadily towards
the crowd of fans up ahead.
16 EXT. OUTSIDE CINEMA. NIGHT. 16
Twist looks up and down the red carpeted entrance to the
cinema, and sees that no-one else is due to arrive. The
camera crew are to the right, wrapping up this segment of
their coverage, and the fans are beginning to drift away.
TWIST
Well, looks like the show's over,
kids. Time for bed.
Twist turns to walk away and freezes.
Standing impassively about ten feet away is the brooding form
of Lambert, the man Bagwell summoned from Hell. The crowd
moves either side of him, and he looks up slowly and makes
eye contact with Twist.
She stops as she realises this is the man who's been brought
in to get her and Chris. She tries a bluff.
TWIST (cont'd)
'Scuse me, I was just on my way
back-
17 EXT. OUTSIDE CINEMA - NEWS VAN. NIGHT. 17
We're with the crew as the anchor finishes her report.
CAROLYN
And so that wraps up this evening's
coverage for now, we'll be back at
10 to bring you all the live
interviews and first reactions from
the cast. This is Carolyn Sweet for
OCTV.
She holds the microphone down and the cameraman switches the
camera off. Carolyn opens her mouth to speak when there is a
chorus of SCREAMS from behind her, and she spins round.
Twist flies out of the crowd to the sound of an audible
SMACK! She sails clean through the air and lands with a
painful THUD on the roof of the news van.
People scream and start to run for cover as Lambert steps
coolly over the guard rail after her.
Twist groans as she picks herself up off the dented roof.
TWIST
Always knew TV was bad for me…
A hand snakes into shot and grabs her ankle, and with a yelp
she is dragged off the roof and down onto the floor.
She kicks out with her free leg and catches Lambert, and with
a neat half-roll is on her feet again. She squares off
against the imposing assassin the only way she knows.
TWIST (cont'd)
So, you must be this Hell's
Assassin we've been hearing so much
about! Well let me tell you, pal,
I've squared up to creatures twice
your size, things so ugly they'd
scare a beauty queen into having an
IQ, and you ain't even in their
league!
In the background, fighting their way past the hordes of
rapidly fleeing fans, the news crew are trying to get their
camera up to capture the scene. Twist's eyes flick towards
them, realising she needs to make a quick exit.
18 INT. BRENDA'S APARTMENT. NIGHT. 18
Chris glances up at the TV from his books and stares in shock
at the scene unfolding - the fleeing crowds, and Twist facing
off to the powerful Lambert. He grabs the remote and cranks
up the volume.
TV (ANCHOR)
And so we're back with the premiere
as this incredible scene unfolds
right before our eyes…
As Chris watches, the shaky camera shot shows Lambert landing
a few square blows on Twist, sending her reeling. The two
fight off camera, and the crew start to edge forward to try
and keep an eye on them both.
CHRIS
Oh, no…
Chris leaps up and races out of the apartment.
19 EXT. STREET CAFÉ. NIGHT. 19
SLAM! Twist flies into frame and into the tables and chairs
outside a café, scattering the furniture and the evening
diners. As people run from the scene, Lambert strides
purposefully into frame, grabs Twist by her hair and lifts
her to her feet.
Twist cries out in pain as he spins her round and THROWS her
through the glass window in the front of the shop.
20 INT. CAFÉ. NIGHT. 20
With a slow motion CRASH, Twist blows through the glass,
landing with a thud on one of the larger tables inside. The
terrified patrons scream and run for the doors as the
battered-looking Twist picks herself up again.
The broken glass crunches beneath Lambert's feet as he steps
slowly into the shop.
Cut and bloody, Twist shakes her head to try and clear it,
and dabs gingerly at a cut running down her cheek.
TWIST
You never got your head round that
whole 'don't hit girls' thing, huh?
Lambert is silent; impassive and cold, he stares across at
her, daring her to make the next move. Behind Twist, we can
hear the hushed voices and footsteps of the last few staff
members making their way out.
In the background, the camera crew sneak into frame, covering
the action as the fight steps up a notch.
LAMBERT
You shouldn't be here.
TWIST
Orlando?
LAMBERT
On Earth.
TWIST
Oh. Fair enough…
Lambert starts to pace slowly round Twist.
LAMBERT
You're a wanted girl. Escaped. They
don't like it when people escape.
TWIST
Tell them I was never overjoyed the
prospect of being down there
anyway!
