Scotland, 1790s. A lone figure races through wet heather under a low, slate sky. She wears a travel-stained kimono over leathers and moves with the controlled speed of someone trained in blades; villagers and passing riders whisper her name--Tornado. Pursued by a ruthless band of highwaymen led by a hard-faced Englishman known as Sugarman, she seeks any cover the countryside will give. She breaks into a remote mansion set back from the main road and slips through a side door while the household goes about an evening meal. Once inside, Tornado climbs a narrow stair and presses herself into an upstairs chamber whose floorboards sag and rot. Below, the gang arrives, booming commands as they take the foyer, threaten the family who live there, and force the household to reveal any hiding places. A lanky brigand settles at the piano and fingers a tune while another soldier of Sugarman's detachment creeps toward the upper levels. The floor under that second man gives way with a sickening crack; he plunges through the decayed boards into darkness, crying out. The noise distracts the search and leaves a gap in the gang's attention; Tornado moves, slipping out a window and into the hills. As she runs into the bracken, a young man with ash-blond hair and a face smeared with soot--Sugarman's son Little Sugar--spots her and follows at a distance, curiosity flickering across his expression.

Tornado skirts down into a valley where a travelling circus has set its tents. She approaches the canvas under cover of dusk and disappears among the performers and animals, trading her bloodied cloak for an inconspicuous shawl. Inside the troupe she finds a familiar face: the strongman, a hulking performer who served as a friend to her family. He recognizes her, lifts her chin with broad fingers, and offers food, a bed in the wagon, and a place among the odd fellows who make their living in rings and crowds. Tornado accepts and for a while stays silent, tending to a wound behind her ear with a practiced, steady hand.

As she rests in the company of the circus, the story rewinds into memory. Tornado remembers traveling the countryside years earlier with her father, Fujin. He is a gaunt man who once wore samurai armor but now paints the strings and joints of wooden puppets by daylight and mends the leather harnesses on the cart by night. He spends other nights teaching his daughter swordplay, having reshaped his swordsmanship into a private curriculum for her hands. During one puppet performance the pair pull in a crowd: townsfolk clap as the marionettes bow and the puppet swords rattle. In that audience Tornado sees a small, quick-handed boy moving among pockets and coin purses. He is lean and wary, fingers flicking like a magpie. Tornado notes the child stealing but keeps the observation to herself. After the show the pair pack the wagon and set off; Fujin folds puppet limbs, and Tornado practices short cuts and wrist maneuvers with a training blade.

Sugarman and his gang appear in that memory at a nearby chapel where they have just executed a brazen robbery, carrying off a heavy cache of church gold. The brigands ride past and stop to watch Fujin and Tornado perform. As they laugh and clap, the small pickpocket slips forward, threads a hand into a pouch and lifts the stolen gold from a satchel without drawing attention. Tornado sees the theft and darts after the boy. She catches him and brings him back to her father's wagon. She hides both the boy and the bullion among the ropes and crates so the child will not be taken by the thieves. When the circus prepares to move, Tornado forces the boy from the wagon by shoving him out onto the road, seeding a lie that will protect the troupe--yet she keeps hold of the heavier coins. They drive ahead; a fallen tree lies across the narrow forest track and blocks their passage. Men on horseback surge up behind them: Sugarman's men have caught up. On the wagon roof, Fujin confronts Sugarman; the two men know each other well and exchange words sharpened by history. As tension escalates, a gang archer looses an arrow that strikes Fujin in the torso. Fujin staggers, bleeding, but in a final, furious motion he draws his blade and slashes Sugarman's midsection, raking a deep wound across the bandit leader's stomach. Fujin collapses to the ground and dies; the gang's archer watches impassively. Tornado and the boy pull away into the trees, the gold still hidden between roots; the boy trails behind her, breathing hard.

Back in the present at the circus, Tornado nurses the memory and her current injuries with practiced restraint. The strongman applies salves and tapes, and the troupe's ringmaster and performers keep a careful, hopeful distance, like those who tend to a wounded animal. One night as the fire-bright crowd dwindles, riders appear over the ridge again--the same gang, Sugarman's company, arrives at the campsite. They do not hesitate. Guns boom, tents rip asmen burst through canvas, and men with rifles and pistols begin shooting into the ring and through the wagons. The strongman runs forward to protect the performers; he takes a rifle blast to the chest and collapses in a heap of blood and broken ribs, his massive limbs slackening beneath the sawdust. A young knife-thrower--bare-faced and barely older than a boy--jumps to shield a child performer and a bullet finds him; he falls and does not move. The ring ruptures into screams and smoke as Sugarman's men ransack trunks and take what pockets they can.

