THE EVIL DEAD JOURNAL

By
Josh Becker
 (1.
Forward:
Other than the film itself‚ this is the only record of
the making of the movie "Evil Dead‚" formerly known as
"Book of the Dead." It has taken me eighteen years to
finally type this. I have left all of the wording‚
grammar‚ and punctuation exactly as they were when it
was written by hand in spiral notebooks at the time. I
have‚ however‚ corrected the spelling errors.

Sunday‚ November 11‚ 1979

Ah‚ Tennessee...
We of the cast and crew of "Book of the Dead" are
presently residing in an extremely large house (6
bedrooms‚ 3 full baths) somewhere outside Morristown‚
which is about an hour outside Knoxville.
Getting here wasn't particularly difficult‚ other than
the instructions we received were completely mismarked
in relation to compass direction. The location at this
writing is a wonderful exterior (I've only seen
stills)‚ however the interior is unacceptable to those
in the know. We may still be shooting in Marshall‚
Michigan.
We all moved into our rooms (although I haven't spotted
Rich and Theresa yet) and I got a bed (most everyone
else is on army cots or the floor).
Sam spoke for our first production meeting and made a
good show: he was adroit‚ yet funny (at the expense of
Gary Holt‚ our local location manager). He used a camp
counselor attitude to the whole thing‚ seemingly
covered all the points and that was that.
Holt played us a song he had written and recorded that
was very strange. It was about 10 minutes long with a
guy talking about the horrors of a Vietnam vet. It was
too weird.
Later...
I don't have any idea as to what time it is. I have
gotten twice as much sleep as anyone here. I awoke
today to dinner being made (spaghetti that was okay)‚
then dope smoking and beer drinking wiped me out in a
 (2.
few hours and I was back to sleep. When I awoke this
last time I found Sam and Tom still up working on the
actual Book of the Dead (Sam was having a rubber cast
of his palm made to use as one of the pages of "human
skin").
So now everyone is asleep and I'm up. Sam said it was
about 6:30 A.M.‚ then said it was 1:30 A.M.‚ then came
back with 6:45 A.M. and since there isn't a clock
around I don't know.
It's a real strange grouping together of people. I'll
wait to see how everyone functions as a team.
Nevertheless‚ we're all here‚ all the equipment is
here‚ props galore and we do have a car exterior anyway
so I guess we're making movies.

Tuesday‚ Nov. 13th‚ 1979

We now have a location‚ which is about a mile from
here‚ that is almost totally demolished and needs to be
rebuilt. This is expected to take eight days‚ during
which time we shall be filming driving scenes.
I drove to Knoxville airport to pick up the film but it
hadn't arrived yet. It's supposed to be in later
tonight.
I don't feel like part of this happy family.
I don't feel like writing right now.
Later...
It's about 4:30 A.M. and I can't seem to get past my
old sleeping habits. I went to sleep at 9:00 P.M. and
woke up at 3:00. This gives me quite a few hours to
myself to read and write (I finished "Commander 1" a
few minutes ago). Also‚ I haven't been having a
terrific time becoming one of the "family‚" so I just
sleep it out.
Bruce picked up the film so I suspect we could shoot
tomorrow −− that would be nice. And although "they" are
trying to be democratic about who works where‚ I simply
do not want to be doing clean−up and carpentry on the
 (3.
cabin when I could be assisting the shoot. I will
undoubtedly end up on clean−up anyway.
Of the cast and crew‚ here's how I see it: Theresa is
an air−head but well−meaning and is trying to be
motherly‚ Betsy just is‚ Rich is okay‚ Don is okay but
a little wacky on destroying things‚ Ellen is distant
and seems troubled (she seems to have had some
difficulty with her face mold tonight)‚ Tim (camera)
seems to know what he's doing‚ John (sound) is a good
guy‚ Goody is Goody (loud & goofy)‚ Dart (Steve
Frankell) arrived today and he's a good guy‚ Tapert
seems to be enjoying his power−position‚ but hasn't
become annoying‚ Bruce is either ALL BUSINESS or ALL
SHTICKS and Sam‚ though a bit harried‚ is just his
plain old self and everyone seems to adore him. As for
me‚ I'm the recluse.
Last evening‚ as I was trying to get the dishwasher
going‚ Theresa said to me‚ "You know‚ you're not as bad
as they made you out to be." I asked her what this
meant and she wouldn't reply.
I forgot Tom Sullivan −− he does his job and enjoys
himself‚ but otherwise is barely apparent.

Thursday‚ Nov. 15th‚ 1979

So‚ yesterday was our first day of filming. We were out
at this fairly large‚ creaky old bridge filming the car
driving across and boards dropping out from beneath.
My job was slating and setting up the fake beams
beneath the bridge (which was done by threading
fishline through the beam‚ then running the line across
the bridge at a height so that when the car drove past
it would break the line. At the same time Rob and I
were also tossing real logs off).
Things went quite well‚ if slow. My first job of the
day was attracting the attention of some bulls that
were attacking Tim and Sam as they shot the long shot
from a field across the street. I just sang some songs
and the whole herd moved to the other end of the field.
Later...
 (4.
Today's shooting was chock full of exciting things. The
very first event of the day after we left in three
vehicles for the location is that the van got lost and
we spent a half hour trying to locate it.
Our location at Clinch Mt. was very panoramic and we
did some follow shots of the subject car that should
look terrific. We then got to this dirt road beneath a
highway overpass and within the first hour of setting
up Sam drove his car into a ditch and we had to get a
tow truck to get it out.
About two hours later Rob and I set out to find Don
Campbell‚ who had gone out to scout a location‚ and
found him standing high atop a wooded cliff. We called
to him‚ then he disappeared only to reappear moments
later sliding off the cliff. Don made one last try at
grabbing a tree‚ missed and went sailing down about
twenty feet.
I dashed up the hill to where he had landed and called
to him‚ but he didn't respond. I lost my footing and
tumbled back. On the next try I clawed my way up and
found Don sitting in a daze. I asked if he thought
anything was broken and it wasn't.
We've now taken him to the hospital for some tests.

Friday‚ Nov. 16th‚ 1979

Today's shoot was rather boring. All of the shots were
of sequences taking place in the car. Rob was busy
today so I kept the log. That entailed waiting for the
car to get back‚ then coercing the information out of
Sam and Tim. It wasn't particularly taxing.
Things are running well. The cast does what they're
told‚ the only bitching coming from Theresa‚ but no one
ever listens. Sam is funny and has been giving some
first−rate direction‚ Bruce is funny and keeps Ellen
particularly always laughing‚ Rob is dealing with the
problems and not giving anyone grief‚ while always
wanting the best for the production‚ Dart and Goody are
digging fixing up the house‚ Don is a psycho‚ and I do
what needs to be done −− as does Tim and John.
 (5.
I've been going to sleep directly after dinner and
finding that I'm just getting enough sleep. I'm in bed
now.

Sunday‚ Nov. 18th‚ 1979

I just returned from watching Tim and Rob do some "evil
entity P.O.V.s" through the woods by means of attaching
the camera to a five−foot 2x4‚ the camera at one end
with Tim holding it‚ Rob holding the other end for
stability. Theoretically it's not a bad idea‚ although
in practice Rob kept smashing into trees.
Yesterday I spent the day working on the cabin: peeling
old wallpaper‚ plastering‚ painting‚ etc. The place may
look okay depending on how it's dressed−up.
Last night Gary Holt took us to a performance of "The
Good Doctor" at a local theater that was pretty awful.
The setting of the play is supposed to be Russia but
seemingly no one could handle the accent‚ so it ranged
from Liverpudlian to Ohio to southern USA/Russian.
Before the show began an ugly‚ overweight girl got up
and made some announcements: no smoking‚ try−outs for
"The Twelfth Night‚" thanking people and saying that
the bathroom was in the dressing room and if anyone
used it please don't flush because it would ruin the
mood of the play.
Anyway‚ I could barely keep my eyes open.
Later...
I'm finding it increasingly more and more difficult
dealing with the women on this production. I feel
intentionally alienated and even to the point that I am
an object of ridicule. As usual I figured this was
exclusively my problem‚ but yesterday Goody said
exactly the same thing.
Last night Tim and I talked for about an hour about a
script idea of his that I found exciting and rather
unique. I'll bring it up to him again later.
I lapse back and forth between simply not caring what
my function on this film is to despising my lowly
position. To Sam‚ Bruce‚ Rob‚ Tim and Tom this is a
dream−come−true‚ for the cast it's a chance at fame‚
 (6.
for Don‚ Goody and I it's merely something to do. I
really don't mind the chores I've been doing‚ but
they're menial and uninteresting and the idea that five
weeks of this remains is a tad unsettling.
Three ounces of pot has been lost (or so I've been
told) so staying stoned is not even a possibility
anymore.
Five more weeks −− Lord God this is going to be trying.

Tuesday‚ Nov. 20th‚ 1979

I'm not exactly sure it's either Tuesday or the 20th‚
but it doesn't really matter.
Today was spent at The Old Bridge location about 45
miles from here. Scenes of styrofoam "It's Murder"
boards falling onto the camera below and the car wheel
dropping through the planking were shot and both looked
terrific. And then the welder and the wrecker showed up
to tear the metal structure of the bridge apart and
make it look like a clawing hand. It's almost finished
(which took all day and night) and looks amazing.
Upon arriving at the bridge in Bruce's car‚ Sam
realized he had the keys to his Olds with him‚ so I had
to drive 45 miles back home‚ then back again.
Walking on the rotting planks totally freaked me out.
It was something like a 35 foot drop into fast−moving
water‚ however Dart bounded around on the beams like a
ballerina.
During tonight's construction‚ the winch was drawn
around the left side of the bridge to bend the little
finger to the left. Unbeknownst to anyone the cable was
also around a large tree−branch that snapped when
tension was applied to the cable and landed on Sam. The
limb must have been 50 lbs.‚ but didn't knock him over.
He merely staggered back and sat on the wrecker.
Everyone thought he was okay‚ however I went over to
him and found him pale‚ his eyes completely bloodshot‚
his lips white and crusty and a small amount of blood
dripping from his left nostril. I offered my assistance
and he shook slightly declining. About ten minutes
later he was functional but seemed groggy and passed
out on the way home. The footage comes back tomorrow.
 (7.

It's 1:15 A.M. and I've been up since 4:30 A.M. and I
have to be up at 7:00 A.M.

Wednesday‚ Nov. 21st‚ 1979

So far today has been a fiasco −− not for me actually‚
but...
I drove Rob around today as he checked on‚ and had
done‚ all that needed doing for tonight's shooting of
the bridge/claw scene.
We went out to the bridge and found that the end
knuckle of the ring−finger had been amputated at Dart's
decree. It doesn't ruin the claw effect‚ but it is a
definite detraction.
The electrician arrived drunk and in the midst of
consuming a beer to rig the cable from the 5000 watt
light to the generator and said he couldn't do it
today. I listened to him mumble 75% incoherently‚ then
left assured of his complete and total stupidity.
Goody drove to Atlanta‚ GA. to pick up the new film
from Kodak and his truck broke down‚ and although I'm
not certain‚ it seems quite serious. His truck was the
only vehicle equipped with a trailer hitch to pull the
generator‚ so now they're considering rending a U−haul
van to put the generator in.
A moment ago Bruce and I heard a crash‚ went into the
garage and found that Sam had just broken a 5000 watt
bulb which cost $75.00.
So‚ we don't have a truck‚ the use of the 5K‚ new film‚
several knuckles on the bridge fingers or Goody.
We leave for the bridge very soon.

Friday‚ Nov. 23rd‚ 1979

Yesterday was probably the nicest Thanksgiving I've
ever had. After shooting the knarled−hand/Bridge scene
until 6:30 A.M.‚ with two generators‚ a thirty−six foot
crane‚ three fog machines and 4000 watts of light‚ we
got up at 11:00 A.M. to go to Gary Holt's Mother−in−
 (8.
law's house for the Thanksgiving meal. It was sunny and
warm‚ the colors wonderfully vibrant‚ the setting rural
and rustic. The meal was extravagant‚ the people folksy
and hospitable‚ we rode around on Gary's son's go−cart‚
we played football‚ played with the two Dobermans‚
three tiny kitties‚ and two Pekinese dogs‚ watched
Detroit vs. Chicago on TV‚ showed "Within the Woods‚"
actually helped a neighboring farmer herd some cattle
that had wandered astray‚ then came home and watched
the rushes −− some of which are great‚ the rest good‚
then I went to sleep and awoke today at 6:00
A.M. and am presently defecating my Thanksgiving meal.

Saturday‚ Nov. 24th‚ 1979

Once again we are about to leave for the dirt road
location at Clinch Mt. Yesterday we filmed the scene
with the subject car swerving in and almost hitting a
logging truck and I filmed a couple of shots. It never
looked as good as it should have.
Dissension among the cast and crew seems to be
building. Some of the gripes are: Sam never shoots a
master−shot of anything‚ therefore the cast never gets
to play out a whole scene‚ he'll spend hours filming an
insert‚ then not have time for three other shots‚ he
spends very little time telling the actors what he
wants‚ he'll do a few run−throughs‚ but mainly for the
camera's sake‚ not the actors‚ he films everything from
every angle‚ except the really important things like
the bridge scene (which bugs the shit out of Tom).
Supposedly we are three days behind‚ but I'm not sure
whether to believe it or not since Campbell‚ Tapert‚
Raimi seem to think it necessary to withhold or lie
about certain things. For instance‚ Rob told me the
bridge scene cost $2300.00‚ whereas Bruce said $1200.00
−− that's a big discrepancy.
My neck has hurt for four days‚ and yet‚ even with all
this I'm still enjoying myself.
My tape recorder keeps getting taken out to the cabin‚
left overnight in the cold‚ which kills the batteries‚
then I track it down (since no one returns it) and if I
want to use it I have to buy new batteries which runs
me $5.00.
 (9.
This production is depressing me again. It rained last
night so we can't go to the dirt road and alas it's
just sitting around.
I guess that it must be a reflection of my comportment‚
but I do not like the way I'm treated by several people
here. Betsy gives me upward of four dirty looks and
snide comments a day‚ always to statements of mine not
directed toward her. Theresa simply doesn't deal with
me at all and Sam (this is the major one) appears to
not only not want my suggestions on open questions‚ but
is more than a shade reticent to let me do anything
that takes any amount of thought or creative input.
When he decided to go with multiple cameras yesterday‚
he immediately asked John to run camera 2‚ then began
wondering aloud who had the ability to run camera 3 and
only after I asked and he gave it some thought would he
let me run it. Today he was thinking of a method for a
fake shot‚ opened it up to suggestions from Dart‚
didn't like what he heard then just left it to Dart.
This sounds like paranoid ravings‚ and maybe it is‚ but
I'm still mildly bugged.
I talked for a long time with Tom Sullivan last night
and rather enjoyed myself. Mainly we talked movies and
I told him the story of "Bloodbath" which ultimately
became "Thou Shalt Not Kill... Except" and he liked
it‚ then he told me this totally bizarre idea of his
about other dimensions‚ ghosts‚ "actual demons‚"
"actual sea−serpents‚" that just went on forever.
So far‚ if I did a film‚ of these folks I wouldn't mind
using John Mason in some capacity‚ Tim Philo as camera
operator‚ both Goody and Dart as carpenters and P.A.s
and possibly Tapert as producer −− but‚ that's just
jerk−off thoughts.
Later...
Speaking of paranoid ravings‚ this production is making
me paranoid. I've got this odd‚ unfounded fear I'm
going to get fired −− I'm assuredly replaceable‚ as a
matter of fact I'm totally expendable‚ I have no basis
for this fear‚ yet it persists.
These guys are freaking out with all this money‚ they
can't stop finding ways to spend it. Now they're having
Dart build a slanted‚ twenty−foot ramp running from the
 (10.
edge of the porch out in front of the door to get
another crane effect. It's ridiculous.
Why am I in this absurd position? The idea of working
on a movie is great‚ but the grief just isn't worth it.
To be on a production with good friends and
intentionally and continually placed in a lower
position is maddeningly insulting. I really want to
tell them to fuck off‚ but it won't accomplish
anything. I've tried to keep a good attitude throughout
but it's difficult −− I have ideas that I have to force
on people just to get them to listen‚ not even accept
them.
And‚ I think I'm sick‚ too.
Fuck!
And yet a little while later...
It appears as though this production is running into
some trouble. The high brass is in a special conference
this very moment discussing it: how to keep going with
exteriors while it's raining‚ or to go interior with a
cabin that is as yet unfinished and unfurnished.
At this point‚ this is what I would do: stop shooting
for a couple of days‚ get everyone out to the cabin‚
rehearse every move‚ every lighting set−up‚ finish
fixing the place‚ dress it‚ wait for it to stop
raining‚ then keep shooting (the rain is supposed to
end on Thursday) but now do the long tracking takes
that comprise so much of the footage‚ then get the
inserts and go home.
Tom asked if I suggested this to them and I hadn't‚ nor
will I. I've made as many suggestions as I'm going to.
This meeting is taking place in the room adjoining mine
so I can't go to my room.
The question is: why is all of this bothering me so
much? It's not my film‚ why should I care? I'm
backassed on both points. I want to care‚ but I don't
really‚ and it's not my film‚ yet I wish it were −− at
least in some part −− then someone might take heed of
my words.
 (11.
But why do I want them to take my word? Isn't theirs
enough?
No. It's not.
We are now four days behind and there is a good chance
tomorrow will make five. Sam does not have a firm
control of the situation at all.
Of course I never thought he did‚ but his movies always
turned out well. That was Super−8 though‚ this is 16mm
and a lot of money. There are a million variables in
this business. Someone once said that being a good
director mainly consisted of answering better than 50%
of the questions right. This has always made sense to
me but I've never seen it so intensely illustrated.
Everyone bombards Sam with questions continually and
I'm not sure if his average is better than 50% at this
point. We are fourteen days into a forty−three day
shoot −− one−third of the way in −− "Book of the Dead"
is theoretically one−ninth shot (if it was ever going
to run ninety minutes). The big answer now is "once we
get to the cabin things will really move." As far as I
can see it's not too much different from shooting in
the car‚ and that took forever. Sam doesn't really know
what he wants. I'm convinced.
I saw part 2 of "Salem's Lot" on TV and it was drek.
"Texas Chainsaw Massacre" was a fluke. Tobe Hooper is
bad −− not even mediocre −− bad.

Sunday‚ Nov.25th‚ 1979

Today I worked out at the cabin painting. Don and I
painted the trim around the doors and windows
battleship grey (as instructed by the Almighty One).
When this was accomplished Sam decided he wanted all
the trim brown‚ so the rest of the day was spent re−
painting.
Just previous to Sam's original decision to paint it
grey‚ I suggested it all be painted brown and was
ignored. I'm getting to be an extreme I−told−you−so.
Today's shooting consisted of a few fake driving shots
in the afternoon. The morning was spent getting then
subject car out of the ditch Sam drove it into while
 (12.
attempting a stunt that had been filmed possibly
twenty−five times previously.
This now puts us six days behind.
After work on the cabin‚ myself‚ Dart‚ Don‚ Rob and Sam
piled into the rental truck and attempted to drive
home‚ however yesterday's and today's rain has almost
made the long driveway to the cabin impassable. Four of
us had to push to get the truck up to the road.
In a few minutes I leave for the Knoxville airport to
drop off the film. This is the second time we've sent
out our film on Sunday‚ the day when the only freight
service open is Delta which happens to be the most
expensive.

Monday‚ Nov. 26th‚ 1979

It's about 10:30 A.M. and Rich and Tim just left to get
a couple of second−unit driving shots. Later today‚ and
supposedly all night‚ we'll be in the cabin.
Last night‚ while I drove to the airport‚ everyone else
was out at the cabin working. Scuttlebutt has it that
the middle bedroom is painted yellow and the back
white. Yellow? For a horror movie?
The furniture is to be purchased today‚ interior
shooting tonight.
The Arriflex−S busted and now Bruce is calling
equipment rental places in Atlanta to get another. Ivan
Raimi Sam's older brother was going to bring one
down‚ but he doesn't want to make the drive. The
footage of the car and truck stunt didn't run through
the Arri−S‚ however it was covered by the BL and the
Bolex‚ nevertheless‚ there are a few more shots lost.

