72Final Draft, Inc. Final DraftFFFF000000060002000177AA000000000072000000002000110190499000480048-24F36A1200D3-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, G.H.O.S.T. (ROUGH DRAFT VERSION 1) BY JEROME T. MCROBERTS January 12th, 2009 FROM STORY BY TODD A. BRITT GEORGE BLALOCK S. BRENT BOWERS JEROME T. MCROBERTS TITLE CARD: G.H.O.S.T. Titles wave and fade out. TITLE CARD: Inspired by true events. FADE IN: INT. HALLWAY - OPERA HOUSE - DUSK CAMERA looks down on a closed set of doors at the bottom of a long dark set of steps. Silhouettes move back and forth in front of the door leading to the streets. MAXIMILIAN PRICE - an elderly and wise caretaker - leads MAYA - young thirty-ish woman - associate producer of G.H.O.S.T.- wearing a business suit and SETH - up the steps. MAXIMILLIAN waves his hands as he tells his tale. MAXIMILIAN They found the caretaker the next morning, hanging in the doorway. Right here. Metal CLANGS as the exterior gates open. The doors CREAK inward showing a view of the bustling late afternoon streets of downtown Andersonville. A long deep GROANING moan seems to rises from inside the walls. SETH Listen! The GROAN grows louder. MAYA stops to listen. SETH looks on incredulously. MAXIMILLIAN grins slyly. G.B. Jumps out from the top of the steps. MAYA puts out her hand to SETH who seems to grunt in disgust as he reaches into his shoulder bag and withdraws a small VIDEO CAMERA. MAYA snaps the CAMERA on and holds it in front of her face. MAYA Investigation rule number three. You have to be ready with the camera at all times. MAYA pans the camera across the walls and the top of the stairs. Moving behind her CAMERA, she slowly inches her way to the top. MAXIMILIAN As I was saying, Edisons Frankenstein was still playing inside. 00020000072700000671721,CAMERA-VIEW switches to MAYAs CAMERA P.O.V. As she creeps up the steps. The BANGING grows louder. A dark SILHOUETTE leaps from shadows at the top of the steps. G.B. Rawr! G.B. - middle-aged blue collar electronics expert of the G.H.O.S.T. Team - jumps out to frighten the approaching group. None of them jump. The gangly man in the blue G.H.O.S.T. team shirt and cap LAUGHS heartily at the minor jump reaction he got from MAYA. She punches him in the arm with consternation. MAYA G.B.! You idiot! How many times have I told you. . . SETH G.B. Youre a damn fool. G.B. Haha! Protect yourself at all times, Maya. MAYA You better start thinking straight and protect your paycheck. If you tell me that you dont have the Wireless audio and digital cameras ready to go, your ass is going to be out of a job. G.B. Maya, youre such a buzzkill. I have a new joke for you. How do you keep a room full of idiots in suspense? MAYA regards G.B. with disdain. G.B. (CONT'D) Ill tell you later. MAXIMILIAN OK, kids. I have to get things locked up for the night. Your equipment will be perfectly safe tonight. The rest of us need to leave. SeTH What? Youre kidding? G.B. We just got here today! MAYA Mr. Price, you said wed have full access to the opera house for the night. We cant leave now, were just getting started. MAXIMILIAN Its too dangerous to stay here at night. There are strange shadows that move through these walls. And when youre alone - you can hear music. Its as though the remnants of the past cling on to the present with the only joys they have left. These songs. Flutes. Organs. Drums. MAYA We cant leave yet. I will be ever grateful to you for letting us into the Opera House, Mr. Price, but we made an agreement to film here. Theres some amazing evidence to be found inside. 