In the chaos Little Sugar, who has been brooding under his father's harsh rule for years, confronts Sugarman in front of the torn big top. The son's face is a mask of anger; he let his temper register at last. Earlier, in secret, Little Sugar murdered Kitten, Sugarman's most trusted lieutenant, by thrusting a hidden knife into Kitten's back in a narrow alley as Kitten slept. Kitten's body lay in a cellar and the murder gnawed at Little Sugar. Now, with knives and horses' hooves and flames all around, he lashes out openly at his father. Sugarman recoils and, in brutal response, draws a long knife and stabs Little Sugar in the torso. The boy staggers, his hands clawing at the wound; blood blooms across his shirt and he keels forward, dying on the sawdust as his father watches, face expressionless. The gang's violence continues; one of Sugarman's shooters races the wagons and fires at the fleeing child pickpocket; a round sears through the boy's thigh. He collapses at the wagon's rear with a torn cry. Tornado reaches him, presses a hand to the shredded fabric and the dark stain of his leg, but the bullet punctures an artery and he bleeds out under the wheel. Tornado holds his cooling fingers and feels them slacken. She wraps the boy's face in a scarf and carries him into the woods.

After the attack subsides, Tornado retrieves her father's body from behind the wagon. She kneels in a quiet hollow of firs and lays Fujin on the moss. With hands that shake but do not break, she digs shallow graves with a broken spade: one for the pickpocket boy she had seen in the crowd, now dead from the gunshot wound to his leg; and one for Fujin, who died of the archer's arrow despite having cut Sugarman. She covers the graves with pine needles and small stones and marks them by tying a length of red thread to a low branch. Before she leaves the burial site, she follows the trail back to where she remembers hiding the gold. Fujin, while he still had breath, had moved the hoard from the hole in the ground to the leaftops--he had wedged the heavy coins in the crook of a tree, weighing branches down. Tornado climbs and recovers the cache, feeling its cold weight. She walks to the still lake at the edge of the circus grounds and, without hesitation, drops much of the stolen gold into the dark water. The coins sink and the surface rings; a few remain in her hands. She carries those away, keeping them in a small pouch at her belt.

Grief, sharpened into focus, hardens into a plan of retribution. Tornado spends days following the bandits' trail. She tracks them by broken banks, by the stench of horse dung, by the boots that cross the peat. She finds and corners individual members of Sugarman's band in cottages and wayside inns. In a low-ceilinged stable she confronts a man who had shot at the wagon; she slips forward and with a single, decisive motion she drives her short sword through his armpit into his heart. On a cliff path she boxes a lean rider against a wall and severs his carotid with a swift sweep. By a riverside she encounters another brigand who draws a pistol; Tornado ducks, closes the distance, and breaks his wrist with a throw before driving the blade beneath his ribs. Each ambush is a cold choreography: she watches their patterns, waits until they are alone, then takes them. She does not shout or gloat. She removes weapons from some and leaves them to bleed into mud, she disarms others and pushes them from cliffs, and she forces a duelist to fall onto his own bayonet after parrying and guiding his blade. One by one the gang shrinks: Sugarman's lieutenants and those who pillaged with him fall in quick, precise encounters that do not waste time on mercy. Tornado collects a memento from each--often a folded handkerchief or a brass button--and places them at the base of a standing stone in the hollow where she buried Fujin.

Sugarman, despite the wound across his stomach that Fujin scored years before, remains alive and a threat. He travels with fewer men and a growing madness. Tornado traces his movements to a ruined manor near the coast where the leader now lies weakened but still dangerous. She approaches at dawn, hiding her face beneath a ragged hood and the tip of her sword glinting like a question in the pale light. Sugarman is propped against a collapsed column, his shirt soaked and his movements shallow; infection has settled into the old wound and his breaths are ragged. A small band of his last followers stands guard, but they are tired and ill-disciplined. Tornado slips between them like a shadow and, when they realize her presence, she engages: she parries a wild slash and counters with a cut that severs tendons in a wrist, then moves through to the main chamber where Sugarman watches her with a hard, amused stare.