LAMBERT
Now you've got to go back.
TWIST
Says who?
LAMBERT
Me.
Lambert LEAPS forward, but Twist is ready and blocks him,
shoving him in mid-air so he SLAMS into the serving counter
of the café.
Cups and saucers dislodge from shelves overhead and smash on
the floor as Lambert springs back to his feet and launches an
attack, fists flying.
Twist is more warmed up for the fight now, blocking his
punches and swinging back with jabs and chops of her own.
The news crew start to edge into the building via the
shattered window, not wanting to miss a thing.
Lambert kicks and catches Twist across the head, and with a
yelp she staggers off to the left, colliding with an upturned
table.
She flips up a chair and throws it at Lambert as he
approaches, but without flinching he swats it away.
TWIST
Okay, so, chairs no good, what
else…
She scans the floor around her and snatches up a steel
serving tray, holding it up to deflect a punch Lambert sends
at her.
TWIST (cont'd)
Persistent, ain'tcha?
She blocks two more blows before Lambert punches her in the
gut, lifting her off her feet and into the air.
Grabbing her in mid-air, Lambert twists and throws her
against one of the café walls. Twist clatters to the ground,
the fight knocked out of her. Lambert paces over.
From the far side of the room, the entranced camera crew
watch the fight, capturing every moment.
He reaches into his shirt and brings out a stake.
Twist pulls herself up to a sitting position but is too weak
to move, trying to focus her eyes on Lambert.
LAMBERT
They told me to kill you again, to
send you back, and then I can stay.
If I don't, I have to go back.
(getting angry)
I can't go back… I won't! I won't!
Not for you! Not because of you!
TWIST
(frowns)
Do I know you?
Lambert pauses, shaking with rage, before he suddenly yells
and lunges forward with the stake.
BLACK OUT:
END OF ACT TWO
ACT THREE
FADE IN:
21 INT. CAFÉ. NIGHT. 21
As before, with Lambert yelling and lunging at Twist with a
stake, Twist too weak to fight back. Just before the stake
hits, there is a loud WHUMP noise, and with a burst of blue
light, Lambert is knocked off his feet and thrown several
feet sideways.
Knocked from his hands, the stake skitters across the café
floor.
Chris steps into the café, not noticing the camera crew who
are taking cover behind some of the upturned tables by the
broken window. He spots Twist and rushes over to her.
CHRIS
(worried)
Twist! Twist, are you alright? Can
you stand?
TWIST
(groggy)
Just get me an espresso and I'll be
fine… cups and milk are over there…
With a groan, Lambert begins to stand. He's lying on the
floor on the other side of the café, down but not out.
Chris watches the recovering Lambert with concern as he
throws one of Twist's arms round his shoulders and starts to
lift her to her feet.
TWIST (cont'd)
(still dazed)
Huh… what? Are we going home now?
CHRIS
That repulsion spell should have
knocked him out for a week but he's
just getting up again, I think the
plan for now is retreat and
regroup.
TWIST
Wait… wait!
She shoves Chris away and heads for Lambert, who is still
prone. She flops down next to him onto her knees. With a
SNARL, she reveals her fangs and leans in for a bite. Lambert
is silent as she connects.
The camera crew stand from behind the table, amazed at what
they're seeing.
Chris spots them at last, and aims a finger towards them.
Watching Twist take a drink from Lambert, through the
camera's viewpoint, suddenly blares into white noise as
Chris' jinx spell hits the camera.
Chris runs up to Twist and yanks her away from Lambert, Twist
instantly looking fresher as she wipes away the stray blood
from round her mouth.
TWIST (cont'd)
That… is… so much better!
CHRIS
Come on, we have to go, now!
He pulls the revitalised Twist to her feet and the two race
out of the shop, past the camera crew who are frantically
trying to get their jinxed kit working again.
Lambert stands at last, one hand to the bloody wound on his
neck, not looking at all happy.
But as we watch, we see his secret - his blood flows back
into his wound, which seals itself up again as though it was
never there.
Determined, he steps off screen, in pursuit of Chris and
Twist once again.
22 EXT. SQUARE NEAR CINEMA. NIGHT. 22
Chris and Twist tear down the street, pushing past the people
around them as they turn into a large square, back past the
now deserted cinema. Chris throws a look over his shoulder.