0002000007E400000D927DE,MAXIMILIAN You can leave your cameras and computers just as we agreed. But no one stays in here after dark. MAYA and MAXIMILIAN stare at each other in silent conflict. MAYA Mr. Price. We have a signed agreement to let my G.H.O.S.T. team of investigators stay in this Opera House for the night in order to record evidence of possible paranormal activity. MAXIMILIAN Im sorry but theres no way, my child. MAYA My contract says that if my cameras and I do not spend the night at this site - then you will be in breach of contract and you can expect me to sue you and your opera house for every penny you have. Were putting on a live show tomorrow night and I will be prepared. Ive worked too hard to get to where I am now and I didnt get here on my knees. MAXIMILIAN regards her quietly - his face wrinkled into a foul grimace. MAXIMILIAN Very well, Ms.McIntosh, youve quite the spirit, you do. You and your people can stay - but dont say I didnt warn you. MAXIMILIAN hurriedly rushes down the steps and pulls SLAMS the doors closed. MAXIMILIAN (CONT'D) If you have any trouble tonight, dont name it after me. MAXIMILIAN CLANGS the metal gate shut behind him. MAYA Where the hell is Byron? What is that idiot producer up to? He should be handling these uppity site owners instead of me. I have a show to run. SETH Ms. McIntosh? When did you start going by your maiden name again? MAYA Seth, dont start with me on this investigation. Were professionals with a job to do and if I start PMSing, you will regret it. And Seth, I might be losing your last name - but youll be losing a lot more when my lawyer gets through with you. SETH Aw. Come on, Mint. You know Im just playing with you. MAYA Dont call me that. On my set, I am the producer, host, and H.B.I.C. SETH looks to G.B. with bemusement. G.B. mouths the words of the anagram to SETH. G.B. (whispers) Head. Bitch. In . Charge. MAYA Now, I suggest you make yourself useful and prep the extra thermal imagery recorder for G.B. 00020000078B00001570785,The quarreling ex-lovers turn at a sharp WHISTLE from G.B. He sits astride a a dark table in the corner of the room. Computers, cameras, lights and monitors are stacked like Legos across G.B.s desk. He motions towards he headphones nearby. G.B. turns his attention back to his web browser showing the home page of MOST WANTED HAUNTINGS. G.B. Whats a word for a vampires human servant? MAYA What? G.B. Familiar. You know - like Renfield in Dracula. What was the name of the house in Robert Wises The Haunting? SETH G.B. M we dont have time for your horror movie nonsense right now. MAYA G.B., I want to debunk last nights evidence. G.B. Hill House. What walked in Hill House walked alone. MAYA Bring up the wireless audio recordings. G.B. Dont sweat it boss. I can do these things in my sleep. If I get the most correct answers in Most Wanted Hauntings Halloween Monsters and Myth contest, Ill win free tickets to a Fangoria Convention in California to meet Clive Barker. MAYA Youre giving me a headache. G.B. I have everything right here. Wireless audio recording in WAV and FLAC formats. A complete list of last nights K2 meter readings, digital recordings and even six hours of thermal imaging. G.B. CLICKS his mouse and the Most Wanted Hauntings Website collapses down his screen revealing a complete array of audio and video interface displays spreading across his monitor. G.B. (CONT'D) The audio files are cued up and ready to go, boss. G.B. Hands MAYA a large set of headphones. CuT TO: Int - back room - opera house BYRON - handsome young producer of G.H.O.S.T. wearing a sharp grey suit - struggles with two cables in the midst of a knot of electric cords. BYRON This door was open. As BYRON connects the cables, the lights flicker on and off. The large apparition of JOHNNY REB - large, pale skinned confederate soldier in full dusty gear - appears standing behind the unsuspecting BYRON. 