Thirteen Ghosts Page #3

Rafkin and another team member, deeper in the alley, hearthe HOWL of the Breaker behind the floating car.

RAFKIN:

Jesus H. Christ! Run!!

Rafkin runs, but the team member doesn't, stunned by thesight, remains frozen. Suddenly the car stops --andlifts straight up into the air over him.

TEAM MEMBER'S POV -THROUGH GHOST VISION GLASSES

The Breaker comes INTO CLEAR VIEW for a fraction of a

second. He's huge, seven feet tall, acromegalic, thebones beneath the skin swollen and distorted.

(CONTINUED)

12.

13 CONTINUED:
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He stares with burning eyes above a huge distended jaw.

He wears, prosaically, a filthy tattered garage uniform,

his name stitched above the pocket. His face, chest

and arms are pockmarked with bullet holes dating fromhis untimely death.

He takes the car that he holds overhead and slams it

down. The team member dodges out of the way, but theBreaker picks up the car again and slams it down again,

squashing him. And then, again. And then, for good

measure, once again.

14 EXT. AUTO GRAVEYARD -WITH RAFKIN 14

Rafkin tears down the alleyway. He turns a corner justas the wall behind him collapses.

He's looking down a passage filled with team members,

with the cube serving as its plug: a dead end. It seems

the Breaker has everyone trapped, instead of vice versa.

Everyone runs toward the cube, splashing through pools ofblood.

BREAKER'S POV

The team members and Rafkin scatter before us.

Men climb up the walls of wreckage as the invisibleBreaker plows through, sending men flying high into theair. Rafkin slams hard against the wall, drops to theground.

15 EXT. GLASS CUBE 15

A team member runs, looks over his shoulder at the

pursuing Breaker. He doesn't see where he's going andruns straight against a blood-splashed glass wall.

He's blundered into the glass cube. In an instant, the

Breaker's inside with him.

His entry trips an unseen switch. The final glass wall

slides down, sealing the cube. As it does, the howling,

and the team member's screams, drop to silence.

Inside the cube, something awful happens, but we can'tsee through the smears of blood.

Rafkin regains his senses, scrambles towards the cube.

(CONTINUED)

13.

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15

RAFKIN:

No! Oh, Christ, no -

Inside the cube, the Breaker turns, realizes he's been

trapped, launches himself at the bloody sheet of glass,

presses his face to it, howls.

Rafkin recoils as the Breaker pounds at the glass. With

each ghostly blow, the symbol glows red, but theglass seems to have the power to contain the force: it

holds.

RAFKIN:

Oh, that piss you off, does it?

You know what pisses me off? A

dead guy throwing Buicks at me!

Rafkin eyes the horror, then tugs off his glasses. The

Breaker disappears.

Rafkin collapses in exhaustion.

RAFKIN:

(into microphone)

I gotta hand it to you, Cyrus, thebait worked. You got your dozen

now. Happy?

(beat)

Cyrus?

KALINA (O.S.)

(screaming, desperate)

Help! Somebody, please! Oh God!

16 EXT. AUTO GRAVEYARD -TANKER -MOMENTS LATER 16

Rafkin rounds a pile of cars, and sees...

Kalina, on the ground, holding a dying Damon in her arms.

His throat has been slit, and Kalina holds her hand over

the gash, trying to keep him from dying.

But it's no use... he dies. Kalina sobs. Rafkin's in

awe, perhaps ashamed.

Rafkin turns nervously away. And there, he sees Cyrus'sAssistant lying, dead, bloody and broken. And beyond him,

lies Cyrus himself.

Cyrus's neck has been pierced by a long, metal shard. His

eyes stare, cold and dead. Rafkin brings his hands tohis head, distraught, almost weepy.

(CONTINUED)

THIRTEEN GHOSTS -Rev. 10/27/00 14.

16 CONTINUED:
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RAFKIN:

Cyrus... oh, man... look at you...

There goes my bonus.

Suddenly, someone grabs his arm, and spins him around.

It's Kalina. She's sobbing and shaking Cyrus's glassesin Rafkin's face.

KALINA:

Was it worth it? Huh? Playing

God! Was it...?

OFF Rafkin's shell-shocked look, we PAN OVER to see the

ghost of one of the techs, ripped apart and bloody,

studying the scene.

DISSOLVE TO:

17 INT. LARGE BEDROOM -MORNING 17

A bright, sunny day...

THROUGH a glass window we see and hear two children outplaying in the yard. A Norman Rockwell, picture-perfect

setting...

A young boy and a teenage girl romp in the grass, then upto the window steps a beautiful woman, fresh from thegarden. It's obvious she's the mother of these two.

Over the giggling of the kids she smiles at ARTHURKRITICOS, 50, sitting inside his bedroom, in a verycomfortable chair, taking in his family with pride.

We PAN TO Arthur as he smiles, content...

A sharp KNOCK on the bedroom door breaks the mood, andArthur turns. Our UNCUT CAMERA CONTINUES TO PAN TO the

door. As it does, it SWEEPS ACROSS a desk decorated with

family photos, one of which is the woman at the window.

CAMERA CONTINUES TO the door, where we notice the wall

and door around KATHY, Arthur's 21-year-old daughter, hassomehow aged from the pristine room we thought we werein. Kathy sticks her head in. Pretty if she ever hadtime to fix her hair, clad in a University of Calumnysweatshirt. She stirs a pan of burnt scrambled eggs.

KATHY:

Dad... it's almost eight-thirty...

shake a leg. You'll miss your

first class. And could you tell

Maggie to get the hell out of the

bathroom. She had her five

minutes twenty minutes ago.

(CONTINUED)

15.

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The door slams shut again. Our UNCUT CAMERA CONTINUES TO

PAN AROUND the room. As it does, the walls begin to agedrastically, pictures disappearing, books vanishing fromtheir shelves. The room, and all its promise, simply slips

away. By the time we GET TO the bed, we notice only oneside is occupied. The other lies fallow.

Our UNCUT CAMERA RETURNS TO Arthur, who sits, unshaven,

in a decrepit chair, staring out at the brick wall lyingjust outside the window, not ten feet from him. Gone is

the world he knew, the beauty of a home, the sounds of afamily laughing in the summertime heat. They arereplaced by the angry cacophony of the inner citystreets, its claustrophobic conditions, its hopelessyoke.

Our CAMERA CONTINUES PAST Arthur, RETURNING TO the desk.

All are gone save one; the picture of his wife, whichsits charred and frameless, propped up against a stack ofbills.

18 INT. HALLWAY -MOMENTS LATER 18

Arthur comes out of the bathroom and beholds, in the

kitchenette of his small, cramped three-bedroom

apartment...

A blur of activity: Kathy cooks at the stove, his sonBOBBY, 7, eats a bowl of cereal at the kitchen table,

while scanning the obituary section of the newspaper. He

records the different, humorous deaths with a microphoneand a tape recorder.

In the b.g., on the TELEVISION, a black and white horrormovie drones on (the original Thirteen Ghosts).

The nanny, MAGGIE, 26, just gets in the way... wiping thecounter, pouring the OJ, setting the table. It's a very

disorganized way of doing things.

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