Nothing, just the city square and people walking - and then
Lambert races into frame, sprinting after them both.
Chris curses and turns the duo off to the left, down another
street with tall, neon lit buildings either side.
23 EXT. ORLANDO - STREET. NIGHT. 23
Chris pushes away from Twist, and indicates that he'll go to
the left and she should go right.
CHRIS
Split up! I'll double back, try to
sneak up on him!
TWIST
What about me?
CHRIS
Keep running! I'll work on a Plan
'B'!
Chris veers off to the left and we stay with Twist, muttering
under her breath as she speeds up her running. Lambert can
just be made out behind her as he heads into the same street,
in hot pursuit.
24 INT. NEWS VAN. NIGHT. 24
We're with the cameraman and anchor again, driving at speed
through the night traffic as they scour the streets for their
targets. Carolyn is scanning the crowds for any sign of
Twist.
CAROLYN
Come on, come on! Where are they?
DRIVER
You tell me, you guys were the ones
following them!
CAROLYN
(points)
There!
We can see Twist barging through their crowds.
25 EXT. ORLANDO - STREET. NIGHT. 25
Twist looks to her left and sees the news van trying to keep
up with her, darting around the evening traffic.
TWIST
(scowls)
Oh, an audience… perfect!
26 EXT. ORLANDO - ANOTHER STREET. NIGHT. 26
Twist races past shop fronts and throws glances over her
shoulder as though she has someone after her. She comes to a
stop outside a TV store and pauses for breath.
She notices something and glances across the street.
Parked across the street from her is the news van, the
cameraman leaning awkwardly out of the passenger window to
film her.
She groans as she spots them and starts running again. In the
background of the shot we see the cameraman point frantically
to the driver, and the van starts up and drives after her.
27 EXT. OUTSIDE PARK. NIGHT. 27
We're just after the scrap between Lambert and Twist inside
the park. Twist runs out into the street as we hear the sound
of approaching police sirens. She throws a look over her
shoulder.
Lambert, shadows still in his favour, sprints out after her.
We stay with him as the sound of sirens becomes much louder.
He stops and glances to his right.
Lights flashing and siren wailing, the car screeches to a
halt to try and avoid him. No good. THUD! Lambert bounces off
the bonnet of the car, cracking the windscreen and landing in
a heap on the floor.
Across the street, Twist has stopped, still gasping for
breath. We watch the scene from her viewpoint this time.
The two officers inside jump out of their car and walk round
to the unmoving man. One checks the damage on the windscreen -
they haven't noticed Twist.
As the first cop kneels to check Lambert's neck for a pulse,
his hand streaks up and grabs him round the neck.
The camera crew come running into frame from inside the park,
but are felled as the body of the first cop flies through the
air with a shout, hitting them and knocking all three men to
the ground.
Lambert gets to his feet, grabs the second cop who is too
stunned to react, and with a sickening thud smashes his head
into the car's bonnet. He looks up and across the street to
Twist. She gasps and starts running, on towards more city
streets up ahead.
28 EXT. OUTSIDE PARK ENTRANCE. NIGHT. 28
Chris runs into frame from inside the park, and leaps over
the recovering camera crew and stunned police officers as he
sets off after Lambert and Twist.
29 EXT. SHOPPING CENTRE. NIGHT. 29
We're following Twist from behind as she makes a turn inside
and darts in and out of the vendor stalls.
TWIST
Out of the way! Everyone down!
She waves her arms, trying to clear people out of her path,
barging past those too slow to move.
Lambert races forward, knocking shoppers and pedestrians to
the ground in his haste to catch up to Twist.
The mall corridor ahead opens onto a road, and as Twist gets
closer to it we hear police sirens again. As she's about to
cross the road towards the residential complex we can see
ahead, two police cruisers screech into frame, blocking Twist
off.
She stops, looking either side for a way out, then with a
smirk realises what her best option is. She raises her hands
as the officers leap from their cars and train their guns on
her.
COP #1
Freeze! Don't move, hands in the
air!
Twist throws a glance over her shoulder and sees Lambert.
Waiting at the edge of the crowd of nosy onlookers, Lambert
folds his arms as he realises Twist's just made it much
harder for him to grab her. He scowls at her for a moment,
then turns and walks away.
She's still grinning as the officers grab her arms and cuffs
her. She winces but then winks at the cop.