0002000006CC00001CF56C6,Cut TO: Int - g.h.o.s.t. command center - opera house - dusk MAYA Just give me the good stuff, G.B. G.B. You got it. This is from when I went behind the stage this morning. MAYA presses the headphones to her ear. Her brow furrows as she listens. We hear G.B. A low voice rises over the line - almost inaudible at first. G.B. (CONT'D) Did you hear it? Ill loop it for you. VOICE Oameni. Femeie. Sange. . .Oameni. Femeie. Sange. . . Oameni. Femeie. Sange. . . MAYA Woah. Very nice, G.B. Youve definitely caught something there. Sounds like gibberish to me, but its something. This better not be one of your stunts. We have a live show to do tomorrow. G.B. You know I wouldnt try to fool you, boss. I still have those thermal imaging shots that I caught on the balcony. Ready to go whenever you want to watch them. CAMERA CUTS TO MAYA in front of the stage practicing her introduction to the show. MAYA G.H.O.S.T. is coming to you live this week from the Opera House in Andersonville, North Carolina. First built in 1907, this upstairs opera house was considered the finest of its kind between Atlanta and Washington. It regularly featured the latest shows from New York and even showcased the earliest films of the twentieth century including Thomas Edisons Frankenstein. The Opera House fell into disuse by the middle of the century. Although the stage has long since shut down - the stories of what walks behind these walls are still going strong. Cut. G.B. lowers the camera and looks at MAYA quizzically. G.B. You were rolling along good. Why did you stop? MAYA Swing the camera around that way - into the nose bleed section of the seats. I thought I caught something out the corner of my eye. 0002000006F6000023BB6F0,Our view changes to G.B.s camera view as he scans across the top of the seating area. G.B. I dont see anything, boss. BYRON left to get the beer and SETH is still messing with that extra thermal imaging recorder and the old man made for splittsville a while ago. Its just you and me and the things that go bump in the night. MAYA Knock it off. CUT TO: BLACK SCREEN. A murmur rises out of the darkness. A kaleidoscope of floating lights flash and swirl from the darkness as the voice speaks. VOICE Oameni. Femeie. Sange. LIGHT FLASHES AND FILLS SCREEN. We race along an array of horrific images with brief 8 frame flashes. We see the ghostly images of JOHNNY REB, and revealed for the first time - THE REVENANT - swathed in rotting bandages from head to toe - and BONEFACE - a pale bald pointed head adorned in a regal robe. A montage of horrific images flood through - including a frame or two from Edisons Frankenstein. MAYA snaps awake - lifting her head to remove the headphones. She regards the bright images on the monitor in front of her. G.B. Walks up with coffee in both hands - and extends one of the cups to her. G.B. Coffee. Its just after 2 A.M. now. Bad dreams? MAYA regards G.B. with a stern poker face. G.B. (CONT'D) SETH said something about fixing one of his mics. I was thinking about tweaking the thermal imaging recorders up top - where you saw that apparition. Want to join me? MAYA Good idea. You go ahead, I think Ill make a search through some of the lower rooms. I need something to scare me so I can scare my audience. CUT TO: CAMERA SWITCHES TO P.O.V. of MAYAs camera as she scans the front rooms. Her camera passes the interior window - she notices a SHADOWY FIGURE pass through the doorway in the back of the rooms. 00020000069C00002AAB696,MAYA (CONT'D) G.B., I thought you were going upstairs. G.B? SETH? Is someone there? MAYA walks through the back rooms to find the source. She records the state of disrepair evident in the rooms. Cracks. Decay. Dirt. MAYA (CONT'D) Is there someone here? Can you make your presence known to me? As MAYA makes her way into the next room, soft ORGAN MUSIC RISES on the soundtrack. MAYA slowly makes her way into the next room. She spies a body covered by a cloth on the table in the center of the room. As she approaches the table - the MUSIC RISES in her ears and a deep low BANGING rises like a heartbeat around her. We hear FLIES BUZZING as MAYAs hand reaches out to the table. She slowly pulls the cloth back to reveal a ROTTEN CORPSE underneath. She jumps back in fear. The ORGAN MUSIC, BANGING and