Tuesday‚ Nov. 27th‚ 1979

We did shoot all last night at the cabin and got some
real nice shots. The front room was absolutely filled
with lights‚ about 7000 watts inside and 3500 outside‚
and we did a 90 degree dolly from the porch to in front
of them and an upward ramped pull back/zoom back that
should be interesting.
 (13.

There are more fakery fog shots tonight and I don't

know what else. I'm rather bored of this whole deal and
having no one to talk to.
I figured going in that if nothing else I could always
talk to Bruce‚ however that is not the case. Bruce is
either all business (which I'm not part of) or
shticking for everyone‚ which I find rather tedious.
At first I tried to sit in on the business end of this
thing‚ but found that I was neither a part‚ nor wanted.
I have ceased this practice.
Early the next morning...
Shooting ended about an hour ago‚ at 7:00 A.M.‚ and we
got six shots in total: a straight−on shot of the car
(approaching the bridge) tilted to about 4:00‚ the
camera tilted to 4:00 and Bruce and Ellen getting out
at a normal angle. A storyboard is drawn. I like it.

Thursday‚ Nov. 29th‚ 1979

Things have gone topsy−turvy. We all changed over to a
night schedule that would permit filming from when it
got dark at about 6:30 P.M. to dawn‚ however within two
days things have gotten pushed to the point of
beginning to film last night at 2:00 A.M.‚ then going
until noon. It's 1:00 A.M. now and we have yet to
begin‚ nor does it appear as though we will for another
hour or two.
Winter has come‚ the muddy driveway to the cabin has
frozen allowing access to it‚ and the cabin itself is
now always astoundingly cold inside‚ even with a big
fire and two space heaters. Last night‚ on the
seventeenth take of an exterior dolly shot the sync
cable froze and we were forced to go in and let it
thaw.
Our director is a first−rate mess. He is sleeping at
the cabin (someone has to since all of our power tools
were stolen: a skill−saw‚ saber−saw‚ drill‚ chainsaw)
and seems to get more frazzled and less organized by
the day.
 (14.
After completing the filming at noon yesterday‚ Sam and
I put away two−thirds of a bottle of scotch and smoked
four doobs until we were stumbling idiots. I awoke a
few hours later in total pain from sleeping on the
floor and hung−over and drove back. I awoke at 10:30
P.M. and went right back to the cabin. I'm back at the
homestead now taking a shit (actually leaving one) and
awaiting the return to the cabin for filming.
Everyone including myself‚ is a fried−out wreck. This
production is taking its toll.

Saturday‚ Dec. 1st‚ 1979

We've just returned from another all−night shoot‚ then
breakfast and it's about 9:30 A.M. Early into last
evening's proceedings I began drinking "Rebel Yell"
bourbon‚ smoked a doob‚ then switched over to scotch
and in no time felt incredibly bad. I tried to sleep on
the couch in the main room and couldn't‚ then moved to
the freezing back−room and crashed on a cot for several
hours. When I awoke the sun was just coming up and Sam
was still shooting the same scene as when I retired.
I feel like a total scum−bag. My only consolation is
that Sam looks worse and assuredly feels worse.
We looked at the second load of rushes yesterday and
among some real nice shots (the tire dropping through
the bridge) the big events of the truck scene and the
night−time knarled−hand/bridge scene were both let−
downs. A bunch of the footage of the truck scene just
wasn't there‚ and what was there didn't look very good.
As for the bridge‚ well‚ it's almost a total waste. the
knarled hand effect isn't there‚ the crane shot doesn't
work and the whole thing looks like a cheap‚ backyard
set.
Sam is now considering shooting both scenes again −−
which is obviously insane since there is possibly
twenty−minutes of film shot.
I entirely understand Sam's directorial technique now:
he breaks every scene down to every possible angle and
films them all‚ thus giving himself total latitude in
the editing room. It's a viable method‚ but not
rational for this production.
 (15.
Sunday‚ Dec. 2nd‚ 1979
Once again I have just returned from an all−night
shoot. Although things were still slow‚ they went
appreciably faster than usual.
Sam looks like he's on his last leg. Now he's really
like a punch−drunk boxer. Nevertheless‚ he's still
right on top of the action (as he says quite often) and
he's getting some nice footage.
Aside from the fact that I still have serious doubts
about the completion of this film and that neither
Betsy‚ Theresa or Bruce is giving a particularly good
performance‚ this film will be slick as shit and have
some great things in it.

Wednesday‚ Dec. 5th‚ 1979

Tonight is going to be another all−nighter for two
scenes: Ellen running through the woods and Rich
walking into the cabin looking through all the rooms.
Last night I picked the optometrist up at the airport.
He had the white "monster" contact lenses with him for
the girls that are just repulsive−looking −− very
effective. An interesting sideline is that they can
only be kept in for fifteen minutes‚ five times a day.
This seems like it ought to effect Sam's shooting style
just a bit‚ and the whole end of the movie has these
contacts in.
On the way back from the airport with the optometrist I
took the wrong fork on the Andrew Johnson Hwy‚ realized
my mistake immediately‚ turned around on the hwy‚ cut
across the median and was pulled over by the police. I
showed him my license and he informed me I had just
broken about three laws‚ then asked what I was doing in
Tennessee anyway? I told him I was part of the
production of a horror film called "Book of the Dead"
being shot in Morristown‚ that I had just picked up the
optometrist from the airport who had the white contact
lenses for the monsters and I wasn't sure of my way
back to Morristown. He seemed a little incredulous‚
smiled‚ and told me to just keep going the way I was
going and that was that.
 (16.
Also‚ we (although not I) were on TV yesterday. The
Knoxville news filmed this press conference that Gary
has set up‚ then they all went out to the cabin. It was
kind of funny.
The shit hit the fan yesterday finally and everyone
voiced their gripes −− and there were a lot of them.
Rob and Bruce (not Sam) listened to them all‚ said
something would be done‚ mainly with getting Sam to
straighten out his act‚ get the schedule normalized‚
give someone the job of production manager and someone
the job of assistant cameraman‚ keeping the house clean
and many‚ many more. Once everything was aired it was
all promptly forgotten and things continue exactly as
they were.
I am tentatively considering just not going back to
Detroit. I'd like to meet Sheldon somewhere between
here and L.A. and figuring out what we can do with
"Bloodbath." I'll call him. I would like to rewrite it
myself first‚ but going home will just cause me grief
and despair
−− that I can count on.
We would either have to sell it‚ which would be okay‚
but I would rather make it myself. That would entail a
lot of time and money and shooting a short version
which this script doesn't really lend itself to. Also‚
that much time with Sheldon would drive me insane.
Much later...
The shooting has ceased (it's 7:00 A.M.) and one scene
was filmed −− Ellen running through the woods. It was
nicely done: 120 feet of dolly track (particle board)‚
four 1000 watt lights and the 5000 watt light on the
driveway‚ with access to a high angle shot on one side
and a low angle on the other. We did twenty−two takes
of her running in a nightie and undies (it was about 40
degrees)‚ then two of her falling at the camera.
On the second take she fell hard and scraped her leg‚
got pissed‚ began cursing and said she couldn't film
anymore −− shooting came to a halt.
Right now upstairs there is a discussion about upcoming
scenes‚ many of which are with the contacts which can
only come in and out five times a day‚ fifteen minutes
 (17.
at a time. For Sam that pretty much means no exact run−
through and probably about two quick takes. Not because
I said so‚ but out of necessity he will have to
rehearse his actors and go for the big takes −− or he
will be fucked.
"Book of the Dead" is three full days behind schedule‚
with no contingency days. Rob mentioned staying beyond
the 22nd today‚ just in passing.

Saturday‚ Dec. 8th‚ 1979

I just returned from seeing "Star Trek: the Motion
Picture" and am exceedingly unimpressed‚ however I did
get off from work for a while so I'm still rather
pleased to have seen it.
Ivan and Rob's sister and another fellow arrived today
and are presently out at the location filling Don's and
my shoes −− fine‚ I need a break.
Shooting continues with increased fervor now that the
horror scenes have begun and for most of it the contact
lenses are in. Out of necessity we must begin shooting
this film rationally.
Later...
I finished "Nine Stories" by J.D. Salinger and they
were terrific. I've heard rumors that there are more of
his stories available‚ I must check it out.
I have an inkling of an idea as to how to adapt the
Glass family stories into a single film
−− something to think about.

Sunday‚ Dec. 9th‚ 1979

After shooting all day and night we all came home and
watched our movies. Only Tom‚ Theresa and Ellen saw
"Holding It‚" but they liked it. The big success was
"Happy Valley Kid‚" which it ought to be.
 (18.
Monday‚ Dec. 10th‚ 1979
I spent today watching and logging the rushes. It took
me eight hours to watch eight reels (three remain) and
after that my mind was numb. The ulterior motive for my
spending the day watching the rushes is that 1200 feet
of film is missing. I did not locate any of it.
Anyway‚ I slept for four hours‚ felt amazingly
refreshed and have been up since reading "Altered
States" by Paddy Chayefsky.
I dreamt last night that I was in love and holding her
close. Upon awakening I attributed this woman to Robin
my former girlfriend ‚ but I'm not so sure it was.
Yesterday Dart came up to me out of the blue and said‚
"Stop trying to get even‚ get ahead." He didn't seem
able to explain this comment very well‚ but related it
to things I had said to him and repeated it a few
times. It's stuck with me. I am trying to get even a
lot of the time: to do and outdo what Sam has done‚ to
prove myself. But I really can't do it alone and those
I want help from won't do it. They'll let me work for
them‚ but not with them. I will not work for them ever
again. It's been a gainful experience‚ but also a
compromising position. Next time it's either with them
or without them. I'll work with Cameron if I have to.

Saturday‚ Dec. 15th‚ 1979

I skipped out of the shoot this evening without asking
and with no particularly good reason. Ivan and his
friend came back down here and are playing P.A. so I'm
less than needed‚ I'm in the way. Well‚ I won't
intentionally be in the way‚ that's for sure.
Things are progressing at an increasingly slow rate
(since all of the difficult things were saved for last)
and the quality seems to be dropping‚ although Sam
continues to come up with a lot of interesting shots.
It seems apparent to several people now that the final
film will be rather short‚ or‚ as Tom Sullivan said
this evening‚ "Short of an hour‚" which is very short.
Sam seems to be going through some kind of phase in
which he has to prove his manhood. It's done seemingly
in jest‚ but not in totality. For instance‚ last night
 (19.
we were shooting Betsy popping her hand out of the
grave and grabbing Bruce's arm. Aside from the fact
that it's too much of a rip−off to deal with‚ it was an
insert of a hand grabbing an arm and we actually buried
Betsy. To compound this stupidity it was 15 degrees out
and piercing and Sam once again went into a hyper−
meticulous state and spent 5 hours shooting the insert.

Monday‚ Dec. 17th‚ 1979

Soon we'll be leaving for the location again and once
again I'm dreading it. Last night was unquestionably
the coldest yet‚ possibly zero and just absurd weather
to be doing extensive exteriors in. Aside from the fact
that it's awful to be out in personally‚ both lights
and cameras resent it‚ too −− the Arriflex BL freezes
up regularly now and has to be thawed by the fire.
The night before last the tension between cast‚ crew
and head honchos almost came to the boiling point. I
can't finish this now‚ Sam just told me I have to go.

Tuesday‚ Dec. 18th‚ 1979

I'm not exactly sure it's Tuesday or the 18th‚ but
anyway...
Yesterday's filming was dreadful: it was astoundingly
cold‚ long pauses between every stage of filming‚ then
Sam did another of his fourteen takes a shot business.
When everyone got home Sam‚ Rob‚ Bill (their friend and
ex−professor from MSU) and myself sat around smoking
pot‚ discussing LSD and movies. When everyone else had
retired and I was attempting to draw Sam's storyboards
(this was 8:30 A.M.) Sam decided to let me in on how to
make it in the directorial world −− "make a ten−minute
gem." This is to show everyone that I can direct. He
said that he and Rob and Bruce would gladly help me.
I was awakened today at noon and just ignored whoever
did the waking and was not re−awakened. It's now
10:00 P.M.
With all of this unexpected time on my hands I read
Strindberg's "The Stronger" (I finished "Altered
States" last night)‚ then watched Sam's "ten−minute
 (20.
gem" "Clockwork" which is fun‚ has one terrific shot
and is immediately forgettable. I also watched his
Shakespeare film‚ which I had never seen‚ and was very
impressed: it's very funny.
Even though I haven't got the money I think I will do
as he says. Now to think it up.
Later...
Several hours ago Betsy called from the location to get
Ellen out just as Tom was completing her make−up. Betsy
had mentioned that she had had her contacts in nine
times already‚ four more than allowed‚ and there were
still shots to do. I called and spoke with Rob about it
and was told to mind my own business. Tom went out with
Ellen to straighten things out and has yet to return.
So‚ with all this time on my hands I read "The Jaws
Log" by Carl Gottlieb which was interesting.

Friday‚ Dec. 21st‚ 1979

This filmmaking epoch draws to a close tomorrow for
many of us in "Book of the Dead." Ellen and Betsy both
left today‚ Sunday Rich‚ myself‚ Don and Tom will
leave. I'm kind of sad to see it end even if it has
been a major source of grief it's also been very
educational. And of all of Sam's drawbacks and
inabilities as a director he never forgot the point of
the film and may very well succeed on technique alone.
Early this morning after we had watched "Holding It‚"
Sam's "Shakespeare Film" and some rushes‚ Rob‚ Sam and
I smoked some pot and talked and Sam related filmmaking
to being a magician. He said the only thing a magician
is thinking about while performing is‚ "do they know
how I'm doing this trick?" If they don't‚ he's
succeeding −− period. The point also isn't to just make
the film‚ it's to amaze yourself and everyone at the
same time. If you think what you're doing is neat‚
chances are everyone else will‚ too.
Nothing says I have to leave Sunday‚ I could stay the
next two weeks‚ but I don't think it's a real good
idea. My services are not particularly needed and
feeling unneeded I become aggravated and despondent‚ so
maybe leaving is the best thing −− but going home
certainly isn't.
 (21.

Later...
If everything works out right I'll be going to the
movies tomorrow −− hopefully I'll catch two.
Sam and Rob asked me to stay on and run sound and I
agreed. I have no reason to go home‚ so why not spend
Christmas and New Year with the boys.
And they asked me.

Saturday‚ Dec. 22nd‚ 1979

I'm presently seated in the Capri Terrace in Knoxville‚
Tenn. awaiting the beginning of "The Black Hole" which
is in about a half hour. Surprisingly enough this isn't
a bad theater: mildly large screen‚ reclining seats‚
decent sound system‚ this should be okay. After this
I'm going to see "1941‚" then I've got to get to the
airport at 10:00 P.M. to get a ride back. Because of
the late date I may be better off calling in my reviews
to Rick and have her transcribe them.
Scott Joplin rags are playing pleasantly as I wait out
the purgatory of sitting in a movie theater before the
film.
Later...
I'm sitting on the side of the road in Knoxville
waiting for Ivan Raimi to pick me up. The instructions
on how to get here were pretty easy‚ but Ivan'll never
find it. Aside from having no sense of direction he
didn't pay much attention to me when I explained. I'm
sitting here for naught.

Sunday‚ Dec. 23rd‚ 1979

Early this morning Rich‚ John‚ Don and Tom all left for
home and now just the rot−gut cast and crew is left −−
and Ted Raimi. What he's doing here I couldn't say‚
however within an hour of Ted's arrival I wanted to
kill him. I was vainly attempting to re−write my
reviews and Ted did almost everything within his means
to distract me‚ and thoroughly succeeded.
 (22.
At this point I still have two reviews to do and my
only recourse will be to read them to Rick over the
phone.
So now I'm sound man. Although I haven't yet used the
mixer‚ everything else is fairly simple. The stuff I
did last night sounds fine.

Dec. 28th‚ Friday‚ 1979

Another long night of shooting. It's 8:00 A.M. and I'm
just going to bed.
Cameron and Ditz are here adding a new‚ dryer flavor of
humor to the scene. John is apparently very bitter
about this and has said that he hates Sam.
Interestingly enough‚ Sam and I are getting along
rather well. He's a zombie‚ of course‚ bearded‚ dazed
and confused‚ but he keeps it all going.
Tom Sullivan returned‚ a fresh‚ self−produced contract
in hand demanding the rights to all his creations‚
$100.00 a day for being here after his old contract
expired (although that was amended) and an assurance
that he leaves the 29th. After that we do our own make−
up and effects.
Goodnight.

Saturday‚ Dec. 29th‚ 1979

Lately Tim Philo has been rather pointed with me and
any others who don't immediately respond to the call of
duty with sarcastic quips. Several times I have found
appropriate moments to use his quips right back at him‚
which always makes him smile. He and I just went out to
breakfast and talked and happily there are no hard
feelings at all.
Tom Sullivan leaves today‚ which should add some major
obstacles to filming. What's left is almost all special
effects and make−up and the most difficult aspects of
both. Although I almost totally agree with Tom's
P.O.V.‚ he is leaving us in the lurch with his effects
on the line rather self−defeating. His point that this
film is an "effects film" and he wasn't entrusted with
 (23.
his job until the last minute is valid‚ he should have
been in on the proceedings from as early as possible.
Anyway‚ his departure is going to make this last bit of
filming a bigger chore than it already is.
And‚ this just occurred to me‚ if my reviews do not
appear in this month's "Magazine" I will be compelled
to quit.

Monday‚ Dec. 30th‚ 1979

Actually‚ it's the last day of the seventies‚ but I'm
running a day behind. The eighties will be ushered in
as myself and compadres frantically attempt to finish
"Book of the Dead." The idea of working on a film
through the decade appeals to me‚ although more in
concept than in reality.
Ellen left today for good. Theresa arrives tonight‚
Rich leaves Friday‚ Ditz and Cameron left yesterday‚
Ivan and Tom Perlman will be back tonight and
immediately leave‚ Tim leaves Friday‚ and all that will
be left will be Sam‚ Rob‚ Bruce‚ Goody and myself.
As for money I've got $70.00‚ upon completion I should
get between $250−300. and I have $100 at home.
We're talkin' about $400.00 once back in Detroit. I
immediately owe $40.00 on the phone. The rest may get
my car fixed and get me away for a while. Even better
would be‚ if the dope draught in Detroit continues‚
stopping in Atlanta and scoring through Goody's
connection and making a bit more.

Tuesday‚ Jan. 1st‚ 1980

Another long night of shooting‚ but not too bad since
there was just the necessary people on the set.
Last night‚ in celebration of the new year‚ I ate some
speed‚ drank beer‚ bourbon‚ and champagne‚ began
feeling very lousy but had to work and after four or
five bad hours made a comeback. The highlight of this
New Years was getting into a massive firecracker war‚
not unlike the way Sam‚ Bruce and I spent New Years 77−
78.
 (24.
Tonight I pushed Bruce to the breaking point. I kept
squirting him with the shpritz bottle again and again
until he gave me a the ultimatum that if I did it one
more time he'd throw his cup of orange juice in my
face. I squirted him again and lo and behold he threw
his O.J. in my face. For some inexplicable reason I
totally enjoyed the whole exchange‚ even the O.J.‚
possibly because once he'd done it has was totally off
guard and a Bruce Campbell of times past surfaced.