TWIST
Careful, officer, I might start to
like it…
The officer stares for a moment before his partner nudges
him, and he opens the cruiser door and guides Twist inside.
The door slams and we stay on Twist looking out.
30 EXT. ROOF OF MALL. NIGHT. 30
Chris is crouched on the roof. The flashing lights of the
cruisers illuminate him as he watches the scene below.
CHRIS
Clever girl, that got rid of him!
Of course, now there's the small
matter of getting you out of jail…
We watch as the two cruisers pull away and drive off.
31 INT. PRISON CELL. NIGHT. 31
We're looking at Twist as the cell door slides shut in front
of her. She sighs and looks out towards the guard.
The cells area is what you'd expect - dull, grey brickwork,
three cells with barred walls and a single desk with a duty
guard, settling down to eat some nachos and watch the small
TV on his desk.
TWIST
Hey, what about my phone call?
GUARD
Keep it down, blondie. I'm halfway
through the last in the series of
'Dead Like Me,' so I ain't moving!
And anyway, who you gonna call?
TWIST
(before she can stop
herself)
Ghostbust- Never mind.
She sits down on the one plain pew inside the cell and looks
to her left. There is a grizzled looking old drunk in the
cell opposite, who can't help staring at Twist.
TWIST (cont'd)
Hey, how's it going?
The drunk just stares and Twist starts to tap her feet,
looking round and blowing a stray lock of hair away.
32 INT. HOTEL ROOM. NIGHT. 32
Lambert enters and slams the door. He takes off his shirt,
showing the tattoos again, and clicks on the bedside table
lamp. We can see what the photo collage from earlier was -
dozens of pictures of Twist.
The photos are all of Twist in various poses, taken from
black and white glossies and magazine articles. Lambert's
hand reaches in and tenderly touches one of the photos.
33 INT. PRISON CELL. NIGHT. 33
Twist has her eyes closed and her hands behind her head, the
drunk asleep in the next cell snoring softly.
CHRIS (V.O.)
Twist?
TWIST
Huh?
She starts at the sound of Chris' voice, looking around but
not seeing him anywhere.
CHRIS (V.O.)
Oh good, you can hear me.
TWIST
Where are you?
Twist can't see Chris anywhere, even though he sounds like
he's in the cell with her.
CHRIS (V.O.)
Ssh! You'll have the whole station
in here at this rate… I'm just
outside. I'm using telepathy to
talk to you, a trick I learned a
few years ago. Just think what you
want to say, and I should be able
to pick it up.
Twist closes her eyes again and thinks what she's saying.
TWIST (V.O.)
Like this?
CHRIS (V.O.)
Perfect.
TWIST (V.O.)
Heh, this is great. I used to watch
those kids on Escape From Witch
Mountain do this and wish I could…
CHRIS (V.O.)
Try to stay focused if you can,
I've already got the last CD you
listened to playing inside your
mind, and you've got it turned up
quite loud…
TWIST (V.O.)
(grins)
But it's a classic!
CHRIS (V.O.)
Relax all your muscles, I'm going
to try something.
TWIST (V.O.)
That sounds kinda kinky…
CHRIS (V.O.)
Don't get any ideas. Ready?
Twist nods in agreement, then settles back on the pew.
TWIST (V.O.)
Ready.
There is a pause as a green ripple of light forms on the wall
behind her, then Chris' arms reach through and grab her!
She opens her mouth to say something, but before she does the
arms pull and Twist is pulled physically through the wall as
if it wasn't there, disappearing through the brickwork
without a sound.
The drunk in the cell opposite wakes up with a snort, and
looks around for Twist with a confused look on his face.
34 EXT. OUTSIDE PRISON CELL. NIGHT. 34
Twist appears through the cell wall with a shout, pulled out
by Chris, who lets go and lets her stand on the ground
outside. The green ripple effect fades away from the walls as
Twist finds her feet, looking a little disorientated.
The back of the police station is surrounded by thick trees
and there aren't any lights nearby, so the escape has gone
unnoticed. Twist looks round at Chris with a surprised
expression.
TWIST
Since when could you do that?
CHRIS
(out of breath)
Learned it a while ago… takes a lot
out of me, though!
Chris stumbles forward and Twist holds him up.
TWIST
Easy, tiger. Let's get back to that
palm reader's place and plan our
next offensive on Tall, Dark and
Ninja, k?