BUZZING rise in a wild cacophony around her. MAYA (CONT'D) Aiiee! The supernatural chatter stops - plunging the room into deathly silence as SETH runs into the room. SETH MAYA! Are you alright? MAYAs mouth moves soundlessly as she tries to describe the horror she has seen. She looks to the table and gestures. SETH walks to the table and peers under the cloth. He turns back to MAYA then peels the sheet away - revealing a MANNEQUIN underneath. MAYA But I saw. . . SETH This place starting to get to you, Mint? MAYA I heard music and something like . . .drums. And under that cloth. SETH What happened? Did you catch anything? MAYA stops her recorder and rewinds the tape. She taps the buttons furiously to replay her approach of the table. SETH looks on quizzically. The wild look of anticipation melts from MAYAs face as she reviews her footage. 0002000006CB000031416C5,SETH (CONT'D) Oh. My. God. Its hideous. Ive never seen such an androgynous mannequin. Debunked! MAYA lowers the camera in frustration. MAYA It was right here. It looked like a corpse. I dont know. Maybe it was just the lighting. SETH Do you want me to finish the walk through with you? MAYA No, Seth. Its just my nerves. I always get nervous before a live show. Ill be fine. SETH Youre sure? MAYA Yes. Ill finish my walk through. Then Im going back to review the audio and thermal imaging from this room. SETH turns and heads back to the command center - keeping a concerned eye on MAYA as he leaves the room. MAYA turns her camera back on and continues her exploration of the next few rooms. She walks through the next set of doors into the nearby room. MAYA (CONT'D) Hello. Can you make yourself known to me? Id like to talk to you? MAYA rifles through some of the debris scattered through the room. She spies a strange MUSICAL WATCHMAKER TRINKET on the top of some boxes near the wall. She turns the handle - causing the WATCHMAKER to move his arms back and forth over his workbench to the tune of a creepy PIANO SONG - (the same as the ORGAN MUSIC from earlier). MAYA smiles gently. CUT TO: G.B. adjusts a thermal imaging recorder in the corner of the balcony area. He stops suddenly and turns his head as though he heard something. He fumbles to grab the camera from his bag. He taps it on and holds it up to his face. G.B. Makes his way across the back of the balcony. G.B. Is there anyone here? We want to help you. The ghostly figure of THE REVENANT appears behind the unknowing G.B. G.B. Crouches to inspect a crack in the boards with his camera. THE REVENANT inches closer to his back. 00020000088800003806882,G.B. (CONT'D) Can you make yourself known to me? Give me a sign. What in the world? G.B. Leans in close to examine something under the boards. THE REVENANT rises behind him. G.B. Stops as if sensing something behind him. He turns quickly to face it. He sees nothing. The boards overhead CREAK slightly - catching G.B.s attention. CAMERA SWITCHES TO G.B.s CAMERA P.O.V. He tracks along the ceiling - shining his light through the cracks and holes in the small boards crisscrossing overhead. G.B. Races along spying the ladder leading to a WOODEN HATCH opening in the ceiling. He climbs up stopping just short - to adjust his camera and peer through the hole with it first. CAMERA P.O.V. of the rafters in the ceiling. GB. Sees nothing but cobwebs and dust. CAMERA CUTS TO G.B. as he crawls back down the ladder. As his feet reach the bottom - the ragged figure of THE REVENANT reaches straight down out of the HATCH above and snatches G.B. off his feet like a child. They disappear into the darkness above. The ladder shakes slightly from the force of the action threatening to fall over. It settles quickly as the century old dust floats gently down. CUT TO: Int - side room - night MAYA enters the doorway into the next room. MAYA If youre here with me now - please let me know. MAYA makes her way around the room. She hears a BUMP behind her and