Sunday‚ Jan. 6th‚ 1979 year crossed out 1980

Sam‚ Rob‚ Bruce and I went out to the set about 6:00
P.M. today‚ cleaned up‚ cut wood‚ set−up and got one
shot‚ then came home for dinner. Afterward‚ Sam crashed
and wouldn't get up so it's another night off.
We've all been talking a lot in the last several days‚
mainly about "Book of the Dead‚" but also about other
things. We discussed me at great length last night and
Rob seems to think I'm lazy (as does Goody). I
disagree‚ but it's interesting to hear.
Also‚ I believe Sam and I will begin cutting this film
up upon our return while Rob and Bruce get money.
That's great.
And also‚ I think I may be able to adapt "Bloodbath"
into a compact half hour Super−8 film. I think I'll
also do a ten minute chase film‚ too.
Monday‚ Jan. 7th‚ 1979 all crossed out Tuesday‚ Jan.
8th‚ 1979 the date is crossed out 1980
Today was ridiculous. In fourteen hours we got two
shots. It's finally gotten to the point where I
consider "Book of the Dead" to be partially mine. The
first shot today was going to be a dolly from Bruce's
profile to his front. Now it's from profile to front‚
then back and down for a low angle. The additions were
mine. The shot of Betsy lifting Bruce up is mine as
well as the zoom from outside at the stump through the
window‚ partially the tracking of the van up Clinch Mt.
and... the last shot of the film‚ when it's shot‚ is
all mine (with a tad of revision from Philo). I'm quite
pleased about contributing. There's also some inserts
of Ellen running that I shot‚ although they probably
won't get used.
 (25.

Friday‚ Jan 11th‚ 1979 date crossed out 1980

It's raining‚ it's pouring. It's 12:30 P.M. and not
only are we not out at the set‚ Rob and Sam aren't even
awake yet. If we get anything done today I'll be
surprised.
Things have been going along fairly well‚ although
slow. Each day Sam or Rob is sure to say‚ "We'll get
twenty−five shots today." I'd say we're averaging about
six or seven.
Yesterday‚ Rob was saying since he hasn't any written
documents with Gary Holt he's not going to give him a
percentage‚ which Gary is expecting. I asked how much
of a percentage was Gary expecting and Rob replied "I
can't tell you." Well‚ it's really no big deal and I
actually don't care what Gary gets‚ but the fact that
I'm here three weeks beyond my contract with no pay
increase‚ I'm doing a lot of the lighting‚ loading both
cameras‚ recording sound and most anything else that
needs to be done (which is quite a bit)‚ I really don't
need any reminders that I'm merely an employee of
Renaissance Pictures and not a partner. Everyone but
Goody and Don Campbell made more than me and stands to
make more if the film goes anywhere and none of them
saw fit to stick this thing out −− Well‚ I'm kind of
pissed. My only ulterior motive was that I might become
part of the company‚ but now (and I've been feeling
this down in the core of my being for several days now)
I don't think I'll ever become one with these guys. I
wasn't with them from the beginning and I'll never be
allowed to forget it. As Rob is never wont in reminding
me‚ I simply can't understand how difficult it was
getting the money.
Fine.
Later...
Sam gave me the day off‚ although I certainly didn't
ask for it. Along with the day off he also gave me a
list of things to get and told me to go to the airport
and drop off the film‚ which I just did and now I'm in
the Big Boy across the street.
 (26.
Back in the days when I was a P.A. and rather paranoid
about being fired‚ Goody informed me today that my
fears were justified and they were planning on it.
Goody said he talked to Sam in the workshed and
persuaded him not to.
Now I'm in Howard Johnson's having just seen "Going in
Style‚" which was interesting‚ but oddly written and
paced and didn't really go anywhere. What was really
neat was seeing the trailer for "The Shining." There
was more blood in it than all of "Book of the Dead."
Very effective.
Once again I get the odd impression I may be fired.
I'll return to Morristown and be asked to leave −−
politely‚ yet firmly. It would be exceedingly asinine
considering the crew‚ yet imminently possible.
Why am I unable to broach the subject of joining the
co.? Because I'll be rejected‚ that's why. It's a
stupid attitude and thoroughly in keeping with my past
performance.
Now an hour drive back to grief.

Wednesday‚ Jan. 16th‚ 1979

Written on the back of a folded script log form
I'm going insane! Nothing makes any sense! I can't keep
my mind focused on a single thought! My mental
processes have no continuity at all! I just want to
have one uninterrupted day of thought‚ but "Book of the
Dead" will not end!

Thursday‚ Jan. 17th‚ 1979 year crossed out 1980

We're presently watching rushes (I was‚ but I've
escaped to the W.C.) and I don't much care (aside from
the very few shots I did or lit).
Yesterday‚ out at location‚ I began going crazy. I felt
it coming‚ then awoke with the same persistent headache
of the past four days‚ felt my stomach gurgling and
wound up breakfast with a twenty−minute‚ gut−wrenching
bout of diarrhea. The rest of the day was spent trying
vainly to focus my mind on some thought other than
 (27.
"B.O.T.D."‚ but it was impossible. Everyone thought I
was acting nuts so I played it up a bit and practically
did nothing the whole day.
My psyche is damaged. My health is damaged‚ and for
what? $50.00 a week? Certainly not. Fame? Even if this
thing hits huge I won't get any notoriety.
Companionship? possibly‚ however they have their
projects and I mine and I just can't see them really
coming together.
All day yesterday I was thinking of resigning and both
Pam and Rick called telling me that mom and dad were
gone‚ the house is ours‚ school is great‚ etc.
However‚ if I quit now both Rob and Sam will label me
as they have everyone else −− an asshole for abandoning
them. This shouldn't bother me too much‚ but I want to
make movies too and these guys could help me a lot‚ but
not if I'm an asshole.
I can't go back to the cabin‚ though. I would if I were
doing just this or just that‚ but that's not how things
go. The only person who gets any personal enjoyment is
Sam and what he enjoys tortures the shit out of me.
What to do?
And now‚ after watching rushes‚ Sam has even more
things to re−shoot‚ aside from all that need be shot.
Two more weeks of this will ruin me.
Later...
The bulb on the projector blew and Bruce and I went to
get a new one. On the way I told him of my feelings of
bitterness and hostility and that I simply did not want
to go out to the location anymore. He said he'd bring
it up when we returned‚ which he did‚ like this: "Josh
wants to leave‚" the topic immediately changed to: who
can we get to replace him.
I broke in and explained just what was on my mind −−
again −− said all that I needed to say‚ which was
mainly directed at Sam and was agreed with‚ although
first Sam got pissed‚ then insulting‚ then quiet. Sam
has some splendid arguing techniques‚ but I was right
and mad and he backed down.
 (28.
And so‚ we're leaving next Wednesday (they say) and we
have sixty shots to get and things as Sam says (for
about the fourth time) are going to move.
Why is it that it's always me that locates and
elucidates the problems? Everyone else surely knows
them‚ they just won't say anything. So why do I?

Tuesday‚ Jan. 22nd‚ 1980

Things are coming to a close here on "Book of the
Dead." Tomorrow we are supposed to be out of this
house‚ although we may not. The plan is to shoot until
Friday. I was pretty sure this evening's shoot would
merge with the next three‚ but luckily it hasn't.
As of Jan. 18th I have been in charge of lighting and
have been having a swell time. I'm trying a lot of
extremely directional lighting and keeping everything
at 5.6. This footage I can't wait to see.

Wednesday‚ Jan. 23rd‚ 1980

I just can't seem to keep it in mind that it's actually
1980. Maybe after we leave Tennessee it'll become real.
We have almost exclusively exteriors to shoot and it's
raining. Very poor luck. As things stand the shots we
lack are all seemingly necessary for the film to cut.
It's rather interesting‚ although I'm not exceedingly
versed in the art of lighting‚ what I've done so far
does look visibly better than Philo's work and it
plainly tortures Rob that it all could have looked
better. Fine‚ he ought to be tortured.
We shall be leaving Friday or Saturday‚ I assume‚ but
I'm not sure I can remember what life was like previous
to "B.O.T.D." and I'm not sure I want to find out.
Even though Sam and I agreed I would assist him in
editing (and we shook on it) I'm still a little
skeptical as to whether I'll be editing or not. We'll
see.
Anyway‚ I've got $116.00 in my possession‚ and about
four weeks pay coming (if they have the money) which
 (29.
would be $200.00 and I've got $75.00 at home = $391.00.
That should get me a little way.
Today's shoot was plain stupid. In about ten hours we
got two shots. One shot took one hour‚ the other took
nine.
These pages are folded and crinkled

Saturday‚ Jan 26th‚ 1980

I just awoke at the cabin‚ along with Bruce‚ Sam‚ Rob
and Goody‚ and could barely move on account of a
headache developed from mental abuse‚ beer‚ pot and
sleeping on the floor. I took some aspirin (the staple
of my diet over the past two weeks) and some vitamin C‚
drank some tea and improved somewhat −− now I only feel
awful.
In the very near future‚ probably less than ten hours‚
we shall be headed back home. This may have been the
most difficult and the most rewarding experience of my
life. I began this shoot bitter‚ unhappy and a P.A. I
end it fairly happy‚ exhausted‚ in mental and physical
pain and lighting and sound man.
I've been thinking endlessly about "Bloodbath. " It's
such a natural‚ yet warped idea −− six marines take on
the Manson family −− that possibly a totally American‚
John Wayne treatment might be perfect.

Tuesday‚ Jan. 29th‚ 1980

Back in Detroit.
SCENE CODING
Interior I
Exterior E
Day D
Night N
Twilight T

LOCATION CODING
CAR  Car
B  Bridge
CAB  Surrounding area outside cabin
W  Woods
M.R.  Main Room
D.R.  Dining Room
K  Kitchen
C  Cellar
W.S.  Work Shed
L.B.  Linda's Bedroom
S.B.  Shelly's Bedroom
C.B.  Cheryl's Bedroom
B.T.R Bathroom

EXAMPLE
12 ID  D.R.

TRANSLATION
Scene 12‚ Interior‚ Day‚ Dining Room
 (1.

1 ED  W

Something evil is lurking deep withing the wooded mou

ntains of Tennessee‚ and the camera takes its point of
view. Rising from a swampy bog‚ the mud slides from view
allowing it to see early morning mist hanging about the
forest. Creeping silently past trees‚ gliding over small
shrubs‚ it moves onward through the woods until a mammoth
oak rests directly in its path. The tree is uprooted by
this unseen force‚ and falls with a deafening crash.

2 ED  CAR

Near by‚ a stretch of highway curves along the base of

a mountain. The road winds off into oblivion beyond other
peaks. From behind view‚ the rumble of an engine can be
heard. It is a large logging truck headed south. Moving
away‚ the truck becomes smaller until finally it disap
pears in the distance. From where the truck emerged‚ a
dilapidated gold 1973 Oldsmobile comes into view.

3 ID  CAR

Inside‚ five people can be seen. They are couples ASHLY

and LINDA‚ SCOTT and SHELLY‚ and CHERYL‚ ASHLY's sister.
Both SCOTT and SHELLY wear "Michigan State" Tshirts‚
and are students along with the others at that univer
sity. SCOTT is driving and SHELLY sits next to him up
front. ASHLY‚ LINDA and CHERYL are in back. They listen
to an old "Baby Moses And The Thrillers" song on the
radio‚ and SHELLY is slapping the dash board as if it
were a drum.

SHELLY
(Singing with the music)... Together‚
forever...

SCOTT
Ash‚ where are we?

ASHLY
I'll tell ya in a second. Now we're
 (2.

3 CONTINUED

still on seventyfive just past the

county border...

4 ED  W

Once again‚ the camera takes the point of view of the

dark and brooding force which stops atop a forest ridge
to peer downward. Its view focuses upon the 1973 Olds
mobile speeding along the narrow highway below.

5 ID  CAR

ASHLY traces a route on the map with his finger.

ASHLY
...Which would put us...which would
put us...

SCOTT
Jesus Christ‚ just tell us already
will ya?

ASHLY zeroes in on the map with his finger.

ASHLY
...Right...

SCOTT is growing impatient.

ASHLY
...Right...

SCOTT
Yes?
 (3.

5 CONTINUED

ASHLY
Here!

Suddenly‚ the radio stops‚ and the steering wheel jerks

from SCOTT's hand.

6 ED  CAR

The car screetches out of control into the opposite lane.

A large oncoming tanker truck with its horn screaming
races toward the car on a collision coarse.

7 ID  CAR

SHELLY
Scotty‚ watch out!

8 ED  CAR

The truck races closer.

9 ID  CAR

Their steering wheel is locked.

ASHLY
Turn!

10 ED  CAR

At the last possible instant‚ SCOTT's wheel again can

 (4.

10 CONTINUED

be controlled‚ and the car swerves sharply back into its

own lane.

11 ED  CAR

The truck speeds harmlessly past them.

12 ID  CAR

ASHLY
Damn it Scott‚ what the hell was that?
You trying to kill us?

SCOTT
Don't yell at me‚ it's your lousy
steering wheel. The damn thing jerked
right out of my hand.

ASHLY
I can't understand it. I just had
this thing in for a tuneup.

SHELLY
Radio's dead too‚ ace.

ASHLY
And I just had 'em tune up the whole
thing yesterday.

SCOTT
Well‚ then take it back 'cause the
damn thing don't work. Only thing
that works on the whole car is the
lousy horn.
 (5.

12 CONTINUED

SCOTT honks the horn.

13 ED  CAR

Several local MEN walking down the highway respond to

the horn by waving.

14 ID  CAR

SCOTT yells out the window at them.

SCOTT
Aw‚ go to hell‚ I'm not waving at ya!
He looks in the rear view mirror. The MEN are still wav
ing in the distance. SCOTT turns back to drive.

SCOTT
Jesus Christ.

SHELLY turns around in the front seat and holds up a

pint of Scotch.

SHELLY
Well‚ I'd like to make a toast. To
Scott who almost killed us.

SCOTT
Aw‚ eat shit and die will ya?

SHELLY and the others laugh.

SHELLY
Okay‚ okay then to a wild weekend
 (6.

14 CONTINUED

in a wonderful cabin with good friends‚

(She glances at SCOTT) provided we
live that long.

SHELLY cooly drinks from the Scotch and passes the bottle
back to ASHLY and LINDA. ASHLY pours LINDA a drink in the
bottle cap and keeps the bottle. They raise their drinks.

ASHLY AND LINDA

...With good friends.

They toast‚ drink and react to the strong liquor. ASHLY

tries to hide his reaction to the Scotch in front of
LINDA‚ since SHELLY had reacted so calmly. ASHLY passes
the bottle to CHERYL who stops him with a polite "No‚
thank you‚" then back up front to SCOTT.

LINDA
Hey Scotty‚ what's this place like
anyway?

SCOTT
Well‚ the guy that's renting it says
it's an old place‚ little run down‚
but it's right up in the mountains
totally secluded. (He takes a drink
from the bottle) Best part is‚ we
get it so cheap.

LINDA
Why are we getting it so cheap?

SCOTT
I don't know‚ might be in real bad
shape.

CHERYL
You mean nobody's seen this place
yet?
 (7.

14 CONTINUED

SCOTT
Not yet.

ASHLY
Might not be too bad.

LINDA
No...

ASHLY
Actually‚ it might be very nice.

LINDA
Yeah...

SHELLY
It's probably a real pit.

CHERYL
I can't believe that we're renting
a place for a weekend that nobody's
seen.

SCOTT
(Mumbling to himself) Jesus Christ‚
not this again...

CHERYL
(Turning to ASHLY) You know‚ mom and
dad would never let us go up to a place
like this if they knew

ASHLY
Which is exactly why they don't know.
 (8.

14 CONTINUED

I'll tell you who I am gonna call.

The guys that fixed up this car.

15 ED  CAR

The car approaches an exit along the highway.

16 ID  CAR

ASHLY glances at the map again.

ASHLY
Hey‚ I think this is where we get
off.

17 ED  CAR

The car turns off the main highway and follows several
back roads until it approaches a narrow dirt lane that
winds upward along a twin set of mountains.

18 ID  CAR

SCOTT glances up to the peaks.

SCOTT
These mountains seem familiar.

LINDA
What do they remind you of? Some
thing majestic? Adventure?
 (9.

18 CONTINUED

SCOTT
Yeah‚ more like adventure.

LINDA
Any adventure in particular?

SCOTT
Shelly's sweater.

ASHLY and SCOTT laugh out loud. LINDA laughs quietly‚

and CHERYL lets out an embarassed giggle to herself.

SHELLY
(Teasing) Oooh‚ you're gonna get it
Scotty‚ when you least expect it‚
you're gonna get it good.

19 ED  B

Finally‚ the car arrives at a wooden bridge extending

over a great chasm. Carefully‚ the vehicle crosses.

20 ED  CAB

It is late afternoon when they eventually arrive at their

destination. The small wooden cabin is surrounded by
thick dark woods. SCOTT shuts off the car but it contin
ues to sputter and backfire.

21 ID  CAR

ASHLY reacts to his car.

ASHLY
I...I sent 'em a check for the tuneup‚
 (10.

21 CONTINUED

but I'm just not paying for it.

LINDA
This place is perfect.

CHERYL
The woods come awfully close to the
house don't they?

SCOTT
So what's wrong with the woods‚ they
can't bite ya.

CHERYL
It's just a little claustrophobic
that's all.

LINDA
Well‚ I think it's beautiful.

SHELLY
Me too‚ it's gonna be a bomb week
end.

22 ED  CAB

SCOTT moves to the front door of the cabin where he finds

a small ring of keys concealed on the shelf above the
door. ASHLY unloads the car to the others.

SCOTT
It's supposed to be one of these on
here.

After trying several keys‚ he is able to unlock the door.

 (11.

23 ID  M.R.

The interior of the cabin is completely dark. SCOTT

opens the door and stands silhouetted in the doorway
for a moment‚ then enters to find the light switch.
The illumination reveals floors‚ walls‚ and ceilings
made of cedar. There are two small bedrooms‚ a kitchen‚
and the main room which contains a stone fireplace set
into the wall. An old grandfather clock stands silently
in one corner‚ partially hidden in the shadows. A door
in the rear of the cabin leads to a small work shed
containing a work bench and an assortment of tools upon
the wall. Located centrally in the main room is a trap
door leading to the cellar. This catches SCOTT's eye.

SCOTT
Hey‚ this place has a dungeon.

CHERYL puts down a case of art supplies‚ and moves over

to SCOTT by the trap door. He unlocks a chain securing
the trap door with one of his keys and hands the ring
to SHELLY.

SCOTT
Put these back will you?
SHELLY leaves with the keys‚ and SCOTT tries to open the
hatch but cannot.

SCOTT
They nailed it shut.

CHERYL
Good‚ I don't like cellars. Probably
just some garbage down there anyways.

SCOTT
Cheryl‚ they don't nail garbage in
cellars. I mean it's not going to
try and get out or anything.
 (12.

23 CONTINUED

CHERYL
Well‚ what's down there?

SCOTT
Well‚ could be any number of things.
Old baseball cards‚ mushrooms‚ dead
bodies

LINDA
Hey‚ look at this!

LINDA is standing in the corner next to the old grand

father clock. She repositions a balance weight‚ and it
begins to tick.

LINDA
Ta daaaaaa!

The others applaud and whistle. LINDA smiles.

24 ET  CAB

The cabin is seen from the outside. Twilight has come.

25 IT  M.R.

CHERYL sits alone in the living room near the window. She
is drawing sketches of the old clock. As she works‚ the
ticking stops unexpectedly. CHERYL puts down her pencil
and looks up to the clock. It stands silently in the cor
ner with its hands frozen in position. There is a rust
ling from the woods. CHERYL looks out the window but can
see only the trees. Something is moving outside‚ yet re
mains hidden within the forest. A gust of wind fills the
room. CHERYL glances down at her hand. It turns a pale
 (13.

25 CONTINUED

white and begins to shake and jerk about uncontrollably.

She stares on incredulously as her hand‚ guided by some
unseen force picks up the pencil and begins to sketch
a figure upon her pad. The wind gales through the open
window but dies down slowly as her hand completes the
drawing. Whatever was at the edge of the woods has now
retreated further into them. Her hand loses the pale
cast and is now under control once more. CHERYL picks
up her pad of paper. The likeness of a book with some
form of ancient writing on its cover has been sketched.
She looks to the woods which are now silent. A snapping
of wood is heard from the cellar. CHERYL quickly turns
to the trap door still nailed shut in the floor. Pos
sibly just a mouse‚ but she fixes her gaze upon it.
Another sound‚ almost like faint breathing comes from
the cellar.