Their final meeting takes place among crumbling stone and flung chairs. Sugarman leans back and looks at Tornado as if evaluating an old rival. He grins, blood trickling from the rag at his midriff where Fujin's blade had opened him before. Tornado circles and he attempts to reach a pistol. She closes the space and their blades meet with a short, coordinated storm of strikes and counterstrikes. Sugarman reaches out and catches her cloak; in the scuffle he speaks in a hoarse voice, calling her something he has kept in his mind--he calls her a samurai, a name he had never used before, and his tone is both recognition and surrender. Tornado does not respond with words. She turns her wrist, drives her sword between his ribs, and pulls upward. Sugarman gasps, his fingers release the pistol, and he slumps forward onto a heap of rubble, his blood sprawling over the cold flagstones. His pupils narrow; then the life drains out and he is still. She stands above him for a moment, the blade warm in her hand, and then she wipes the edge against a hanging drape and leaves the ruin.

After the killing, Tornado returns to the remains of the circus. The performers who survived the attack stand under a tattered tent, their faces hollow from blood and smoke. Vienna, the troupe's weathered leader--herself thin and guarded--convenes those left at the ring. She speaks quietly to Tornado and to the ringmaster, offering condolences and a suggestion: to take Tornado's story and stage it as a new act, to turn the pain into spectacle and sell seats to comfort the troupe's coffers. The ringmaster outlines the plans with brisk, businesslike gestures. Tornado listens, the wind from the open tent pushing her hair back and revealing a face set in decision. For a moment she allows herself the idea; the circus offers shelter and a circuit where her name would become a tale and where the ring could hide a woman who now knows how to take life without flinching. But the next morning she packs only her swords and a small handful of the gold she kept from the lake. She ties her blades to her back in the old fashioned way her father taught her, nods once to Vienna and the remaining performers, and walks away from the wagons into the moorland.

In the final scenes Tornado disappears over a ridge into the open hills, her silhouette narrowing to a solitary line beneath the pale sky. She keeps the last of the coins in a small leather pouch at her breast and the memory of Fujin and the pickpocket boy tied to the red thread she left at their grave. The ring behind her goes on as it must--the performers pack and move on--but Tornado does not look back. She moves with the precise steps of someone who has buried loved ones, avenged them, and then chosen a path without names or parades. The camera follows her for a long beat as she drops down into a fold of the land and then rises out of sight, sword at her hip and the distant cry of a gull across the gray sky. The story ends with Tornado walking alone into the wilderness, her figure absorbed by the heather and the wind.

The movie Tornado (2025) ends with Tornado escaping from Sugarman's gang after a violent confrontation, while Sugarman himself is fatally wounded. Tornado survives and disappears into the wilderness, leaving behind the chaos and death caused by greed and violence. Sugarman's son, Little Sugar, survives but remains conflicted, hinting at an uncertain future.

Expanding on the ending scene by scene:

The climax unfolds in the remote mansion where Tornado has been hiding from Sugarman and his gang. As Sugarman's men occupy the house, tensions rise. One gang member falls through the rotting floorboards upstairs, creating a distraction. Tornado seizes this moment to slip away unnoticed into the nearby hills. However, she is spotted by Little Sugar, Sugarman's son, who watches her escape but does not immediately pursue her aggressively.

Tornado flees into the wilderness and encounters a traveling circus. She hides among the performers and reconnects with a strongman, an old friend of her father Fujin. This reunion provides her a brief respite from the relentless pursuit.

Meanwhile, Sugarman, who has been wounded earlier in a confrontation with Fujin (Tornado's father), is deteriorating. His ruthless leadership has led to escalating violence and death among his gang. The film shows Sugarman's grip weakening as his son Little Sugar subtly rebels against him, seeking a different path.

In the final moments, Tornado's survival contrasts with the demise of many others caught in the cycle of greed and violence. Fujin, Tornado's father, was killed earlier by Sugarman's gang, but not before wounding Sugarman himself. Sugarman's death is implied by his fatal injury and the collapse of his gang's power.

Little Sugar survives the ordeal but remains a complex figure, neither fully aligned with his father's brutality nor entirely free from it. The film closes with Tornado disappearing into the wild, symbolizing escape and survival amid chaos.