whips the camera around to see what it is. She sees only shadows. Exhaling with relief she crosses the room to the faucet. She washes her face in the sink. CAMERA SWITCHES IN FRONT OF MAYA as she washes her face - revealing sudden changes in the room behind her. We see hanging chains and tattered sheets waving behind her. MAYA washes her face slowly - unaware of the apparitions manifesting behind her. Spectral ORGAN MUSIC rises around her. A low deep BANGING rises from the walls. MAYA stops washing her face. Her hands and face are covered in BLOOD from the faucet. BLOOD runs freely from the faucet. MAYA turns and sees the CHAINS and SHEETS hanging around her. BODIES wrapped in soiled sheets swing from the ceiling. MAYA struggles to catch her breath in a pitiful attempt to scream. 00020000064D00004088647,CUT TO: SETH enters from the hallway. He carries a DAT recorder with one hand pressed to his ear - listening intently to the voice in the recording. SETH Maya. Ive been cross-referencing those EVPs we caught with every known language on the Wiki and come up with a possible match. Ive found matching words in Romanian. Oameni. Femeie. Sange. Meaning, people. Woman. And. . .blood. What the? SETH looks up with a start - surprised to see MAYA cowering in the corner of the room. She is visibly shaken but otherwise unmarked. There is no blood or apparitions to be seen. MAYA SETH. The blood. . . MAYA extends her hands to SETH to show him where the blood had covered her features. Realizing her hands are now clean, she breathes deeply and takes a moment to regain her composure. Straightening her blouse and fixing her hair she calms down. G.B. MAYA, whats going on? MAYA I dont know whats going on here. Im either encountering solid plasma manifestations or else Im having hallucinations. Lets get G.H.O.S.T. together now and get the hell out of here. SETH What about our investigation? MayA Investigation be damned. Leave the cameras set up and well do a remote show tomorrow. Were leaving. SETH Wow. Whatever you saw really rattled you. I havent seen you drop your guard like this in a while. Mint. Relax. MAYA Damn it, SETH. Now is not the time. SETH Come on, MAYA. Its me. Even if were not together - we can still talk. MAYA Not on my shift we cant. Were professionals and we have a job to do. And were doing it as far away from this place as possible. 00020000070E000046CF708,MAYA guides SETH out the door. The pair turns the steps to the balcony only to skid to a halt as the body of G.B. flops backward - hanging over the rails of the steps. MAYA (CONT'D) G.B. No! MAYA and SETH turn and run in terror towards the steps leading to the front door. Dashing down the steps - they stop halfway. Their passage to the exit is blocked by the rising apparition of JOHNNY REB in his dusty confederate soldier uniform. JOHNNY REB backs MAYA and SETH into the main auditorium. They race towards the stage - stopping suddenly at the appearance of a silhouette blocking their way. MAXIMILIAN Grrr. MAXIMILIAN growls at the pair. Bloody foam drips from his lips. One hand is locked around the ankle of the long missing producer BYRON. MAXIMILIAN HISSES loudly at them. CAMERA ROTATES 360* around MAYA and SETH - PANNING AROUND to every corner of the room showing the large figure of JOHNNY REB approaching from the hallway, the tattered visage of THE REVENANT approaching from the opposite corner and rising in the fog obscuring the stage, we see the regal vision of BONEFACE adorned in his royal robes. MAYA and SETH watch in horror as BONEFACE seems to float down to greet them. His face seems calm and cold like stone - but attentive with the eyes of a tiger. THE REVENANT and JOHNNY REB close in behind MAYA and SETH. MAXIMILIAN crawls to BONEFACE. BONEFACE extends his hand to MAXIMILIAN who then kisses it and holds it tight to his face. BONEFACE reaches down with a long, jagged fingernail and slices MAXIMILIANs wrist open. BONEFACE collects the pouring blood into the palm of his hand then raises it to his lips. Brilliant fangs glare in the moonlight as BONEFACE pours the warm blood into his open maw. The VAMPIRES smile at the scent of the blood. 