26 IT  K/M.R.

ASHLY and LINDA enter from the kitchen. ASHLY is drink

ing a beer and moves over to CHERYL. He stands between
her and the trap door.

ASHLY
What're you drawing Cheryl?

He picks up the piece of paper. LINDA looks over his

shoulder to glance at it.

CHERYL
I...I don't know.

ASHLY
Is it a bible?

CHERYL
No‚ no it's no bible. (She glances
again at the cellar‚ knowing some
thing is down there) I don't know
what it is.
 (14.

26 CONTINUED

LINDA
Well‚ this one of the clock's not
bad.

LINDA picks up the sketch and walks over to the clock

with it a few steps away. She stands comparing it to
the real thing with her back to CHERYL and ASHLY. She
is only a few inches from the trap door‚ and CHERYL
wants to call out in warning when ASHLY kneels in front
of her to speak secretly.

ASHLY
(In a whisper) I got it right here.
He taps something in his shirt pocket. CHERYL is looking
past him paying no attention. She watches only LINDA's
feet‚ waiting for whatever is in the cellar to grab them.
LINDA looks at the drawing in comparison.

LINDA
Cheryl‚ this is really good. I like
how you did the numbers in that wood
ish style.

ASHLY produces a small box from his shirt and opens it

quickly to show CHERYL. It contains a gold pendant on
a necklace. LINDA takes a step closer to the clock. She
is now standing almost upon the trap door. Although
nailed shut‚ it opens slightly‚ pulling the nails with
it. CHERYL gasps. ASHLY is pleased with her response.

ASHLY
(Still in a whisper) I knew you'd
like it.

Quickly‚ he places it back in his shirt and touches his

lips with a finger to indicate the secrecy of his sup
rise. LINDA returns with the sketch and places it back
on CHERYL's small drawing table.
 (15.

26 CONTINUED

LINDA
It's really good Cheryl. Very close
to the origional.

CHERYL
(In a relieved whisper) Yes‚ very
close.

LINDA
I'm gonna check dinner.

LINDA returns to the kitchen and ASHLY turns to CHERYL.

ASHLY
You better get washed up. I'll see
ya in there.

He winks‚ then follows LINDA into the kitchen. CHERYL

again looks at the cellar. Slowly‚ from her point of
view‚ the camera moves in toward the trap door‚ wait
ing...waiting.

27 T  K

A blender screams as it mixes up a drink in the kitchen.

HELLY shuts it off and carries it to the dining room.

28 T  D.R.

She joins the others who are now seated at the dinner
able and serves the mixture. SCOTT sits between LINDA
and CHERYL. He leans over to CHERYL.

SCOTT
(In a whisper) Dead bodies in the
 (16.

28 CONTINUED

cellar‚ dead bodies in the cellar...

CHERYL
Will you stop it?

LINDA
Scott‚ leave her alone will ya?

SCOTT turns toward LINDA.

SCOTT
Will you relax‚ I'm just kidding
around. She can take a joke

He stops talking as he hears the trickling of water. He

turns to see CHERYL finish pouring a glass of water in
his lap. The others laugh. SCOTT is silent for a moment‚
then begins chuckling to himself. He turns to CHERYL.

SCOTT
(Jokingly) I'll get ya.

With a napkin‚ he blots the water from his pants.

SCOTT
I'll get ya for this Cheryl.

ASHLY stands with his drink and raises the glass.

ASHLY
I'd like to make a toast for all
here this evening. As a greek friend
of mine once said‚ "Nishatnisfert
disrubentutarim."

LINDA
Which means?
 (17.

28 CONTINUED

SCOTT
Party down!

The laughter is stifled by a loud snap and cracking of

wood heard from the main room.

SCOTT
What the hell...

All stand from the table and hurry to the main room.

29 IN  M.R.

The nails that held down the trap door have been ripped
out‚ and although still in tact‚ the hatch is wide open.
They stand silently in front of it‚ looking blank as to
what could have done this. CHERYL is slighly more nervous
than the others. ASHLY is the first to speak.

ASHLY
(Slowly) What is this?

SCOTT
Whatever it is‚ it's still down there.

CHERYL
I don't like cellars‚ let's close it
up. (She does not want to deal with
it) It's probably just some animal.

SCOTT
An animal?! An an...hahahahaha
that's the stupidest thing I ever
heard in my life. Jesus Christ.
 (18.

29 CONTINUED

SCOTT locates a flashlight and peers into the hole. He

traces the old wooden steps into darkness with his light.

LINDA
Maybe it is just some animal.

SCOTT
Yeah‚ probably right. It's probably
just some animal. Uh...Cheryl‚ why
don't you make sure.

He hands the flashlight to CHERYL who quickly gives it

back.

CHERYL
Scotty‚ I'm not going down there!

SCOTT
Okay‚ okay you cowards‚ I'll go.

LINDA
Scotty don't. You're crazy if you
go down there. Why don't you wait
until morning.

SCOTT
Look‚ I'll be all right.

SHELLY
What melodrama! What courage! A kiss
my brave hero.

SCOTT kisses SHELLY and with flashlight in hand‚ he descends

the narrow steps into the cellars blackness.
 (19.

29 CONTINUED

SHELLY
I‚ your virgin queen eagerly await
the precious moment when you will
ascend.

SCOTT
Virgin queen?! Hahahahaha

He disappears below the floor. SHELLY‚ CHERYL‚ LINDA and

ASHLY wait above.

ASHLY
(Calling down) Hey Scott‚ see any
thing?

There is no answer.

ASHLY
Hey Scott!...Scott!

SHELLY
He's just kidding around.

There is silence.

SHELLY
Isn't he?

No sounds come from the cellar.

ASHLY
Linda‚ get me a flashlight.

LINDA
That's the only one we brought up.
 (20.

29 CONTINUED

ASHLY spots a lantern on the fireplace mantle.

ASHLY
Then get that lantern.

LINDA brings it over. ASHLY opens the kerosene valve‚

lights the wick‚ and descends into the basement.

30 IN  C

Down below‚ ASHLY moves quietly past the old stone walls
and wooden beams which support the main floor above. In
front of him stands an old door which leads to another
section of the cellar. Cautiously‚ he moves toward it.
Before he can touch it‚ the door swings open slowly with
a moan. ASHLY moves through the doorway and deeper into
the cellar. Condensation from water pipes above turn the
cellar into an echo chamber as drips fall into shallow
pools on the dirt floor below. As ASHLY scans with his
light‚ he spots a shadow move out the corner of his eye.

ASHLY
Scott?

ASHLY breaks into a cold sweat as he moves away from

the area where the shadow passed. He backs sqarely into
a pair of arms which grab him.

ASHLY
Ahhhhhhh!

It is only SCOTT behind him.

ASHLY
What the hell are you doing down
here‚ jerkin' off? How come you
didn't answer me?
 (21.

30 CONTINUED

SCOTT
When?

ASHLY
Just now‚ I mean upstairs.

SCOTT
I didn't hear you.

ASHLY
Oh well‚ did you find anything?

SCOTT
Uhuh.

ASHLY
What's this?

SCOTT sweeps his light to another corner and reveals

several items atop a small table. Beneath a dusty cloth‚
he finds a book which appears to be covered in some sort
of animal hide‚ with an ancient form of writing on the
cover. Along with this book‚ SCOTT and ASHLY uncover
a reel to reel tape recorder‚ an ancient dagger‚ and
other parapanalia including a box of rifle shells.

31 EN  CAB

It is evening as darkness surrounds the small cabin.

32 IN  M.R.

The group sits huddled around the fireplace talking

quietly about school. The same bottle of Scotch is passed
 (22.

32 CONTINUED

around. ASHLY is rewinding the tape recorder‚ and once

this is done‚ he turns it on. The voice of an old man
is heard. ASHLY turns to the others who are talking.

ASHLY
Shhh‚ listen to this.

VOICE
My name is Julian Knowby. I am a pro
fessor of ancient Egyptian mythology
in Dextin university's ancient history
department...

ASHLY
This is the tape I found downstairs.

VOICE
(Continuing)...I am recording this
entry from a small cabin in the south
ern mountains of Tennessee. Here‚ I am
staying with my wife for a few weeks
so that I may continue my research un
disturbed. Since May‚ a group of assoc
iate professors and myself have been
excavating the ruins of Ca'n Dar. I
believe I have made an important find
in that area‚ and thus the reason for
this log. With it‚ I can keep an ac
curate record of translations from
my latest find: the first of six‚ the
others still lost‚ volumes of ancient
Sumarian burial practices and rites.
Basically‚ it is a book of do's and
don'ts dealing with the deceased en
titled "Naturan Demanto" roughly trans
lated "Book Of The Dead." It is bound
in human flesh‚ and inked with blood
of the deceased...

SCOTT
Jeez‚ I'd hate to find out what they
used for pens.
 (23.

32 CONTINUED

VOICE
(Continuing)...This particular volume
deals with demons and demon resurrect
ion. These are of the Katardi family‚
meaning those forces believed to inhab
it the jungles and woods of man's do
main. The first few pages that I have
translated warn that these demons are
dangerous‚ everpresent‚ and exist
primarily through this book. As legend
has it‚ only the sacred high priests
of the Ca'n Dar tribe could posess
these books‚ for they alone could
properly control the resurrected de
mons. It is only through the act of
reciting the resurrection passage
that these demons would be able to
posess the living. For many years‚ it
was thought that this legend

CHERYL turns off the machine at this point.

SCOTT
Hey‚ what'd you do that for? It was
just getting good.

CHERYL
I just don't want to hear any more
that's all.

SCOTT
(Singing) Cheryl's scared‚ Cheryl's
scared.

ASHLY
Scott‚ leave her alone will ya?

SCOTT
Jesus Christ.

He moves to the tape recorder and fast forewards it for

a bit then stops.
 (24.

32 CONTINUED

SCOTT
She's acting like a baby it's no
big deal.

He turns the machine on. The passage continues.

VOICE
Tantirahmistrobeenhazarta

33 EN  CAB

As the tape plays‚ all natural sounds from the forest

die out‚ and the autumn colors in the trees fade to a
gloomy grey.

34 IN  M.R.

VOICE
Tantirmanovmishazensober.

All eyes except CHERYL's turn to the window.

35 EN  CAB

Outside‚ clouds roll in from the east‚ thunder booms in

the distance‚ and as the wind picks up‚ it begins to rain.

36 IN  M.R.

VOICE
Kanda!
 (25.

37 EN  CAB

A section of ground deep within the woods begins to crack‚

and opens. Smoke seeps out from within‚ as if some evil
force was now being unleashed.

38 IN  M.R.

CHERYL
(In a whisper) Shut it off.

VOICE
Kanda!

39 EN  CAB

The winds howl‚ and blackbirds fly from their nests‚

screaming.

40 IN  M.R.

CHERYL
(Louder now) Shut it off.

ASHLY‚ hearing her for the first time‚ turns from the
window to CHERYL. She is overwhealmed with fear.

VOICE
Kanda!

41 EN  CAB

A bolt of lightning strikes very near and its thunder

crash is deafening.
 (26.

42 IN  M.R.

CHERYL can no longer control herself. She screams and

covers her ears.

CHERYL
Shut it offffff!

The window shatters when a branch from a nearby tree

tears through it. ASHLY runs to the tape recorder and
turns it off. CHERYL is crying now‚ and runs to her room.
ASHLY turns to SCOTT.

ASHLY
Scott‚ you knew not to play it‚ I
mean...I mean you knew it was upset
ting her. You just don't know when
you're carrying something too far.

SCOTT
(To SHELLY) C'mon. (Back to ASHLY)
Big deal‚ it's just a joke‚ shit.

SCOTT and SHELLY head for their bedroom. SCOTT mumbles

to himself along the way.

SCOTT
You'd think she's three years old or
something.

SCOTT slams the door behind him. ASHLY sighs. He moves

to the broken window and reaches through it to close
the outside shutters.

LINDA
He's really been bothering you hasn't
he?

ASHLY walks to a chair near the other window.

 (27.

30 CONTINUED

ASHLY
No. It's not Scott. Scotty's okay.
It's just that ever since we came
up here‚ things have been a little
too tense. (He sits) All these crazy
things going on. And look at that
window we're gonna have to pay for
that window now.

LINDA
It'll be better tomorrow. Things'll
smooth out‚ you'll see.

ASHLY
I hope so.

He looks at LINDA lovingly for a long moment.

ASHLY
What'ya say we stay up for a while
and listen to the storm.

LINDA
Deal. Lemme check on Cheryl. I'll be
right back.

From across the room‚ she is seen opening CHERYL's door

a crack. LINDA asks if she is all right‚ and gets a
muffled reply. In the foreground‚ ASHLY removes the
small box he showed to CHERYL earlier and places it in
his hand. He glances behind to LINDA. She closes CHERYL's
door and walks back to find ASHLY sound asleep with the
box in his hand. She reaches for the box and ASHLY opens
his eyes to watch. LINDA looks at him‚ but his eyes are
closed again in time to still appear fast asleep. LINDA
turns her attention back to the box. ASHLY watches again
wideeyed as she removes it from his hand. Quickly‚
LINDA turns to him but as expected‚ ASHLY is sleeping
like a baby. She begins to turn back toward the box
and ASHLY opens his eyes‚ but LINDA turns back again
in time to catch him with his eyes wide open.
 (28.

42 CONTINUED

LINDA
Ah ha!

ASHLY
(Laughing) Stealing from the blind
eh? It's for you.

LINDA begins to open the box.

LINDA
It better be good.

The gold necklace is revealed inside.

LINDA
Oh Ash‚ it's beautiful.

LINDA kisses ASHLY. He removes the necklace from the box

and holds it around her neck.

ASHLY
(Fastening it around her neck) I was
going to give it to you before we
left‚ but things got so hectic‚ this
is the first chance I've had. Do you
like it?

LINDA moves to a mirror.

LINDA
It's beautiful. I really love it.
(She turns to ASHLY) I'll never take
it off.

43 EN  CAB

Lightning strikes as something in the woods examines the

 (29.

43 CONTINUED

small cottage. Through the outside window‚ ASHLY and

LINDA can be seen embracing. This force watching them
moves around the house to another window. The silhouette
of SCOTT and SHELLY undressing can be seen. The force
continues around and arrives at CHERYL's window. Inside‚
she brushes her hair in front of the mirror for a
moment‚ then sets down her brush and moves to the window.
She stops to uncrumple the sketch drawn earlier‚ looks
at it‚ then out to the dark woods.

44 IN  C.B.

CHERYL can faintly hear some kind of sound. It is the

same sound she had heard earlier from the cellar. A
noise almost like that of something breathing.

45 EN  CAB

The evil entity rounds the corner of the cabin as CHERYL

walks through the rooms to the front door. She can be
seen stepping out the door. It closes behind her. Wind
shaking the tree branches sends dead leaves fluttering
about.

CHERYL
(Calling to the woods) Is anybody
out there?

There is no answer. CHERYL steps away from the cottage

toward the woods.

46 EN  W

The breeze animates her nightgown and it too seems alive.

CHERYL stops.

CHERYL
I know someone's out there...I
 (30.

30 CONTINUED

heard you...I heard you in the cellar.

Suddenly‚ CHERYL becomes chilled. She folds her arms

around herself and stands at the woods edge‚ listening.
There is only darkness and sounds of the evening wind
blowing through the trees. CHERYL steps into the forest
a few feet then stops. A cry deep within the woods can
be heard. She freezes. Whispering in the distance grows
somewhat louder and a soft wail is heard like that of
something long since dead‚ dredged up to roam the earth
again. CHERYL is about to turn back toward the cabin
when a rustling comes from a group of trees about twenty
yards behind her. She stops. No sound. Nothing moves.
Several yards to her left a twig snaps suddenly. She
turns but there is silence again. The winds die down‚
leaving a deathly stillness throughout the woods. Then‚
all at once‚ the entire forest becomes alive in a flurry
of chaotic noises and movement. Snakelike vines wrap
around her ankles and slither up her legs. Tree branches
near by begin to claw and rake at her. The force is now
moving through the woods toward her. CHERYL is able to
break the vines and run toward the cabin. She emerges
from the woods and into the clearing. The force is
still following.

47 EN  CAB

CHERYL reaches the cabin door but it is locked. She

begins pounding upon the door.

CHERYL
Help‚ help‚ let me in. Open the door!

The evil entity now emerges from the woods.

CHERYL
Ashly! Linda! Open up!

CHERYL spots the small key ring above the door where
SHELLY had returned them earlier. One by one‚ she fran
tically jams one key after another into the lock‚ but
 (31.

47 CONTINUED

still cannot find the right one. The force comes closer
with each key.

CHERYL
Please‚ someone please! Help me‚ help
meeeee!

The evil entity is almost upon her‚ but her actions are
so frantic that the ring falls to the ground. She bends
down to pick them up‚ but a hand grabs her arm. It is
SCOTT who has opened the door from the inside. She
pushes him in the door and slams it tightly.

48 IN  M.R.

SCOTT
What the hell happ

CHERYL
(In hysterics) It...it tried to kill
me. I‚ I heard a noise and...and I
ran and the trees...the trees!

SCOTT
What are you

He is cut off by ASHLY approaching with the others.

ASHLY
Cheryl what's wrong with you? Did
something in the woods do this to
you?

CHERYL
No‚ no‚ no...the woods themselves
The trees they're alive...
 (32.

48 CONTINUED

She hugs ASHLY tightly and cries in hysterical sobs.

CHERYL
They're alive...

LINDA
Ash‚ why don't I take her into the
bedroom so she can lie down a little

CHERYL
(Cutting her off) I'm not lying
down! I'm not staying here. We're
leaving this place‚ we're leaving
this place right now!

SCOTT
Wait a minute‚ I'm sure as hell not
going anywhere.

SHELLY
Cheryl

ASHLY
Cheryl‚ there's nothing out there.
Trees do not attack people.

CHERYL
Ashly‚ will you drive me into town
or not?

ASHLY
(Looking at his watch) Right Now?
(He realizes how desperate she is)
Sure‚ sure I'll drive you into town.
But if you'll just listen to what
you're saying‚ you
 (33.

48 CONTINUED

CHERYL
I don't care how it sounds. I want to
leave this minute. You can bring back
my things when you go.

ASHLY
Okay if you don't want to stay‚ I
can't make you.

LINDA puts a coat around CHERYL as ASHLY helps her to

the door.

49 EN  CAB

ASHLY and CHERYL move to the car. ASHLY helps CHERYL in

then then gets in the drivers side.

50 IN  CAR

CHERYL
I'll stay some place in town tonight.

ASHLY tries to start the car. There is no response.

CHERYL becomes somewhat worried. ASHLY tries again.
The car will not turn over. A look of dread comes
across CHERYL's face.

51 EN  CAB

SCOTT and the others join the two outside.

52 IN  CAR

CHERYL
It's not gonna start.
 (34.

52 CONTINUED

ASHLY again tries the engine.

CHERYL
I know it's not gonna start. It's
not gonna let us leave.

ASHLY keys the engine and it turns over this time‚ start
ing up with a roar. ASHLY‚ worried by CHERYL's condition
glances over to her. Confused and upset‚ CHERYL turns
away from ASHLY and looks out her window. They drive off
into the night through the wooded mountains toward town.
ASHLY glances at CHERYL who is studying the forest in
tensely for any sign of movement. The concern for his
sister is made obvious by the expression on his face.
Their car approaches the narrow bridge area and slows
down.

CHERYL
Why are you slowing down?
ASHLY brings the car to a halt.

CHERYL
What is this?

ASHLY's gaze is fixed directly ahead‚ and his mouth opens

slowly. He flips on the high beams which stab through the
evening mist.

53 EN  B

The bridge over the chasm has been torn away. CHERYL is
silent as ASHLY walks to the ravine's edge to examine
any remains.

54 IN  CAR
 (35.

30 CINTINUED

CHERYL
(Mumbling to herself) No‚ no‚ no‚ no‚
no...it's not going to let us leave‚
it's not going to let us go...it's
not gonna let us gooooo!

