Thirteen Ghosts script
Synopsis: A state-of-the-art remake of the classic William Castle horror film about a family that inherits a spectacular old house from an eccentric uncle. There's just one problem: the house seems to have a dangerous agenda all its own. Trapped in their new home by strangely shifting walls, the family encounters powerful and vengeful entities that threaten to annihilate anyone in their path.

BLACKNESS. SUPERIMPOSE: "The most beautiful thing wecan experience is the mysterious." -Albert Einstein

Then:
"I do believe in spooks. I do believe in spooks.

I do, I do, I do believe in spooks." -The Cowardly Lion

1 TITLES 1

Abstract images begin to form. They move beneath thetitles, brilliant against the darkness, the ghost-likeapparitions fighting a current as if caught in thewhirlwind of time.

Our IMAGE SHARPENS. The apparitions are no longer there.

Instead, police tape comes INTO FOCUS, the seeminglymiles of it entangled on stacks of derelict cars thatfill the void. The tape dances before us, undulating toa macabre rhythm, floating on the nocturnal winds. We

PAN.

An auto wrecking yard at midnight. Empty, yet occupied.

Light slowly INVADES the FRAME, filling in the wreckingyard's cavernous shadows. A distant ROAR announces

itself above the SOUNDTRACK, the earth POUNDING CLAMOR

AMPLIFYING in with every second.

As if searching for its source, CAMERA PIVOTS AROUND.

Instantly, we find ourselves caught in the glare ofheadlights, and we've just enough time to make out thesemi truck before it plows through the yard's chain linkgate, shattering it like so much glass, the truck headingdirectly AT CAMERA, running it over as if it weren'tthere.

2 EXT. AUTO GRAVEYARD -NIGHT 2

BOOMING UP and OVER the fence, the yard is a veritablemaze of old, rusted cars, piled up helter skelter, frozenin time. Broken glass, mangled engine parts, garbage andlitter... along with hundreds of spent shell casings, arescattered in the dirt.

A caravan of UTILITY VEHICLES ROARS in behind the semi,

the convoy making a bead for the center of the yard.

Picking up the rear is a black Rolls-Royce Phantom II.

As they turn the last corner, the first thing we see are"unearthly" flares. Dozens of them, bright as hell,

lighting up the middle of the graveyard.

The CARS come SKIDDING to a stop. Dust swirls.

2.

3 EXT. ROLLS-ROYCE 3

The rear door opens, and CYRUS KRITICOS, 50s, wealthy,

immaculately dressed, not a hair out of place, steps out.

His hand rests on a shiny, silver-headed cane. He

surveys the flares, shakes his head.

CYRUS:

Their little crusade is wearing

thin.

RAFKIN (O.S.)

I'll give them this... they are

consistent.

Stepping out next is DENNIS RAFKIN, 20s, unshaven,

jittery. He holds his head in his hands, massaging histemples, obviously in pain.

(NOTE:
Whenever we cut to Rafkin we hear/sense apiercing tone, underscoring the psychic waves he'sreceiving.)

Cyrus produces a thin, brown designer cigarette from asilver case. Taps it as he speaks.

CYRUS:

As cancer...

(lights his cigarette)

Never bet against human nature,

Dennis. You'll always lose.

Behind him, Rafkin suddenly lurches forward, racked by

spasms. Cyrus turns, with slight concern -

CYRUS:

Is it bad tonight?

RAFKIN:

(coughing, shaking)

Bad is one way of describing it,

but somehow...

(wiping his sweatyforehead)

... insane seems more appropriate.

Rafkin doubles over in pain. Dry heaves.

RAFKIN:

(recovering)

It's my professional opinion that

we get the hell out of here. Now.

Two of Cyrus's team, dressed in assault gear, make their

way over.

(CONTINUED)

THIRTEEN GHOSTS -Rev. 10/27/00 3.

3 CONTINUED:
3

CYRUS:

(ignoring Rafkin,

re:
flares)

Noted. Clean this place up, andlocate our guests.

Cyrus snaps his fingers. An ASSISTANT steps forward

with a large photo.

When Cyrus turns around, he catches Rafkin gulping downprescription drugs. Cyrus strikes the bottle out ofRafkin's hand with his cane. Pink medicine runs down

Rafkin's face as he turns with rage.

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Robb White

Robb White III (June 20, 1909 – November 24, 1990) was a writer of screenplays, television scripts, and adventure novels. Most of the latter had a maritime setting, often the Pacific Navy during World War II. White was best known for juvenile fiction, though he has proven popular with adults as well. Nearly all his books are out of print; nevertheless, White has a devoted following among baby boomers, many of whom were introduced to him through inexpensive paperbacks available in American schools in the mid-20th century. more…

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