Thus, the fates of the main characters at the end are:

• Tornado: Escapes and survives, finding temporary refuge with the circus.
• Sugarman: Fatally wounded and effectively defeated.
• Little Sugar: Survives, his future uncertain, embodying conflicted loyalties.
• Fujin: Dead, killed by Sugarman's gang earlier in the story.

The ending scene-by-scene narrative highlights the brutal consequences of greed and violence, with Tornado's flight symbolizing resilience and survival in a harsh world. The film closes on a note of unresolved tension, especially regarding Little Sugar's path forward.

Yes, several characters die in the 2025 film Tornado. The notable deaths and their circumstances are:

• Fujin: Tornado's father and former samurai swordsman, Fujin is shot and killed by an archer from Sugarman's gang during a confrontation at their wagon. Before dying, he manages to slice Sugarman in the stomach.

• Mint: A character who intervenes to protect Tornado when Sugarman orders her killed. Mint attacks Sugarman and his men but is killed by the goons during the fight, allowing Tornado and the little boy to escape.

• Little Sugar: Sugarman's son, who tries to kill his father in a moment of anger but is stabbed and killed by Sugarman first.

• The little boy: A feral boy who steals the gang's gold and is protected by Tornado. He is shot in the legs during a chase but survives initially. Later, Tornado finds him dead near the hidden gold sacks, implying he dies offscreen after the chase.

These deaths occur throughout the film as part of the escalating conflict between Tornado, Sugarman's gang, and the boy, highlighting the deadly consequences of greed and violence in the story.

The movie Tornado produced in 2025 does not have a traditional post-credit scene. However, during the end credits, there is a montage showing what happens next with the characters: Kate becomes a science phenom with several science journal profiles, and the main characters--Kate, Javi, and Owens--form a new tornado research team to continue their work on disrupting tornadoes before they cause destruction. Additionally, there are clips of the storm chasers still active in the field, including a British reporter getting a tornado tattoo encouraged by Boone. This sequence serves as an extended epilogue rather than a separate post-credit scene.

Note that this description corresponds to Twisters (2024/2025), which is often confused with Tornado; the 2025 film Tornado described in other sources is a period piece set in 1790s Britain with a different storyline and does not mention any post-credit scenes. Therefore, the post-credit content described applies to Twisters rather than the period drama Tornado.

Tornado is a young Japanese woman living in 1790s Scotland, daughter of Fujin, a former samurai swordsman turned puppeteer. She has been trained in samurai skills by her father and travels with him performing puppet shows.

Sugarman's gang ambushes Tornado and her father after robbing a church. They kill her father Fujin and pursue Tornado because she has stolen their gold. Sugarman and his son Little Sugar are the main antagonists hunting her.

During a puppet show, Tornado witnesses a young boy pickpocketing the gang's gold. She hides the boy and the gold in her father's wagon, then later throws the boy out to keep the gold safe. She eventually hides the gold in a hole in the woods while fleeing the gang.

Little Sugar is Sugarman's son who pursues Tornado after she escapes. He is described as cunning and somewhat self-interested, sometimes acting as an uneasy ally but mainly looking out for himself.

After escaping the gang, Tornado hides among the performers of a travelling circus and reconnects with a strongman who was an old friend of her father, using this as a refuge while continuing her quest for survival and revenge.

The 2025 movie titled Tornado is rated R for strong violence and language, making it not family friendly for children or sensitive viewers.

Potentially objectionable or upsetting aspects include:

• Strong violence: The film contains moderate violence and gore, which may be intense for younger or sensitive audiences.
• Moderate profanity: Language includes moderate use of strong language but no explicit sexual content.
• Frightening and intense scenes: The movie has moderate frightening scenes, likely related to violent confrontations and tense moments.
• No sex or nudity: There are no scenes involving sex or nudity, so this is not a concern for family viewing.
• Mild alcohol, drugs, and smoking: These elements are present but mild and not a major focus.

The film's tone is described as somber and intense, with a focus on crime and revenge in a dramatic setting, which may be unsettling for children or sensitive viewers.

In summary, Tornado (2025) is intended for mature audiences and contains violence, language, and intense scenes that make it unsuitable for children or those sensitive to such content.