55 EN  CAB

An axe is raised into the air‚ then brought down smash

ing upon a log‚ splitting it in two. SCOTT is chopping
wood outside the cabin. Behind him‚ through a window‚
CHERYL sits with a cup of tea in her hand watching him.
SCOTT sets his axe down‚ gathers the wood and moves
away. CHERYL shifts her gaze from SCOTT to the woods
beyond. The camera moves in toward CHERYL then past
her to SHELLY and LINDA who can be seen playing cards
on the floor. ASHLY is seated near the fireplace with
the tape recorder in front of him. He plugs an earphone
in so only he can hear it. SCOTT enters the cabin and
passes in front of ASHLY to drop his wood to one side
of the fireplace. He throws a log in‚ and heads back
outside.

56 IN  M.R.

From inside‚ LINDA speaks.

LINDA
Cheryl‚ wanna play some cards?

CHERYL
(Turning with a smile) Uhuh.

CHERYL turns to face the window again.

LINDA
Hey‚ tomorrow morning‚ we'll find
 (36.

56 CONTINUED

some way around that cliff into town

okay?

CHERYL
Okay.

Outside the window‚ SCOTT chops more wood for the nights
fire. ASHLY turns on the tape recorder to listen with
the ear plug.

VOICE
March 12th. Suzanne came after me
and almost murdered me. My own wife.
At first I thought it was a mental
or physical disorder because of what
had happened to her eyes‚ but I was
only fooling myself. I knew what it
was.

Outside the window‚ SCOTT continues to chop and gather

wood. SHELLY‚ still engaged in cards with LINDA‚ holds
up one in particular.

SHELLY
Okay‚ guess this card.

LINDA
How am I going to know what card
that is?

SHELLY
Guess‚ I'm going to see if you're
psychic.

The card is a two of clubs.

LINDA
Okaaaay...is it a queen?
 (37.

56 CONTINUED

SHELLY
Right!

LINDA
Really?

SHELLY
Yeah.

LINDA
Hey Ash‚ I guessed the card right.

ASHLY
(indifferently) Truly amazing Linda.
He is listening intently to the log as it continues.

VOICE
Three days have passed since that
thing has been down there. I was hop
ing to weaken it without food or
water. Nothing worked. Finally‚ in
desperation I dragged her out to the
shed and dismembered her so that what
ever it was could not get up again.

SHELLY
Cheryl‚ did you see that?

CHERYL remains with her back to them staring out the

window.

SHELLY
Try this one.

She removes a nine of clubs from the deck and holds it up.
 (38.

56 CONTINUED

LINDA
Okay‚ lemme think‚ uh...

She puts her hands to her head in a curved funnel form

ation as if to direct her thoughts to the card.

LINDA
...Um‚ it's a seven.

SHELLY
Oh my God‚ what suit?

LINDA
Diamonds‚ no wait! I mean hearts!

SHELLY
That's right seven of hearts!

LINDA
Hey Ash‚ did you see that? I guessed
two cards in a row.

ASHLY
(Still not paying attention) How do
you do it Linda?

He is concentrating on the tape.

VOICE
This is when I saw the dark figures
moving about in the woods. I should
have never tampered with the "Book
Of The Dead." I now know that what
ever it is I have resurrected through
this book‚ is coming for me.
 (39.

56 CONTINUED

LINDA
You know‚ I always thought I had
some sort of extra sense. You know‚
like e.s.p or something.

SHELLY
What's this one?

She holds up the queen of spades.

LINDA
Another seven!

SHELLY
I don't believe it!

CHERYL
(Still looking outside) Queen of
spades.

SHELLY looks at her card then back to CHERYL. She holds

up another card.

CHERYL
Four of hearts.

The card is a four of hearts. SHELLY bites her lip in

fear and reaches for another card. ASHLY and LINDA listen
in silence.

CHERYL
Eight of spades.

SHELLY picks up the card. CHERYL is correct again.

 (40.

56 CONTINUED

CHERYL
Two of spades jack of diamonds
jack of clubs

Faster and faster she calls them off. Even before SHELLY
can flip them to keep up. Suddenly‚ CHERYL turns toward
the group. Her eyes are bone white. SHELLY's deck of
cards slip from her hand and scatter across the floor.
CHERYL's body is hoisted up to its feet and jerked about
like a whiteeyed marionette. She speaks in a voice un
like her own.

CHERYL
Why have you disturbed our sleep‚
awakened us from our ancient slum
ber? You will die. Like the others
before you. We will take you one by
one. All of you hahahahaha

She screams in a low gruff voice and collapses to the

floor.

ASHLY
Oh my God‚ Shelly‚ get Scott in here!

SHELLY does not respond.

ASHLY
Hurry!

She exits through the front door. LINDA moves to CHERYL

and lifts her head gently. CHERYL appears unconcious but
behind her‚ she reaches for a pen.

LINDA
Did you see her eyes? I'm scared.
What's wrong with her?
 (41.

56 CONTINUED

ASHLY begins to speak when SCOTT and SHELLY enter.

SCOTT
What happened to her?

CHERYL's hand clutches the pen tightly.

LINDA
Look at her eyes.

SCOTT's hand reaches for CHERYL's eyes to inspect them‚

but they blink open. The pen in her hand races upward‚
then slashes down‚ ripping into LINDA's achilles tendon.
LINDA screams fiercely and with a blur‚ the bloodied
pen is raised again. ASHLY grabs CHERYL's arm stopping
her‚ but with a powerful swipe‚ she swings her remaining
arm at LINDA who is sent sprawling across the cabin
floor. CHERYL then clutches ASHLY and‚ almost lifting
him‚ sends his body reeling across the room into a book
case which topples over‚ trapping him beneath its weight.
SHELLY stands screaming as CHERYL now advances toward
ASHLY's face with the bloody pen. He struggles to pull
himself out but cannot. CHERYL is almost upon him when
SCOTT grabs her from behind. Effortlessly‚ she tosses
him off and moves toward ASHLY again. SCOTT climbs to
his feet and grabs the axe. CHERYL raises the pen above
ASHLY's face‚ and SCOTT gives her a sharp jab in the
jaw with the wooden handle. CHERYL stumbles past LINDA
and falls backwards‚ head first into the cellar. She
begins to climb out but SCOTT slams the trap door shut
upon her hand. It won't close. CHERYL starts to push
the trap door open from below. SCOTT climbs on top
and is almost thrown off until he viciuosly rams the
butt of his axe down upon her protruding hand. Demented
screams and moans are heard from below as CHERYL's hand
is finally pulled back and SCOTT manages to secure the
chain across the hatch.

57 IN  LB

Later that evening‚ LINDA is seen in her bed‚ sleeping.

ASHLY covers her with a blanket‚ kisses her‚ and walks
to the door‚ closing it quietly behind him.
 (42.

58 IN  M.R.

ASHLY joins SCOTT and SHELLY who sit near the fire in
the main room. From the cellar‚ strange moans‚ sobs and
laughter emerge‚ then horrible rasping sounds from CHERYL'S
breathing. Through the next sequence of dialogue‚ her
breathing becomes louder then somewhat quiet.

SCOTT
She'll be okay Ash‚ she just took a
bad bump.

ASHLY
(Quietly) Yeah.
SCOTT and SHELLY listen to the strange noises from below
as ASHLY looks out the window to the woods beyond.

ASHLY
We've still got a few hours before
morning.

SHELLY
I don't know if I can wait that
long.

SCOTT
You have to. We all have to. Then‚
once it's light out‚ we'll try to
find a way to get around that chasm.

SHELLY
(Covering her ears) Why does she keep
making those horrible noises?

ASHLY
I don't know.
 (43.

58 CONTINUED

SHELLY
And what about her eyes?

ASHLY and SCOTT are quiet.

SHELLY
What about her eyes? (Desperately)
For God's sake what happened to her
eyes?!

CHERYL patiently sits in the cellars darkness with a

streak of light across her eyes from the crack in the
trap door. Her head is slightly tilted as she watches
and listens to what is said above. From her point of
view we hear SCOTT speak to SHELLY.

SCOTT
Everything's gonna be all right.

CHERYL's lips part slightly and a thick blackish yellow

liquid drools out between her teeth. She grins.

59 EN  CAB

Outside‚ the forest is very dark. The unseen force moves

from the wooded area‚ pushing over small trees and shrubs
as it advances. The cottage comes into view and the evil
entity glides up to it. The figure of a girl in the cabin
window can be seen looking out. The force stops and moves
behind a bush.

60 IN  M.R.

Inside‚ SHELLY is studying the woods.

 (44.

60 CONTINUED

SHELLY
Scotty‚ I...I think there's some
thing out there.

SCOTT joins her at the window and looks out.

61 EN  CAB

From within the woods‚ this force watches SCOTT peer out‚
but he can see nothing. Through the window he says some
thing to reassure SHELLY and moves away.

62 IN  M.R.

Inside‚ SCOTT can be heard in mid sentence.

SCOTT
...Is to get some rest. Ash and I
can stay up with Cheryl.

SHELLY
Okay.

SCOTT
Everything's gonna be okay. Come
morning you'll see.

SHELLY heads to her bedroom. SCOTT walks back to the

fireplace and sits. He slices twigs from a branch with
the Sumarian dagger and tosses them into the fire. ASHLY
glances at the Book Of The Dead‚ then to the old clock.
It stands silent.

63 EN  CAB
 (45.

63 CONTINUED

Again‚ the evil entity watches from outside. It sees

SHELLY leave one room and turn the lights on in another.
She begins to undress near the window. The force now
moves from behind its cover and rushes at tremendous
speed to SHELLY who is looking out her bedroom window.
She sees it and sheer terror covers her face as a scream
stifles itself in her throat‚ but it is too late.

64 IN  M.R.

A noise is heard from SHELLY's bedroom. SCOTT drops the

small stick he was whittling and looks up. He places
the dagger on the floor and walks toward SHELLY's room.

SCOTT
Shelly‚ are you okay?

She does not answer. SCOTT approaches her door and turns
to ASHLY.

SCOTT
Keep an eye on Cheryl for a minute.

65 IN  S.B.

SCOTT enters the darkness of her room and sees nothing

amidst the shadows.

SCOTT
Shelly?

He looks over to her window. It is open‚ and wind blows

upon the curtains.

66 IN  S. BATH
 (46.

66 CONTINUED

SCOTT steps into SHELLY's bathroom and sees that the

shower curtain is drawn. Cautiously‚ he moves up to it.

SCOTT
Shelly?

He pulls the curtain back to reveal an empty tub. SCOTT

turns back to the bedroom when SHELLY steps into the
doorway‚ posessed. With a scream‚ she latches upon SCOTT.
Her eyes have gone bone white and she claws at SCOTT's
face and clothes with her nails.

67 IN  S.B.

Screaming‚ SCOTT stumbles through her bedroom with SHELLY

still upon him biting at his throat.

68 IN  M.R.

They stagger into the main room where SCOTT manages to

knock SHELLY off himself and into the fireplace. She
remains motionless as her head smolders upon the hot
coals. SCOTT rushes to her‚ grabs an arm and pulls her
out. SHELLY's face and hair on one side of her head are
seared and blackened. She blinks her eyes open‚ turns
her charred head to SCOTT‚ and speaks in a rasp.

SHELLY
Thank you. I don't know what I would
have done if I had remained on the hot
coals burning my pretty flesh. You
have pretty skin give it to us!

Cackling‚ SHELLY clutches SCOTT's neck and begins throttl

ing the life out of him with a vicelike grip. He tries
to break the hold but cannot. ASHLY also tries but with
a backhand blow‚ SHELLY knocks him into a cabinet‚ smash
ing it to bits. A garbled cry for help escapes from
SCOTT's frothing mouth. SHELLY reaches down‚ picks up
 (47.

68 CONTINUED

the Sumarian dagger‚ and holding SCOTT by his throat

with one hand‚ she raises the dagger with the other.
ASHLY‚ slightly injured‚ crawls to his feet. SCOTT
grabs her raised arm and although choking‚ swings
his camping knife from its side sheath and slices
deep into SHELLY's raised wrist‚ almost severing it.
A murky black ooze pumps from the wound. She emits
an ear splitting howl and tightens her grip on SCOTT's
throat. He drops the hunting knife. ASHLY watches
terrified‚ unable to move as SHELLY raises her dangling
hand (Still clutching the dagger) to her mouth and
bites it off. The useless part falls to the floor
with the dagger still firmly in its fist. SCOTT‚ now
almost dead‚ grabs her severed hand clutching the
dagger and in a last attempt‚ swings it around ramming
the blade into her spine.
SHELLY screetches along with CHERYL in the cellar‚ the
old grandfather clock gongs and lightning strikes all
at the same instant. SHELLY reaches around with her
remaining arm to clutch at the severed hand and knife
protruding from her own back. A thick black ooze pours
from the wound as she bends backward screaming. ASHLY
stands in horror‚ clutching the axe‚ unable to move.
Black ooze runs from SHELLY's mouth as her body writhes
about spasmatically upon the floor. Gradually‚ the move
ments cease and she is dead. As SCOTT slowly stands to
his feet‚ SHELLY's arm grabs his leg.

SCOTT
Ahhhhhhh!

Some force reanimates her‚ even though the body is

dead.

ASHLY
No...no...no...

SCOTT
Hit her!

SHELLY's body is hoisted up‚ jerking about to its feet‚

and laughing madly.
 (48.

68 CONTINUED

SCOTT
Hit it!

SCOTT screams this as he backs toward ASHLY who stands

with the axe‚ paralyzed. Gurgling black ooze‚ SHELLY
advances toward them with one remaining arm. SCOTT
grabs the axe from ASHLY‚ pushes him away and slams
it into her. Lightning flashes‚ thunder booms‚ and
CHERYL screams from the cellar. SCOTT brings his axe
down again and again in a frenzy. Then‚ after the
final chop‚ there is silence.

SHELLY's body remains on the floor for quite some time

until ASHLY can cope with the fact that she is dead and
something must be done.

ASHLY
Uh...Scott.

SCOTT
Yeah.

ASHLY
What is uh...what are we gonna do?

SCOTT
Bury her.

ASHLY
You...can't bury Shelly. She's a friend
of ours isn't she?

SCOTT
Ash‚ she's dead.

ASHLY moves away from SCOTT.

SCOTT
Shelly's dead. We're gonna bury her
now.
 (49.

68 CONTINUED

ASHLY bites his lip and looks about blankly.

69 EN  CAB

Finally‚ the body is dragged outside and buried near

the work shed. Harsh floodlights from the house make the
task look very stark and barren.

70 IN  M.R.

SCOTT and ASHLY return inside. ASHLY heads to LINDA's

room to check in on her.

71 IN  L.B.

He peers in to see LINDA sleeping peacefully.

72 IN  M.R.

ASHLY quietly returns to the main room. SCOTT is load

ing new batteries into a flashlight.

SCOTT
I saw an old hiking trail when we
were driving up here. Now I don't
know if it goes all the way around
that gorge

ASHLY
Or if it's even still in tact.

SCOTT
Or if it's even still in tact. But
uh‚ I guess I'll find out. Take good
care of Linda.
 (50.

68 CONTINUED

ASHLY
I will. Do you have everything?

SCOTT
(Putting on a small back pack) Yeah
all set.

ASHLY
Listen...Scotty...I'm sorry about
falling apart like that when

SCOTT
Don't bother‚ really.

He steps out the door.

SCOTT
If I find a way out of here‚ I'll
mark it and then come back. Then if
I'm not back here in a few hours...
if for some reason...well‚ if I don't
come back‚ grab Linda‚ leg and all‚
and just get her the hell out of here.
They shake hands.

ASHLY
You're a good man.

SCOTT
Good‚ I'm the best.

73 EN  CAB

ASHLY smiles a goodbye to SCOTT and watches him move

off into the night. He lingers for a moment by SHELLY's
 (51.

73 CONTINUED

grave‚ then slowly disappears into the woods.

74 IN  M.R.

ASHLY closes the door and turns back to the main room.
He sees CHERYL's eyes through the crack in the cellar.
She has been watching all of this through a space be
tween the trap door and floor. ASHLY walks past her to
LINDA's room.

75 IN  L.B.

He opens the door and a crack of light falls across her.

LINDA wakes up.

LINDA
Who's there? Ash?

ASHLY
It's me Linda.

LINDA
Ash‚ I had a bad dream about Linda.

ASHLY
You did baby?

LINDA
Yeah. She's all right isn't she?

ASHLY
Yeah. Fine.
 (52.

75 CONTINUED

LINDA
Is Shelly okay too Ash?

ASHLY can no longer hide his fear and anxiety. He speaks

in a whisper so as not to let his voice quiver.

ASHLY
Yeah‚ sure. She's sleeping that's
all.

LINDA
Ash‚ I love you. (She turns over)

ASHLY
Get some rest.

ASHLY closes the door behind him and the fear from a few
hours ago engulfs him once more.

76 IN  M.R.

ASHLY moves into the main room and stops dead in his
tracks when a voice in the cellar speaks.

CHERYL
You lied to her. You lied to Linda.
Shelly's not sleeping. She's dead.
Don't you know the difference? You
killed her. You and Scott cut her up
with the axe. She's dead hahahaha
haha

ASHLY picks up the axe and slams it down upon the trap
door. CHERYL is silent from below for a moment‚ then
the hatch opens an inch or so. (The length of the chain
securing it) CHEYL's white eyes can be seen again.
 (53.

76 CONTINUED

CHERYL
Hahahahahaha

ASHLY takes the axe and steps outside.

77 EN  CAB

He begins to chop wood‚ taking out his emotions upon

the logs with each blow. SHELLY's blood can still be
seen on the blade of the axe.

78 IN  M.R.

From her dungeon‚ CHERYL watches ASHLY chop wood in the

window. The shadow of his axe rising then striking is
seen over her white eyes.

79 EN  CAB

Exhausted‚ ASHLY puts down the axe. He looks off into

the woods but there is no sign of SCOTT. He returns to
the cabin.

80 IN  M.R.

CHERYL begins her taunting again.

CHERYL
Soon all of you will be like me and
then who will lock you in the cellar?
Hahahahaha

CHERYL begins to violently ram her fists against the trap

door. ASHLY walks by her to LINDA's room.
 (54.

81 IN  L.B.

She is still asleep. Quietly‚ so as not to wake her‚ ASHLY

pulls back her blanket exposing the bandaged leg. He re
moves the wrappings and looks at the wound. As he does
this‚ it infects with a blackened coloration at an in
credible speed. ASHLY looks up to see if LINDA is still
sleeping and sees that she has been watching him with
white eyes and an evil grimace upon her face. She lets
out a low growl.

82 IN  M.R.

ASHLY jolts backwards out of her room to escape through

the front door. He steps outside and stops to look back
in. He can see the main room‚ but finds it difficult to
see in LINDA's room‚ being lost in the shadows. Something
ragged and bloody grabs him. It is SCOTT's mutilated
body ripped and torn to shreds. He is still alive. ASHLY
looks behind him through the door to LINDA's room. He
can barely make out LINDA who sits on the bed watching
him with glaring white eyes. ASHLY helps SCOTT to the
couch so he can sit. SCOTT is in agony and can barely
speak.

SCOTT
Ash‚ I think I'm dying. Jesus‚ I
can't feel my legs.

ASHLY
Uh...uh Scotty you're gonna be okay.
You're gonna be just fine you'll see.

He throws another log on the fire.

ASHLY
You'll see.

He looks off into LINDA's bedroom again‚ but she is gone.

She is now sitting in the corner of the main room where
ASHLY is‚ watching him. SCOTT begins to cough with hor
rible rasping sounds.
 (55.

68 CONTINUED

SCOTT
It's‚ it's not gonna let us leave...
Cheryl...Cheryl was right...we're
all gonna die here...

ASHLY
We're not gonna die!

SCOTT
...All gonna die. All of us.

ASHLY grabs SCOTT and shakes him violently.

ASHLY
We're not gonna die! We're not gonna
die! We're getting out of here! Now
listen to me is there a way around
the chasm.