Chris nods and he and Twist exit to the left.
BLACK OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
35 INT. BRENDA'S STORE - BACK ROOM. NIGHT. 35
Chris is in one of the chairs by the round table, sipping a
cup of coffee while Twist slurps a milkshake, perched on top
of a chest of drawers. Brenda enters and sits, taking the
cloth from the crystal ball.
BRENDA
Well now, you two are quite the
news item at the moment! The local
network can't decide if your little
melee at the premiere was a
publicity stunt for the movie or
two angry fans fighting over an
autograph.
TWIST
Mom always said I'd be on TV one
day…
CHRIS
Precisely why we shouldn't stick
around too long, I don't want a
camera crew following our every
move!
TWIST
Aw, come on, it'd be fun! We could
have our own reality TV show! 'A
Girl And Her Bodyguard.'
CHRIS
'Bodyguard'?
BRENDA
Anyway, I managed to do a little
more snooping around for you.
TWIST
Groovy. Any advance intel we can
get on this guy can only be a good
thing!
Brenda holds her hands over the crystal and closes her eyes,
the white mist we saw before starting to form in the air
around her again.
BRENDA
As you well know by now, he's very
powerful…
TWIST
Got the bruises to prove it!
BRENDA
What I couldn't work out is where
he got this strength from. If he
was just summoned out of Hell he
should be as he was on Earth,
nothing more, nothing less.
CHRIS
Was it like the spell I mis-cast
that brought Twist back?
BRENDA
It seems so, yes.
TWIST
And there was you always telling me
it was an accident!
CHRIS
That's what worries me… I thought
you were the side effect of a badly
conjured spell, but if there's an
actual ritual for bringing people
out of Hell that I just happened to
cast by luck, well… there'd be an
awful lot of people like our turbo
charged friend running around up
here.
TWIST
That's bad, right?
CHRIS
That's bad.
BRENDA
It's not all doom and gloom,
though, because I think I've found
him.
CHRIS
Where?
BRENDA
His psychic signature is a mile
wide, like some kind of black oil
slick following wherever he goes,
and I managed to trace him after
your little televised showdown.
Chris groans, and Twist pats him on the shoulder.
TWIST
So where is he?
BRENDA
A nondescript, low-rent Holiday Inn
off one of the main city centre
freeways. I can give you his room
number if you wait a few moments…
The white mist hanging in the air looks a lot calmer this
time as Brenda moves her hands around over the ball. Twist
leaves the sarcasm at the door this time - Brenda's proven
she's got the talents.
TWIST
He told me he was brought back to
get me, because of me having… well,
he said 'escaped.'
CHRIS
He did?
TWIST
Yeah, and that he can stay here, I
think he meant here on Earth, if he
kills me. Again.
Twist sips her milkshake casually as Chris raises an eyebrow
at her.
CHRIS
You seem remarkably nonchalant
about all this…
TWIST
I'll admit, someone being sent from
Hell to drag me back is a new one,
but pumped up vampire hunting
monsters out to get me? Nothing
new.
BRENDA
Oh!
The duo turn back to Brenda - her eyes are still shut but her
hand is pressed to her chest, her breathing fast as the white
mist fades away overhead.
CHRIS
What's the matter?
BRENDA
Sorry, I saw… something. Something
very evil. Close by, as well.
TWIST
What was it?
BRENDA
It was whoever was behind your
friend's reappearance.
CHRIS
What, Bagwell from the auction
house? He didn't seem that scary…
BRENDA
No, no, this was something else.
Something old.
(beat)
I think it was Him.
TWIST
Simon Cowell?
BRENDA
The Devil.
TWIST
(beat)
So I was right, then.
CHRIS
We'd best go, I have this awful
feeling that assassin is close by,
and I don't want to lead him here.
He gets up, and Twist hops down to the floor, still slurping
at the milkshake.
BRENDA
One last thing…
CHRIS
What's that?
BRENDA
Your man's name is Lambert, he died
over twenty years ago and he has a
particular interest in Miss Twist.
What it is I don't know, but the
emotions involved in it were enough
to get him brought back.
(beat)
Be careful.
TWIST
I'll be fine, long as the Lone
Ranger here doesn't get into any
trouble and need rescuing, right?
Another playful thump on Chris' arm, and he smiles, though
his expression is preoccupied as he dwells on Brenda's words.
With a nod, he heads outside.
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