000200000B1B00004DD7B15,MAXIMILIAN (CONT'D) The master said he would save the pretty one for me! SETH moves in front of MAYA to protect her. MAYA reaches snatches a 2x4 from the debris nearby. THE REVENANT and JOHNNY REB close in - baring their fangs in the dim light. MAYA rushes forward and SMASHES BONEFACE across the arm - spilling the blood onto the floor. The board SHATTERS into splinters. THE REVENANT grabs SETH by the neck. MAYA jumps in and rams her splintered board into THE REVENANTs chest. The broken board pierces his chest as THE REVENANT screams violently spraying blood in a violent geyser from his chest. SETH grabs MAYA and turns her to face him. He looks deep into her eyes. SETH MAYA. Mint. I cant die without saying this to you. No matter what happened between us or what happens now - I will always. . . MAYA covers SETHs hand with her mouth. They look at each for a moment as the VAMPIRES close in. BONEFACE smiles with blood covered lips. MAYA leans and presses her face against SETHs in a long passionate kiss. SETHs eyes widen in horror and he GURGLES in pain. He pulls back revealing the blood covering MAYAs face like a mask. She turns and spits his tongue out. SETH looks on in fear and confusion. BONEFACE steps forward and in one quick moment RIPS SETHs throat out - spraying a fountain of blood from a huge gaping hole. BONEFACE pushes SETHs flailing body to JOHNNY REB. He holds the man still from behind and offers him to MAYA. MAYA licks the blood on her fingers and smiles. She leans in close and bites a chunk out of SETHs neck. JOHNNY REB tears a chunk of flesh from SETHs shoulder. BONEFACE walks in close behind MAYA. He leans in close and bares his fangs at her neck. fADE TO BLACK. EXT - VAN - DAY MAYA adjusts the phone at her ear as she sits in the G.H.O.S.T. van on the side of the city street. MAYA Yeah, I know. Highest rated show ever. Its just too bad that I was stranded on the side of the road when it happened. I cant help to think that I might have changed things if I had been there. Poor, SETH. He always had issues, but for him to go crazy like that and attack his coworkers. Its just unthinkable. But thats all in the past now. Lets talk about tomorrow. Tell me about this new haunting site. MAYA adjusts the mirror to see behind her. MAYA (CONT'D) Poltergeists. Apparitions. Abandoned for two-hundred years? No. Im not worried. It sounds perfect. Its exactly what my new G.H.O.S.T. team needs. We see the VAMPIRES MARK at MAYAs wrist as she finishes adjusting the mirror. She looks into the smiling face of kindly old MAXIMILIAN peering through the curtains to the back of the van. He gently lays his head on the set of coffins behind him. MAYA puts the van in gear and drives off into the sunset. FADE OUT. ROLL CREDITS. 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BYRON VOICE MsTCEx (V.O.) (O.S.) (O.C.) (CONT'D) (SUBTITLE)sTTR CUT TO: FADE IN: FADE OUT. FADE TO: DISSOLVE TO: BACK TO: MATCH CUT TO: JUMP CUT TO:FADE TO BLACK.;sTSIiINTEXTI/E COMPLETE BLACKNESS ON-SCREEN FROM STORY BYHALLWAY - OPERA HOUSEINT - BSCK ROOM OMENI A GHOSTINT - SIDE ROOM EXT - VANesTST DAY NIGHT AFTERNOON MORNING EVENING LATER MOMENTS LATER CONTINUOUS THE NEXT DAYDUSK OPERA HOUSEDAY mCRO9INTINT. Scene Heading01119EXTEXT. Scene Heading01128I/EI/E Scene Heading0113@DAY - DAY Scene HeadingAction0114DNIGHT - NIGHT Scene HeadingAction0115HSUNRISE - SUNRISE Scene HeadingAction0116DMAGIC - MAGIC Scene HeadingAction0117GCONT continuing ParentheticalDialogue0118JINTER interrupting ParentheticalDialogue0119$0110GCUTTOCUT TO: Transition Scene Heading1111EFADEINFADE IN:Action Scene Heading1112KFADEOUT FADE OUT. 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