SCOTT passes out.

ASHLY
Scotty. Scott!

ASHLY slaps SCOTT. He stirs awake and mumbles.

SCOTT
Jesus Ash. I don't want to die. So...
so lonely to die like this. You're not
gonna leave me are you? Are you Ash?

CHERYL
(Imitating SCOTT) I don't want to
die. So lonely to die like this. You're
not gonna leave me are you? Are you
Ash? Hahahahaha
 (56.

82 CONTINUED

ASHLY
Scott‚ is there some way around the
chasm?

SCOTT
Ash‚ I'm scared I...I can't feel
my legs.

ASHLY
Scott‚ listen to me please‚ for
God's sake. Is there a way around
the chasm?

SCOTT
There is...one way‚ the trail...but
the trees‚ they know...don't you see
they're alive!! They're aliahhhhhhh!

His sentence is cut short as he cries out in sharp pain.

Blood dribbles from his nostrils and he doubles over
grabbing his stomach. LINDA begins to laugh. ASHLY looks
to her‚ or rather what posesses her with hatred.

ASHLY
Shut up!

She continues to laugh. CHERYL in the cellar joins in

the laughter. ASHLY walks to LINDA and slaps her but
she continues. He grabs a hunting rifle from a rack on
the wall‚ loads it with shells‚ flips off the safety
and places the barrels against LINDA's head.

ASHLY
God forgive me Linda.

The laughter stops and her eyes return to normal. It

is LINDA again. ASHLY puts down the rifle.
 (57.

82 CONTINUED

LINDA
Ash‚ oh Ash‚ help Me! Please.

She hugs him tightly.

LINDA
Don't let them take me away again‚
please‚ please‚ please.

ASHLY
(Crying and holding her tightly) I
won't‚ I won't I promise.

CHERYL's voice is heard from the blackness of the cellar.

CHERYL
Ashly? Ashly‚ help me. Let me out of
here. I'm all right now.

ASHLY releases LINDA and moves cautiously to the cellar.

LINDA remains behind nervously fumbling with her necklace.

CHERYL
I'm all right now‚ Ashly. I'm all
right. Come unlock this chain and
let me out.

ASHLY
Cheryl?

There is no reply from the cellar. ASHLY looks through

the crack but sees only darkness. He reaches for the
chain and begins to unlock it‚ but sensing something
wrong‚ he stops.

ASHLY
Cheryl?
 (58.

82 CONTINUED

He puts his ear to the floor listening for the slight

est sound. CHERYL's arms rip through the floor boards
and grab ASHLY's head. He breaks away and her hand
reaches for the chain but cannot quite grasp it. Slowly
it withdraws beneath the floor.

CHERYL
(A little too sweet) Ash‚ what are you
doing? This is your sister Cheryl. Don't
you recognize me?

Her voice drifts off‚ and the evil leughter resumes from
the celler.

ASHLY
(Crying and yelling to the cellar)
You bastards! Why are you doing this?
Why?

There is silence for a moment. Laughter from behind him

begins again. It is LINDA. Her eyes are white once more‚
and she laughs at ASHLY.

ASHLY
Oh...Linda.

With newly found courage‚ ASHLY angrily grabs LINDA by

the legs and drags her outside.

83 EN  CAB

LINDA
It's useless‚ useless‚ useless. In
time we'll come for him‚ then you
hahahahaha

ASHLY leaves her in the woods and runs back to the cabin‚
closing the door behind him.
 (59.

84 IN  M.R.

SCOTT is coughing again.

SCOTT
Ash‚ Ash‚ please...I don't want to
die but...but I can't stand this
pain. It hurts Ash. Gimme something.
Gimme something to put me out.

ASHLY
Scott‚ I can't. I I know it's bad.
But I can't be alone now‚ I can't.
I'd lose my mind.

SCOTT
Please Ash‚ please.

ASHLY
You'll get better you'll see.

LINDA's laughter is faintly heard outside. ASHLY moves

to the window and pulls back the curtain. LINDA is no
longer in the woods but sitting at the edge of the clear
ing‚ watching ASHLY with her glowing white eyes.

ASHLY
Yeah‚ tomorrow‚ soon‚ you'll be
better and we'll both get out of
here tomorrow.

SCOTT
There is no tomorrow! You you've
got to kill her and cut cut her up
your sister too.

ASHLY
No‚ that was only with Shelly. You
had to with Shelly. You Linda loves
me. You're delirious I...I'll get
you some water.
 (60.

84 CONTINUED

ASHLY places a glass to Scott's lips.

ASHLY
Now‚ now the sun will be up in an
hour or so and we'll get out of here
...together. You‚ me‚ Linda‚ Shelly
nno not Shelly‚ she we'll all go
home together. Wouldn't you like to
be going home? You'd like that I'd
bet‚ wouldn't ya?

There is no answer from SCOTT. The water runs out of

his mouth.

ASHLY
...Scott.
SCOTT is dead. LINDA's laughter is heard again. ASHLY
walks to the window and pulls back the curtain. There
is nothing there. He turns and she is there! With the
Sumarian dagger‚ LINDA rips into ASHLY's shirt‚ cutting
his arm. He screams and watches in horror as she runs
her tongue over the dagger‚ licking the blood from it.
She turns her attention toward ASHLY again but he grabs
her and they struggle. LINDA backs ASHLY up against
SCOTT‚ knocking his body to the floor. CHERYL's gnarled
arm reaches up through the broken floor boards and
grabs at ASHLY's foot. He manages to turn LINDA's arm
so the knife is behind her back. Forcefully‚ ASHLY
pushes her over the body of SCOTT and she falls back
ward upon the dagger‚ impaling herself upon it. The
blade tears into her back and rips through her stomach.
Lightning flashes‚ thunder roars‚ and LINDA screams in
a deep growl once‚ then all is quiet.

ASHLY drags LINDA's corpse past the crumpled body of

SCOTT‚ past CHERYL‚ who watches all of this from below‚
through the back door and out to the work shed.

85 IN  W.S.

He lifts her up onto the work bench and secures her body
 (61.

85 CONTINUED

to it with a number of chains which hang from nails

along the wall. He rips down a tarp hanging on the
wall to reveal a chain saw. He starts it up and moves
toward her. Buzzing madly‚ the saw is lowered to a
position several inches above LINDA's neck. ASHLY looks
into LINDA's face. Her eyes have gone back to blue. He
turns off the saw.

ASHLY
(In a whisper) Linda...

He drops the saw and breaks down crying over LINDA's

body.

86 EN  CAB

An evening mist drifts out of the woods and cloaks the

shed as ASHLY carries LINDA's body outside for burial.
He lays the body upon the ground and picks up a shovel.
Harsh floodlights from the corners of the cabin create
strange shadows on the ground as ASHLY digs LINDA's
grave. She lies on her back during the digging. One of
her eyes opens. It is white. ASHLY drops the shovel
and looks at her. She appears to be dead.

87 IN  M.R.

Inside the cabin‚ CHERYL begins slamming her fists

against the trap door in the cellar again. She wants
out. The screws holding the hatch in place begin to
loosen.

88 EN  CAB

ASHLY places LINDA's corpse in the grave‚ oblivious to

CHERYL's pounding. He begins to cover her with dirt.

89 IN  M.R.
 (62.

89 CONTINUED

CHERYL has ripped out all but one screw which holds the
trap door in tact.

90 EN  CAB

ASHLY glances to the grave and sees LINDA's necklace on

top of the dirt mound. He reaches down to pick it up
when LINDA's hand shoots up from beneath the grave and
grabs him! She pulls herself up out of the grave scream
ing and clutches ASHLY's leg with a black and bloodied
hand. He twists around‚ trying to free himself‚ but she
will not let go. By now‚ LINDA is almost completely out
of the grave. With her fingernails‚ she rips into ASHLY's
leg‚ tearing his skin. Screaming‚ he picks up a large
log nearby and swings it roundhouse into her face again
and again‚ breaking the wood into smaller bits. She grabs
the log with him clinging to the other end‚ lifts him
up and throws ASHLY log and all‚ away from her. ASHLY
hits the ground with considerable force and for the
first time begins to comprehend the power of this thing
he is dealing with. Thick black ooze pours from LINDA's
nose and mouth as she turns toward ASHLY sprawled on
the ground.

ASHLY
Stay back.

His hand gropes for the handle of the spade. LINDA

advances toward him‚ laughing.

ASHLY
Linda please‚ if you can still hear
me. Keep away.

His fingers tighten on the wooden handle. With a scream‚

she lunges toward him. From the ground‚ ASHLY swings the
spade upward‚ lopping off her head. The head falls into
the mud‚ but the body falls upon him‚ grabbing and jerk
ing about spasmatically. Thick black ooze pumps from
her neck and ASHLY manages to pull himself out from
underneath the body. He backs away in disgust and falls.
 (63.

90 CONTINUED

He picks himself up again and sees LINDA's necklace

upon the ground. ASHLY stashes it in his pocket and
staggers back to the cabin.

91 IN  M.R.

Inside‚ he looks to the main room beyond SCOTT's body.

ASHLY

Oh.....
It is a moan from deep inside him. The trap door is open
and CHERYL is gone. ASHLY walks over and kicks it shut.
A slight breeze sweeps through the front door causing
SHELLY's bedroom door to creak open. ASHLY picks up the
rifle again and cautiously moves to the door.

92 IN  S.B.

He enters. The room is dark and the closet door bangs

back and forth because of the breeze. ASHLY moves toward
it‚ grabs the handle and slowly opens the door. Only
clothes are inside. He turns toward the other end of
the room and CHERYL pops up in the window right by him.
He swings and fires‚ shattering the window. CHERYL
backs away and spots the open front door.

ASHLY
The door...

He makes a mad dash through SHELLY's room.

93 IN  M.R.

In the main room‚ ASHLY races for the door.

 (64.

94 EN  CAB

Outside‚ CHERYL is almost upon the door.

95 IN  MR

ASHLY arrives in time‚ but CHERYL has already started

reaching in. He slams the door on her fingers and rams
his gun butt down upon them. Horrible screams are heard
as CHERYL withdraws her hand. ASHLY is able to slam
the door and bolt it. He runs to the back entrance lead
ing to the shed and locks it also. On his way back to
the main room‚ he pumps his rifle in preparation. It is
his last shell.

ASHLY
(To himself) More shells. Where did
I see that box of shells?

96 IN  C

From the basement‚ the trap door lifts open and ASHLY
decends. The bottom step‚ now rotten‚ breaks under his
weight‚ and ASHLY sprawls to the floor. Slowly‚ he picks
himself up and walks through the dividing stone doorway
beneath the water pipes to a small table. On it‚ he finds
the box of shells and quickly loads them into the gun.
He ascends the steps and enters the main room once more.

97 IN  M.R.

The sound of ticking catches ASHLY's attention. He looks

up to see the old grandfather clock slowly winding back
wards. He watches and waits tensely. Turning carefully‚
ASHLY tries to monitor all the windows. The ticking grows
louder. A shadow passes in the window before him and he
fires‚ shattering the glass into a million pieces. Wind
whips through the cabin swirling glass and leaves to the
floor. ASHLY waits‚ leaning against the front door for
something to happen. He is tense and more determined
than ever to survive. He whispers to himself.
 (65.

97 CONTINUED

ASHLY
C'mon‚ c'mon‚ get it over with‚ why
are you torturing me like this?

Placing his hand to his side‚ ASHLY discovers something

in his pocket. He lifts it to his eyes. It is LINDA's
necklace.

ASHLY
...Linda. (He whispers)

The ticking stops. He tilts his head for the slightest

sound. All is silent. From behind‚ two arms rip through
the door and grab him. ASHLY tears away and falls to
the floor. The necklace is tossed away in the confusion.
CHERYL's hands pull away and she looks through a hole
in the door. From the floor‚ ASHLY raises his rifle and
fires at her head.

98 EN  CAB

Clutching at her face and screaming horribly‚ CHERYL

is jolted from the door.

99 IN  M.R.

ASHLY places a dresser and chair against the holes in

the door. Behind ASHLY‚ SCOTT's corpse sits up and opens
its white eyes. It stands and moves toward ASHLY. He
turns with the gun‚ but SCOTT knocks it out of his hands.
Desperately‚ ASHLY grabs a table lamp and shatters it
across SCOTT's head‚ then jams the exposed socket into
his face‚ shocking him. SCOTT staggers back several
steps‚ then continues after ASHLY.

100 EN  CAB

Outside‚ Cheryl is now pounding against the front door.

 (66.

101 IN  M.R.

ASHLY picks up a small table upon which are the Book Of

The Dead‚ and the professors journal. He throws it at
SCOTT. This does not affect him‚ and he advances closer.
The Book Of The Dead lands near the fireplace and edges
of the paper darken from the heat. SCOTT picks up ASHLY
and begins to throttle him as if he were a rag doll. The
front door begins to give under CHERYL's pounding. ASHLY
brings his hands to SCOTT's eyes. With a crash‚ CHERYL
breaks through the front door and begins to push the
dresser away. Pages from the Book Of The Dead are smolder
ing now. ASHLY jams his fingers into SCOTT's eyes and
slips from the grip. SCOTT clutches his eye sockets and
his back begins to smolder. ASHLY now sees the book. Its
pages burn at the edge. CHERYL topples the dresser and
enters the room. Her face is partially torn away from
the shot gun blast. ASHLY rushes to throw the book onto
the burning logs‚ but CHERYL‚ smoldering also‚ gives
him a backhand blow across the head‚ and he is sent
sprawling to the floor. She grabs a fireplace poker with
her crushed fingers and turns back to ASHLY who is crawl
ing toward the fireplace. When almost in reach of the
book‚ SCOTT grabs his leg and begins to pull ASHLY back
ward. CHERYL approaches with smoke pouring from her
clothes and slams ASHLY across the back with her poker.
ASHLY screams. A glitter catches his eye. It is LINDA's
necklace. Grabbing it‚ he tosses the end with a clasp
toward the book. It slides off the cover. SCOTT pulls
him back once more as ASHLY swings the necklace in a
last desperate attempt. CHERYL raises the poker for the
final blow. The necklace drapes over the book and as
ASHLY is dragged‚ the clasp hooks the cover and pulls
the book with him. With a yank‚ he seizes the book and
tosses it upon the blaze.

CHERYL and SCOTT freeze. The Book Of The Dead burns in

a bluish green flame. Smoke pours from SCOTT and CHERYL
as distant demonical screams are heard from the woods.
The fireplace poker slips from CHERYL's hand and sticks
into the wood scarcely an inch from ASHLY's head. The
bodies of SCOTT and CHERYL then begin to cave inward
upon themselves‚ collapsing to the floor in smoldering
heaps. Finally‚ nothing is left but the burnt clothing
and a blackish grey ooze on the floor where their bodies
once were.
The old clock begins to tick again‚ normally. ASHLY slowly
climbs to his feet to stand above the fuming debris. Open
ing his hand‚ he looks down at LINDA's necklace. The force
retreats from him‚ out the door‚ slowly returning to the
darkness from which it emerged. Gradually‚ the natural
sounds of the forest swell and trees lose their gloom as
Autumn colors return. The first rays of sunlight gleam
over the woods beyond the cabin. Daybreak has finally
come.
 PRODUCTION BIOGRAPHIES

SAM RAIMI
(Executive Producer/Director, Episode 101)

Sam Raimi has directed one the industry’s most successful film franchises ever—the blockbuster Spider-Man trilogy,
which has grossed $2.5 billion at the global box office. All three films reside in the industry’s Top 25 highest grossing
titles of all time.

In addition to the franchise’s commercial success, Spider-Man (2002) won that year’s People’s Choice Award as
Favorite Motion Picture, earned a pair of Oscar® nominations (for VFX and Best Sound) and also collected two
GRAMMY® nominations (for Best Score and Chad Kroeger’s song “Hero”). The sequel (2004) won the Academy
Award® for Best Visual Effects (with two more nominations, Best Sound and Sound Editing) and two BAFTA
nominations (for VFX and Best Sound), among dozens of other honors.

Most recently, Raimi is known for directing Oz the Great and the Powerful, a commanding prequel to one of
Hollywood’s most beloved stories. Grossing nearly a quarter of a billion dollars at the worldwide box office, Oz has
also been elected for awards across the board, including a nomination at the People’s Choice Awards for Favorite
Family Movie, and winning Film Music at the BMI Film & TV Awards.

Apart from creating one of Hollywood’s landmark film series, Raimi’s eclectic resume includes the gothic thriller The
Gift, starring Cate Blanchett, Hilary Swank, Keanu Reeves, Greg Kinnear and Giovanni Ribisi; the acclaimed
suspense thriller A Simple Plan, which starred Bill Paxton, Billy Bob Thornton and Bridget Fonda (for which Thornton
earned an Academy Award® nomination for Best Supporting Actor and Scott B. Smith landed a nomination for Best
Adapted Screenplay); his baseball homage, For Love of the Game, with Kevin Costner and Kelly Preston; the
western The Quick and the Dead, starring Leonardo DiCaprio, Sharon Stone, Russell Crowe and Gene Hackman;
and the supernatural thriller, Drag Me to Hell, with Alison Lohman and Justin Long.

Raimi began his career in his native Michigan after directing his own Super 8 movies as a teenager. He left his
studies at Michigan State University to form Renaissance Pictures with future producer Rob Tapert and their longtime
friend, actor Bruce Campbell, with whom he made his very first film, Within the Woods, a short horror film they used
to raise money to make a feature. That resulting horror classic, The Evil Dead (1982), financed and produced with
investments from local business people and doctors, became a hit at the 1982 Cannes Film Festival and spawned a
sequel, Evil Dead 2: Dead By Dawn (1987), which, like the original, showcased Raimi’s inventive, imaginative
direction and offbeat humor.
Raimi next turned to the fantasy genre, writing and directing the comic book-inspired Darkman (1990), starring Liam
Neeson and Frances McDormand, then followed with 1993’s Army of Darkness, a comic sword and sorcery fantasy
starring Bruce Campbell.

The mid-’90s also found Raimi producing two telefilms (with friend and partner Tapert) that would become the
genesis of a pair of highly popular syndicated series—“Hercules: The Legendary Journeys” (on which he served as
executive producer during the program’s four-year run) and the successful companion series, “Xena: Warrior
Princess” which aired from 1995-2001. His television work also includes executive producing the CBS series
“American Gothic” and STARZ graphic sword and sandals series, “Spartacus: War of the Damned.”

Raimi continued his collaboration with Tapert in his production company Ghost House Pictures, which produced such
films as The Grudge, Boogeyman, 30 Days of Night, The Messengers and The Possession.

Raimi’s work has been a favorite on the film festival circuit, with the filmmaker winning a Best Director honor for
Darkman at the 1990 Sitges-Catalonian Festival in Spain; the Critics Award for Army of Darkness at the 1992
Fantasporto Festival in Portugal; the Golden Raven, also for Army of Darkness, at the 1992 Brussels International
Festival; and a Grand Prize nomination for the same title at the Avoriaz Fantastic Film Festival in France. Raimi
himself has also won the Saturn Award twice (Spider-Man 2, along with a George Pal Memorial Award) from the
Academy of Science Fiction, Horror and Fantasy.

ROB TAPERT
(Executive Producer)

Rob Tapert is the longstanding producing partner of acclaimed director Sam Raimi. Tapert and Raimi have been
working together since they met at Michigan State University where they formed the Society for Creative Film
Making. After producing the horror cult classic Evil Dead, Tapert continued to collaborate with Raimi on Evil Dead II:
Dead by Dawn, Darkman and Army of Darkness and went on to serve as executive producer on Raimi’s suspense
thriller The Gift, starring Cate Blanchett and the action western The Quick and the Dead, starring Leonardo DiCaprio,
Sharon Stone, and Gene Hackman. Tapert also executive produced the action features Hard Target and Timecop,
starring Jean-Claude Van Damme.

Tapert executive produced the long running worldwide sensation TV series “Hercules: The Legendary Journeys” and
“Xena: Warrior Princess”, and later “Legend of the Seeker” and the STARZ breakout hit “Spartacus.” “Spartacus” and
“Legend of the Seeker” both played in over 150 markets worldwide.

In 2002, Tapert and Raimi formed Ghost House Pictures with Mandate Pictures. Ghost House was conceived to
produce feature films that would deliver great scares and offer horror fans a thrill ride experience. Tapert has since
produced a string of #1 box office hits that started with The Grudge, that grossed $187 million worldwide, and
continued with Boogeyman, The Messengers, 30 Days of Night, The Possession and the remake of Evil Dead. In
2009, Tapert produced Raimi's first directorial effort under Ghost House: the critically acclaimed Drag Me To Hell.
BRUCE CAMPBELL
(Executive Producer)

In 1979 with his Detroit friends, Sam Raimi and Rob Tapert, Campbell raised $350,000 for a low-budget film, Evil
Dead, in which he starred and co-executive produced. Completed piecemeal over four years, the film first gained
notoriety in England where it became the best-selling video of 1983, beating out Poltergeist. After its appearance at
Cannes, where Stephen King dubbed it “the most ferociously original horror film of the year,” New Line Cinema
stepped forward to release Evil Dead in the U.S.

After co-producing Crimewave, Campbell moved to Los Angeles and quickly gained a foothold producing or starring
in genre films such as the Maniac Cop series, Lunatics: A Love Story, Moontrap and Mindwarp, a post-apocalyptic
Jeremiah Johnson, during which he met his wife-to-be, filmmaker, Ida Gearon.

Campbell then rejoined his Detroit colleagues to star and co-produce the second and third films in the Evil Dead
trilogy, completing 12 years of work on the cult favorite. This rough-and-tumble background was a plus as Campbell
made his foray into television, first starring in the highly touted Fox series “The Adventures Of Brisco County Jr.,”
then as a recurring guest-star on the hit show “Lois and Clark: The New Adventures of Superman.” With these under
his belt, Campbell easily made the transition to director, helming numerous episodes and recurring as the King of
Thieves in the #1 syndicated “Hercules: The Legendary Journeys”, and its follow-up phenomenon, “Xena: Warrior
Princess.”

Bruce has since expanded his range on television, with appearances in Disney's TV movies Gold Rush, and their
update of The Love Bug. He teamed up with Fox again for the hit TV film Tornado!, and starred in NBC's top-rated In
The Line of Duty: Blaze of Glory. Following decidedly dramatic turns on the acclaimed series “Homicide: Life on the
Street” and “The X-Files,” he enjoyed a recurring role on Showtime’s edgy TV industry comedy, “Beggars and
Choosers.”

At the invitation of ABC, Campbell ventured into the world of sitcoms with a recurring role on ABC's Emmy-nominated
“Ellen,” participating in one of the three touted “out” episodes. But Campbell didn't abandon his film roots. During that
time, he had featured roles in the blockbuster Congo, John Carpenter's Escape From LA, and the award-winning
independent crime drama, Running Time. He followed these up with roles in Paramount's romantic comedy, Serving
Sara, Jim Carrey's The Majestic, and all three of Sam Raimi's blockbuster Spider-Man movies. After a return to
episodic television in the swashbuckling series, “Jack of All Trades,” Campbell took the title role in MGM's cult
sleeper Bubba Ho-Tep. His directorial debut, Man with the Screaming Brain, premiered on the Sci Fi Channel, and
Dark Horse Comics published the comic adaptation. Campbell has since made the leap into other forms of
entertainment, and is enjoying his role as an author with back-to-back New York Times bestsellers: a memoir entitled
“If Chins Could Kill: Confessions of a B Movie Actor,” and his first novel, “Make Love the Bruce Campbell Way.”

In the multi-media industry, Campbell provided voices on cutting-edge video games for Activision, THQ and Nova
Logic - and he also enjoyed voicing characters for Disney’s animated TV series “Tarzan” and the Warner Brothers
feature The Ant Bully. He also voiced the character of Mayor Shelbourne in the animated hit Cloudy With a Chance
of Meatballs. In 2011, Campbell voiced the role of Rod Torque Redline in Cars 2, the sequel to the smash Disney
animated feature.

Most recently, Campbell directed and starred as himself in My Name is Bruce, a spoof of his B-movie career, then re-
teamed with Disney for their fun-filled hit, Sky High.
In 2013, Bruce co-produced the hit remake of Evil Dead, joined his filmmaking pal Sam Raimi on Oz, The Great and
Powerful, and completed an impressive seven-year run on spy show “Burn Notice,” USA’s #1 series on cable.

Campbell continues to share his acting and filmmaking experiences by lecturing at universities, including
Northwestern, Carnegie Mellon and Stanford. He currently resides with his wife, Ida Gearon, in Oregon.

CRAIG DiGREGORIO
(Executive Producer, Showrunner)

Craig DiGregorio is a producer and writer, with a background in both genre and comedy, including: “Workaholics,” a
Comedy Central sitcom starring Blake Anderson, Adam De Vine and Anders Holm; “Chuck,” an action-comedy/spy
drama NBC series starring Zachary Levi and Yvonne Strahovski: “Da Ali G Show,” an HBO variety show starring
Sacha Baron Cohen; and “Reaper,” that focuses on Sam Oliver (Bret Harrison), a “reaper” who works for the Devil by
retrieving souls that have escaped from Hell.

IVAN RAIMI
(Co-Executive Producer)

Ivan Raimi is a screenwriter of many horror and fantasy-sci films, as well as a comic book author. He is a frequent
co-writer and collaborator with his brother, Sam Raimi. His film credits include: Easy Wheels (1987), Darkman
(1990), Army of Darkness (1993), Spider-Man 3 (2007) and Drag Me to Hell (2011). He is currently training for and
helping to develop NASA's "Writers To Mars" program. When not writing or working as a private investigator, he
practices emergency medicine in the Midwest.

ROB WRIGHT
(Co-Executive Producer)

Rob Wright has been a writer and producer on such television shows as “Grimm,” “Drop Dead Diva,” “Las Vegas”
and “Charmed.” He also co-created the 2012 series “The Mob Doctor,” but it’s because of “Ash vs Evil Dead” that his
kids think he’s groovy.

NICK BASSETT
(Production Designer)

New Zealander Nick Bassett worked with “Ash vs Evil Dead” Executive Producer Rob Tapert as Supervising Art
Director on “Spartacus: War of the Damned” (33 episodes) and “Spartacus: Gods of the Arena” (6 episodes) for

STARZ. He was Art Director on the Rob Tapert/Sam Raimi Ghost House Pictures feature Boogeyman and on their
Pacific Renaissance Pictures “Young Hercules” (20 episodes).

He was Supervising Art Director on Crouching Tiger, Hidden Dragon: The Green Legend, recently filmed in New
Zealand and China. He was also a member of the team that won the 2010 Art Directors Guild Award for excellence in
production design in a fantasy film for Avatar, for which he was Art Director. In addition, Bassett was a joint nominee
for a 2004 Primetime Emmy Art Direction Award for Ike: Countdown to D-Day that was filmed in Auckland.
His extensive list of Art Director credits includes the UK/German co-production “Mee-Shee: The Water Giant,” filmed
in Auckland, Canada and London, and Martin Campbell’s Vertical Limit, filmed in New Zealand’s South Island
mountains.

His New Zealand feature film credits include Perfect Creature, Samoan Wedding, Naming Number Two and Under
the Mountain.

Alongside his film work, Bassett designs major commercial installations for SPUR, creating bespoke design and build
projects like the famous Telecom Tree.

BARBARA DARRAGH
(Costume Designer)

Barbara Darragh is an Emmy-nominated New Zealand costume designer with numerous feature film and television
drama credits. Her Emmy nomination was for the U.S. STARZ Original Series “Spartacus,” produced by Rob Tapert.
She also designed costumes for Tapert’s five “Hercules” telemovies that preceded the “Hercules: The Legendary
Journeys” series.

She won the New Zealand Film Award (2014) for her costume design of The Dead Lands, the Maori martial arts
movie directed by Toa Fraser now in release in the U.S. She also designed costumes for Beyond the Edge, the
ascent of Everest docudrama directed by Leanne Pooley and produced by The Dead Lands producer Matthew
Metcalfe.

She won New Zealand Screen Awards for costume design on River Queen (2006), directed by Vincent Ward and
The End of the Golden Weather (1992), directed by Ian Mune. Other feature films include Bridge to Terabithia, The
Frighteners directed by Peter Jackson and several of New Zealand’s early features including The Last Tattoo, The
Footstep Man directed by Leon Narbey and Came a Hot Friday by Ian Mune.

ROGER MURRAY
(Prosthetics Designer/Props Supervisor)

Roger Murray and his company Main Reactor won the Best Makeup award at the Fright Night Awards 2014 and were
nominated for the Saturn Awards for work on the Robert Tapert/Sam Raimi Ghosthouse Pictures Evil Dead remake.
They also won Best Makeup at the 2013 Moa New Zealand Film Awards for the New Zealand feature White Lies.

In addition to Evil Dead (2013), Murray has worked with Rob Tapert on both of the ”Spartacus” series for STARZ, the
Ghost House Pictures features 30 Days of Night and Boogeyman, ”The Legend of The Seeker” (ABC Network),
“Xena: Warrior Princess” and “Jack of All Trades” for Tapert’s Pacific Renaissance Pictures.

Murray and his wife Felicity Letcher established Main Reactor in 2002. Recent productions featuring Main Reactor’s
work include Crouching Tiger, Hidden Dragon: The Green Destiny, the TNT pilot “Lumen,” the MTV series “The
Shannara Chronicles,” Emperor, Andrew Adamson’s Mr. Pip and the Maori martial arts movie The Dead Lands.

Other credits include The Warrior’s Way, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and Prince
Caspian, Mee-Shee: The Water Giant; Aliens in the Attic and The Almighty Johnsons.
MARNEY McKENNA
(Property Master)

Props Master, Art Director and Set Dresser, Australian Marney McKenna has a number of Australian feature films to
her credit, including the upcoming drama Holding the Man, directed by Neil Armfield (Candy) and starring Guy

Pearce and Anthony LaPaglia, along with the Fred Schepisi drama The Eye of the Storm, starring Charlotte
Rampling and Geoffrey Rush.

The Production Designer of this film, Melinda Doring, won the AACTA (Australian Academy of Cinema and Television
Arts) Production Design award, recognition for the overall design team, of which McKenna was a key member.

Another recent feature is the comedy Now Add Honey, directed by Wayne Hope and starring Robyn Butler, Lucy Fry
and Portia de Rossi, that is due for cinema release in Australia in November 2015. She was the Art Director for the
2012 horror thriller Wail Away, directed by Mark Lipkin.

Her television productions include the acclaimed ABC series “The Slap” and the upcoming “Glitch,” as well as the
high-rating Network 10 comedy/drama “Offspring” and Playmaker Media’s drama “House Husbands.”

She has also written and directed a short film, Knockers, and worked as Production Designer on two short films: To
Choose in the Darkness and Land of Returns.

DENISE KUM
(Makeup and Hair Designer/Makeup Effects 101)

Denise Kum joined STARZ/Pacific Renaissance as Makeup, Hair and Prosthetics Designer during “Spartacus:
Vengeance” and for the final season of “Spartacus: War Of The Damned.” She is setting up the make-up, hair and
prosthetics design for the “Ash vs Evil Dead” series and working with director Sam Raimi on the first episode, before
handing the department over to Jane O’Kane.

As Makeup & Hair Artist she has worked on numerous films internationally, including Pan, The Imitation Game,
Exodus: Gods & Kings, Pirates of The Carribean: On Stranger Tides, Clash of The Titans, Sherlock Holmes and The
Last Samurai.

As Makeup and Hair Designer her feature film credits include The Vintner’s Luck, Death Defying Acts, North Country,
Aeon Flux, In My Father’s Den and Memory and Desire. She has twice won New Zealand Film Awards for feature
films Savage Honeymoon and Channelling Baby and was nominated for Whale Rider and Love Birds.

She has also worked as Makeup and Hair Artist for music videos for Basement Jaxx and Sir Paul McCartney and a
multitude of acclaimed commercials such as H&M’s “Beckham’s Hustle,” Lady Dior’s “Dancing Lady” and Nike’s
“Home Game.”

While she was studying Sculpture at The Elam School Of Fine Arts in Auckland, New Zealand, she became
enamored with and co-opted into the filmmaking process. Since that time, she has been continually working as both
Artist and Makeup Artist. She moved to London in 1999, where she completed a Master of Fine Arts at the
prestigious Goldsmiths College.
Her artwork is included in public collections such as The Museum of New Zealand, Te Papa Tongarewa, The
Financial Times London, Saatchi and Saatchi and The Chartwell Collection, Auckland.

JANE O’KANE
(Makeup and Hair Designer/Makeup Effects 102-110)

UK-born and trained Jane O’Kane migrated to New Zealand in 1995 where she transformed her theatre makeup and
special effects background into film and television work, beginning with “Hercules: The Legendary Journeys.” Next
she moved to “Xena: Warrior Princess,” initially on Second Unit, then later as Makeup and Hair Designer/Head of
Department. She worked on Amazon High as an Assistant and “Cleopatra 2525” as Key Artist. She was Head of
Department on “Jack of All Trades” and later on all series of “Spartacus: Blood and Sand,” “Spartacus: Gods of the
Arena,” “Spartacus: Vengeance” and “Spartacus: War of the Damned.”

Other productions with “Ash vs Evil Dead” Executive Producers Rob Tapert and Sam Raimi are their Ghost House
Pictures features The Grudge (Japan), 30 Days of Night and Evil Dead (2013).

She now works internationally, including Guardians of the Galaxy, Heart of the Sea in the United Kingdom, The
Chronicles of Narnia: Prince Caspian in the Czech Republic, Aeon Flux in Germany and Tropical Journeys in Fiji.

Her most recent features are Pete’s Dragon and Crouching Tiger, Hidden Dragon: The Green Legend, both filmed in
New Zealand. Other feature films include The Warrior’s Way, Bridge to Terabithia and Peter Jackson’s The
Frighteners. Her New Zealand film credits include Whale Rider, In My Father’s Den, Perfect Strangers, Samoan
Wedding, The Vintner’s Luck and The Dark Horse.

GEORGE RITCHIE
(VFX Supervisor)

Emmy Award-nominated VFX artist, New Zealander George Ritchie has worked on “Ash vs Evil Dead” Executive
Producer Rob Tapert’s productions since “Hercules: The Legendary Journeys” and “Xena: Warrior Princess.”

A fine arts painting graduate, he started with Tapert’s Pacific Renaissance Pictures as a Set Finisher/Scenic Artist
and progressed to miniatures, painted backdrops and traditional matte paintings before joining the in-house visual
effects house PRPVFX Ltd as a Digital Matte Painter, Lead Artist and VFX Supervisor from 2008.

Following “Hercules: The Legenary Journeys” and “Xena: Warrior Princess”, he worked on VFX for “Jack of All
Trades,” that starred “Ash vs Evil Dead” star Bruce Campbell, Legend of the Seeker, “Spartacus: Gods of the Arena”
and “Spartacus: War of the Damned,” along with the features Boogeyman, 30 Days of Night and Evil Dead (2013).

His 2004 Emmy nomination for Outstanding Individual Achievement in a Craft: Graphic Design & Art Direction was
for his matte painting work on the Discovery Channel documentary Nefertiti Resurrected.

In 2010, he was nominated for a Qantas Film & TV Award (New Zealand) Best Visual Effects award, for his work as
VFX Supervisor and Lead Artist on Niki Caro’s feature The Vintner’s Luck.

Other productions he has worked on in roles varying from VFX, matte painting and digital modeling include several
seasons of the Disney series “Power Rangers,” feature films The Bridge to Terabithia, The Warrior’s Way, Emperor,
Green Lantern, The Devil’s Double and The Imaginarium of Dr. Parnassus.
JOSEPH LODUCA
(Composer)

By the age of 15 (1973), Joseph LoDuca was opening for rock legends Bob Seger and Ted Nugent in smoky Detroit
clubs and sneaking into Jeff Beck concerts. He was hooked. He went on to train formally in classical music at the
University of Michigan and in New York City. He plugged into the jazz scene and submerged himself in cultures from
around the world. Prior to his career as a movie composer, he performed through the United States and Europe as a
jazz artist. Among his recordings is the GRAMMY-nominated "Nat Cole Songbook" with vocalist Mark Murphy in
1987.

His credits include two Primetime Emmy Awards, 11 Primetime Emmy nominations and "Most Performed
Underscore" recognitions from ASCAP for four consecutive years. He garnered a César Nomination – “Meilleure
Musique Écrite Pour Un Film" (Best Music) for the French international movie Brotherhood of the Wolf (2001), as well
as being lauded as Horror Film Composer of the Year for his score to Army of Darkness (1992). LoDuca created the
soundtracks for the highest-rated syndicated TV Series “Xena: Warrior Princess“ (1995), “Hercules: The Legendary
Journeys” (1995), and the critically acclaimed American Gothic (1995), as well as over 20 movie scores and “TV
Series Leverage” (2008) for TNT and “Spartacus: War of the Damned” (2010) for STARZ. His more recent work
includes music for the British movie Patagonia (2010), that includes song collaborations with Duffy, Bryn Terfel and
Angelo Badalamenti, and TV Series “The Librarians” (2014).

STUART THORP
(Stunt Coordinator)

United Kingdom-born New Zealander Stuart Thorp has carved out a successful international career since his first
work as a stunt performer on “Ash vs Evil Dead” Executive Producer Rob Tapert’s “Hercules: The Legendary
Journeys” and “Xena: Warrior Princess” in the 1990s. He subsequently worked for Tapert on the STARZ Original
Series “Spartacus,” as well as the features Boogeyman and 30 Days of Night.

Notable credits to date include working as Stunt Coordinator on James Cameron’s Avatar (for which he was a co-
nominee for the Red Bull-sponsored Taurus Stunt Coordinator/Second Unit Director award) and Stunt Coordinator for
Zero Dark Thirty, directed by Oscar-winner Catherine Bigelow.

He was assistant Stunt Coordinator for all three films in the Chronicles of Narnia trilogy: The Lion, The Witch and The
Wardrobe, Prince Caspian and The Dawn Treader, as well as Nicholas Cage’s Ghost Rider: Spirit of Vengeance.

His most recent film is Mechanic: Resurrection, starring Jason Statham. Before that, he did Jupiter Ascending for the
Wachowskis. He was member of the team nominated for the SAG Stunt Ensemble award for the recent critically
acclaimed David Ayer/Brad Pitt war actioner Fury. He also worked in Morocco on the Paul Greengrass feature Green
Zone, starring Matt Damon.

Also interested in developing the New Zealand industry, he served as president of Stunt Guild of New Zealand 2004-
2010.

###
 BOOK OF THE DEAD

"The Ultimate Experience In Grueling Terror"

By

Sam Raimi

10/13/79

SCENE CODING

Interior - I
Exterior - E
Day - D
Night - N
Twilight - T

LOCATION CODING

CAR - Car
B - Bridge
CAB - Surrounding area outside cabin
W - Woods
M.R. - Main Room
D.R. - Dining Room
K - Kitchen
C - Cellar
W.S. - Work Shed
L.B. - Linda's Bedroom
S.B. - Shelly's Bedroom
C.B. - Cheryl's Bedroom
B.T.R- Bathroom

EXAMPLE

12 ID - D.R.

TRANSLATION

Scene #12, Interior, Day, Dining Room

1 ED - W

Something evil is lurking deep withing the wooded moun-

tains of Tennessee, and the camera takes its point of
view. Rising from a swampy bog, the mud slides from view
allowing it to see early morning mist hanging about the
forest. Creeping silently past trees, gliding over small
shrubs, it moves onward through the woods until a mammoth
oak rests directly in its path. The tree is uprooted by
this unseen force, and falls with a deafening crash.

2 ED - CAR
 Near by, a stretch of highway curves along the base of
a mountain. The road winds off into oblivion beyond other
peaks. From behind view, the rumble of an engine can be
heard. It is a large logging truck headed south. Moving
away, the truck becomes smaller until finally it disap-
pears in the distance. From where the truck emerged, a
dilapidated gold 1973 Oldsmobile comes into view.

3 ID - CAR

Inside, five people can be seen. They are couples ASHLY

and LINDA, SCOTT and SHELLY, and CHERYL, ASHLY's sister.
Both SCOTT and SHELLY wear "Michigan State" T-shirts,
and are students along with the others at that univer-
sity. SCOTT is driving and SHELLY sits next to him up
front. ASHLY, LINDA and CHERYL are in back. They listen
to an old "Baby Moses And The Thrillers" song on the
radio, and SHELLY is slapping the dash board as if it
were a drum.

SHELLY

(Singing with the music)... Together,

forever...

SCOTT

Ash, where are we?

ASHLY

I'll tell ya in a second. Now we're

still on seventy-five just past the
county border...

4 ED - W
 Once again, the camera takes the point of view of the
dark and brooding force which stops atop a forest ridge
to peer downward. Its view focuses upon the 1973 Olds-
mobile speeding along the narrow highway below.

5 ID - CAR

ASHLY traces a route on the map with his finger.

ASHLY

...Which would put us...which would

put us...

SCOTT

Jesus Christ, just tell us already

will ya?

ASHLY zeroes in on the map with his finger.

ASHLY

...Right...

SCOTT is growing impatient.

ASHLY

...Right...

SCOTT

Yes?
 ASHLY

Here!

Suddenly, the radio stops, and the steering wheel jerks

from SCOTT's hand.

6 ED - CAR

The car screetches out of control into the opposite lane.

A large oncoming tanker truck with its horn screaming
races toward the car on a collision coarse.

7 ID - CAR

SHELLY

Scotty, watch out!

8 ED - CAR

The truck races closer.

9 ID - CAR

Their steering wheel is locked.

ASHLY
 Turn!

10 ED - CAR

At the last possible instant, SCOTT's wheel again can

be controlled, and the car swerves sharply back into its
own lane.

11 ED - CAR

The truck speeds harmlessly past them.

12 ID - CAR

ASHLY

Damn it Scott, what the hell was that?

You trying to kill us?

SCOTT

Don't yell at me, it's your lousy

steering wheel. The damn thing jerked
right out of my hand.

ASHLY

I can't understand it. I just had

this thing in for a tune-up.

SHELLY

Radio's dead too, ace.

 ASHLY

And I just had 'em tune up the whole

thing yesterday.

SCOTT

Well, then take it back 'cause the

damn thing don't work. Only thing
that works on the whole car is the
lousy horn.

SCOTT honks the horn.

13 ED - CAR

Several local MEN walking down the highway respond to

the horn by waving.

14 ID - CAR

SCOTT yells out the window at them.

SCOTT

Aw, go to hell, I'm not waving at ya!

He looks in the rear view mirror. The MEN are still wav-
ing in the distance. SCOTT turns back to drive.

SCOTT
 Jesus Christ.

SHELLY turns around in the front seat and holds up a

pint of Scotch.

SHELLY

Well, I'd like to make a toast. To

Scott who almost killed us.

SCOTT

Aw, eat shit and die will ya?

SHELLY and the others laugh.

SHELLY

Okay, okay- then to a wild week-end

in a wonderful cabin with good friends,
(She glances at SCOTT) provided we
live that long.

SHELLY cooly drinks from the Scotch and passes the bottle
back to ASHLY and LINDA. ASHLY pours LINDA a drink in the
bottle cap and keeps the bottle. They raise their drinks.

ASHLY and LINDA

...With good friends.

They toast, drink and react to the strong liquor. ASHLY

tries to hide his reaction to the Scotch in front of
LINDA, since SHELLY had reacted so calmly. ASHLY passes
the bottle to CHERYL who stops him with a polite "No,
thank you," then back up front to SCOTT.
 LINDA

Hey Scotty, what's this place like

anyway?

SCOTT

Well, the guy that's renting it says

it's an old place, little run down,
but it's right up in the mountains-
totally secluded. (He takes a drink
from the bottle) Best part is, we
get it so cheap.

LINDA

Why are we getting it so cheap?

SCOTT

I don't know, might be in real bad

shape.

CHERYL

You mean nobody's seen this place

yet?

SCOTT

Not yet.

ASHLY

Might not be too bad.

LINDA
No...

ASHLY

Actually, it might be very nice.

LINDA

Yeah...

SHELLY

It's probably a real pit.

CHERYL

I can't believe that we're renting

a place for a week-end that nobody's
seen.

SCOTT

(Mumbling to himself) Jesus Christ,

not this again...

CHERYL

(Turning to ASHLY) You know, mom and

dad would never let us go up to a place
like this if they knew-

ASHLY

-Which is exactly why they don't know.

I'll tell you who I am gonna call.
The guys that fixed up this car.
15 ED - CAR

The car approaches an exit along the highway.

16 ID - CAR

ASHLY glances at the map again.

ASHLY

Hey, I think this is where we get

off.

17 ED - CAR

The car turns off the main highway and follows several
back roads until it approaches a narrow dirt lane that
winds upward along a twin set of mountains.

18 ID - CAR

SCOTT glances up to the peaks.

SCOTT

These mountains seem familiar.

LINDA

What do they remind you of? Some-

 thing majestic? Adventure?

SCOTT

Yeah, more like adventure.

LINDA

Any adventure in particular?

SCOTT

Shelly's sweater.

ASHLY and SCOTT laugh out loud. LINDA laughs quietly,

and CHERYL lets out an embarassed giggle to herself.

SHELLY

(Teasing) Oooh, you're gonna get it

Scotty, when you least expect it,
you're gonna get it good.

19 ED - B

Finally, the car arrives at a wooden bridge extending

over a great chasm. Carefully, the vehicle crosses.

20 ED - CAB

It is late afternoon when they eventually arrive at their

destination. The small wooden cabin is surrounded by
thick dark woods. SCOTT shuts off the car but it contin-
ues to sputter and backfire.
21 ID - CAR

ASHLY reacts to his car.

ASHLY

I...I sent 'em a check for the tune-up.

but I'm just not paying for it.

LINDA

This place is perfect.

CHERYL

The woods come awfully close to the

house don't they?

SCOTT

So what's wrong with the woods, they

can't bite ya.

CHERYL

It's just a little claustrophobic

that's all.

LINDA

Well, I think it's beautiful.

SHELLY
 Me too, it's gonna be a bomb week-
end.

22 ED - CAB

SCOTT moves to the front door of the cabin where he finds

a small ring of keys concealed on the shelf above the
door. ASHLY unloads the car to the others.

SCOTT

It's supposed to be one of these on

here.

After trying several keys, he is able to unlock the door.

23 ID - M.R.

The interior of the cabin is completely dark. SCOTT

opens the door and stands silhouetted in the doorway
for a moment, then enters to find the light switch.
The illumination reveals floors, walls, and ceilings
made of cedar. There are two small bedrooms, a kitchen,
and the main room which contains a stone fireplace set
into the wall. An old grandfather clock stands silently
in one corner, partially hidden in the shadows. A door
in the rear of the cabin leads to a small work shed
containing a work bench and an assortment of tools upon
the wall. Located centrally in the main room is a trap
door leading to the cellar. This catches SCOTT's eye.

SCOTT

Hey, this place has a dungeon.

CHERYL puts down a case of art supplies, and moves over
to SCOTT by the trap door. He unlocks a chain securing
the trap door with one of his keys and hands the ring
to SHELLY.

SCOTT

Put these back will you?

SHELLY leaves with the keys, and SCOTT tries to open the
hatch but cannot.

SCOTT

They nailed it shut.

CHERYL

Good, I don't like cellars. Probably

just some garbage down there anyways.

SCOTT

Cheryl, they don't nail garbage in

cellars. I mean it's not going to
try and get out or anything.

CHERYL

Well, what's down there?

SCOTT

Well, could be any number of things.

Old baseball cards, mushrooms, dead
bodies-
 LINDA

Hey, look at this!

LINDA is standing in the corner next to the old grand-

father clock. She repositions a balance weight, and it
begins to tick.

LINDA

Ta daaaaaa!

The others applaud and whistle. LINDA smiles.

24 ET - CAB

The cabin is seen from the outside. Twilight has come.

25 IT - M.R.

CHERYL sits alone in the living room near the window. She
is drawing sketches of the old clock. As she works, the
ticking stops unexpectedly. CHERYL puts down her pencil
and looks up to the clock. It stands silently in the cor-
ner with its hands frozen in position. There is a rust-
ling from the woods. CHERYL looks out the window but can
see only the trees. Something is moving outside, yet re-
mains hidden within the forest. A gust of wind fills the
room. CHERYL glances down at her hand. It turns a pale
white and begins to shake and jerk about uncontrollably.
She stares on incredulously as her hand, guided by some
unseen force picks up the pencil and begins to sketch
a figure upon her pad. The wind gales through the open
window but dies down slowly as her hand completes the
drawing. Whatever was at the edge of the woods has now
retreated further into them. Her hand loses the pale
 cast and is now under control once more. CHERYL picks
up her pad of paper. The likeness of a book with some
form of ancient writing on its cover has been sketched.
She looks to the woods which are now silent. A snapping
of wood is heard from the cellar. CHERYL quickly turns
to the trap door still nailed shut in the floor. Pos-
sibly just a mouse, but she fixes her gaze upon it.
Another sound, almost like faint breathing comes from
the cellar.

26 IT - K/M.R.

ASHLY and LINDA enter from the kitchen. ASHLY is drink-

ing a beer and moves over to CHERYL. He stands between
her and the trap door.

ASHLY

What're you drawing Cheryl?

He picks up the piece of paper. LINDA looks over his

shoulder to glance at it.

CHERYL

I...I don't know.

ASHLY

Is it a bible?

CHERYL

No, no it's no bible. (She glances

again at the cellar, knowing some-
thing is down there) I don't know
what it is.
 LINDA

Well, this one of the clock's not

bad.

LINDA picks up the sketch and walks over to the clock

with it a few steps away. She stands comparing it to
the real thing with her back to CHERYL and ASHLY. She
is only a few inches from the trap door, and CHERYL
wants to call out in warning when ASHLY kneels in front
of her to speak secretly.

ASHLY

(In a whisper) I got it right here.

He taps something in his shirt pocket. CHERYL is looking

past him paying no attention. She watches only LINDA's
feet, waiting for whatever is in the cellar to grab them.
LINDA looks at the drawing in comparison.

LINDA

Cheryl, this is really good. I like

how you did the numbers in that wood-
ish style.

ASHLY produces a small box from his shirt and opens it

quickly to show CHERYL. It contains a gold pendant on
a necklace. LINDA takes a step closer to the clock. She
is now standing almost upon the trap door. Although
nailed shut, it opens slightly, pulling the nails with
it. CHERYL gasps. ASHLY is pleased with her response.

ASHLY

(Still in a whisper) I knew you'd

 like it.

Quickly, he places it back in his shirt and touches his

lips with a finger to indicate the secrecy of his sup-
rise. LINDA returns with the sketch and places it back
on CHERYL's small drawing table.

LINDA

It's really good Cheryl. Very close

to the origional.

CHERYL

(In a relieved whisper) Yes, very

close.

LINDA

I'm gonna check dinner.

LINDA returns to the kitchen and ASHLY turns to CHERYL.

ASHLY

You better get washed up. I'll see

ya in there.

He winks, then follows LINDA into the kitchen. CHERYL

again looks at the cellar. Slowly, from her point of
view, the camera moves in toward the trap door, wait-
ing...waiting.

27 IT - K
 A blender screams as it mixes up a drink in the kitchen.
SHELLY shuts it off and carries it to the dining room.

28 IT - D.R.

She joins the others who are now seated at the dinner
table and serves the mixture. SCOTT sits between LINDA
and CHERYL. He leans over to CHERYL.

SCOTT

(In a whisper) Dead bodies in the

cellar, dead bodies in the cellar...

CHERYL

Will you stop it?

LINDA

Scott, leave her alone will ya?

SCOTT turns toward LINDA.

SCOTT

Will you relax, I'm just kidding

around. She can take a joke-

He stops talking as he hears the trickling of water. He

turns to see CHERYL finish pouring a glass of water in
his lap. The others laugh. SCOTT is silent for a moment,
then begins chuckling to himself. He turns to CHERYL.

SCOTT
 (Jokingly) I'll get ya.

With a napkin, he blots the water from his pants.

SCOTT

I'll get ya for this Cheryl.

ASHLY stands with his drink and raises the glass.

ASHLY

I'd like to make a toast for all

here this evening. As a greek friend
of mine once said, "Nis-hat-nis-fert-
dis-ruben-tu-tar-im."

LINDA

Which means?

SCOTT

Party down!

The laughter is stifled by a loud snap and cracking of

wood heard from the main room.

SCOTT

What the hell...

All stand from the table and hurry to the main room.
29 IN - M.R.

The nails that held down the trap door have been ripped
out, and although still in tact, the hatch is wide open.
They stand silently in front of it, looking blank as to
what could have done this. CHERYL is slighly more nervous
than the others. ASHLY is the first to speak.

ASHLY

(Slowly) What is this?

SCOTT

Whatever it is, it's still down there.

CHERYL

I don't like cellars, let's close it

up. (She does not want to deal with
it) It's probably just some animal.

SCOTT

An animal?! An an...ha-ha-ha-ha-ha-
that's the stupidest thing I ever
heard in my life. Jesus Christ.

SCOTT locates a flashlight and peers into the hole. He

traces the old wooden steps into darkness with his light.

LINDA

Maybe it is just some animal.

SCOTT
 Yeah, probably right. It's probably
just some animal. Uh...Cheryl, why
don't you make sure.

He hands the flashlight to CHERYL who quickly gives it

back.

CHERYL

Scotty, I'm not going down there!

SCOTT

Okay, okay you cowards, I'll go.

LINDA

Scotty don't. You're crazy if you

go down there. Why don't you wait
until morning.

SCOTT

Look, I'll be all right.

SHELLY

What melodrama! What courage! A kiss

my brave hero.

SCOTT kisses SHELLY and with flashlight in hand, he descends

the narrow steps into the cellars blackness.

SHELLY

I, your virgin queen eagerly await

 the precious moment when you will
ascend.

SCOTT

Virgin queen?! Ha-ha-ha-ha-ha-

He disappears below the floor. SHELLY, CHERYL, LINDA and

ASHLY wait above.

ASHLY

(Calling down) Hey Scott, see any-

thing?

There is no answer.

ASHLY

Hey Scott!...Scott!

SHELLY

He's just kidding around.

There is silence.

SHELLY

Isn't he?

No sounds come from the cellar.

ASHLY
 Linda, get me a flashlight.

LINDA
That's the only one we brought up.

ASHLY spots a lantern on the fireplace mantle.

ASHLY

Then get that lantern.

LINDA brings it over. ASHLY opens the kerosene valve,

lights the wick, and descends into the basement.

30 IN - C

Down below, ASHLY moves quietly past the old stone walls
and wooden beams which support the main floor above. In
front of him stands an old door which leads to another
section of the cellar. Cautiously, he moves toward it.
Before he can touch it, the door swings open slowly with
a moan. ASHLY moves through the doorway and deeper into
the cellar. Condensation from water pipes above turn the
cellar into an echo chamber as drips fall into shallow
pools on the dirt floor below. As ASHLY scans with his
light, he spots a shadow move out the corner of his eye.

ASHLY

Scott?

ASHLY breaks into a cold sweat as he moves away from

the area where the shadow passed. He backs sqarely into
a pair of arms which grab him.
 ASHLY

Ahhhhhhh!

It is only SCOTT behind him.

ASHLY

What the hell are you doing down

here, jerkin' off? How come you
didn't answer me?

SCOTT

When?

ASHLY

Just now, I mean upstairs.

SCOTT

I didn't hear you.

ASHLY

Oh well, did you find anything?

SCOTT

Uh-uh.

ASHLY

What's this?
 SCOTT sweeps his light to another corner and reveals
several items atop a small table. Beneath a dusty cloth,
he finds a book which appears to be covered in some sort
of animal hide, with an ancient form of writing on the
cover. Along with this book, SCOTT and ASHLY uncover
a reel to reel tape recorder, an ancient dagger, and
other parapanalia including a box of rifle shells.

31 EN - CAB

It is evening as darkness surrounds the small cabin.

32 IN - M.R.

The group sits huddled around the fireplace talking

quietly about school. The same bottle of Scotch is passed
around. ASHLY is rewinding the tape recorder, and once
this is done, he turns it on. The voice of an old man
is heard. ASHLY turns to the others who are talking.

ASHLY

Shhh, listen to this.

VOICE

My name is Julian Knowby. I am a pro-

fessor of ancient Egyptian mythology
in Dextin university's ancient history
department...

ASHLY

This is the tape I found downstairs.

 VOICE

(Continuing)...I am recording this

entry from a small cabin in the south-
ern mountains of Tennessee. Here, I am
staying with my wife for a few weeks
so that I may continue my research un-
disturbed. Since May, a group of assoc-
iate professors and myself have been
excavating the ruins of Ca'n Dar. I
believe I have made an important find
in that area, and thus the reason for
this log. With it, I can keep an ac-
curate record of translations from
my latest find; the first of six, the
others still lost, volumes of ancient
Sumarian burial practices and rites.
Basically, it is a book of do's and
don'ts dealing with the deceased en-
titled "Naturan Demanto" roughly trans-
lated "Book Of The Dead." It is bound
in human flesh, and inked with blood
of the deceased...

SCOTT

Jeez, I'd hate to find out what they

used for pens.

VOICE

(Continuing)...This particular volume

deals with demons and demon resurrect-
ion. These are of the Katardi family,
meaning those forces believed to inhab-
it the jungles and woods of man's do-
main. The first few pages that I have
translated warn that these demons are
dangerous, everpresent, and exist
primarily through this book. As legend
has it, only the sacred high priests
of the Ca'n Dar tribe could posess
these books, for they alone could
 properly control the resurrected de-
mons. It is only through the act of
reciting the resurrection passage
that these demons would be able to
posess the living. For many years, it
was thought that this legend-

CHERYL turns off the machine at this point.

SCOTT

Hey, what'd you do that for? It was

just getting good.

CHERYL

I just don't want to hear any more

that's all.

SCOTT

(Singing) Cheryl's scared, Cheryl's

scared.

ASHLY

Scott, leave her alone will ya?

SCOTT

Jesus Christ.

He moves to the tape recorder and fast forewards it for

a bit then stops.

SCOTT
 She's acting like a baby- it's no
big deal.

He turns the machine on. The passage continues.

VOICE

Tantir-ah-mis-trobeen-ha-zar-ta

33 EN - CAB

As the tape plays, all natural sounds from the forest

die out, and the autumn colors in the trees fade to a
gloomy grey.

34 IN - M.R.

VOICE

Tantir-man-ov-mis-hazen-sober.

All eyes except CHERYL's turn to the window.

35 EN - CAB

Outside, clouds roll in from the east, thunder booms in

the distance, and as the wind picks up, it begins to rain.

36 IN - M.R.
 VOICE

Kanda!

37 EN - CAB

A section of ground deep within the woods begins to crack,

and opens. Smoke seeps out from within, as if some evil
force was now being unleashed.

38 IN - M.R.

CHERYL

(In a whisper) Shut it off.

VOICE

Kanda!

39 EN - CAB

The winds howl, and blackbirds fly from their nests,

screaming.

40 IN - M.R.

CHERYL

(Louder now) Shut it off.

 ASHLY, hearing her for the first time, turns from the
window to CHERYL. She is overwhealmed with fear.

VOICE

Kanda!

41 EN - CAB

A bolt of lightning strikes very near and its thunder

crash is deafening.

42 IN - M.R.

CHERYL can no longer control herself. She screams and

covers her ears.

CHERYL

Shut it offffff!

The window shatters when a branch from a nearby tree

tears through it. ASHLY runs to the tape recorder and
turns it off. CHERYL is crying now, and runs to her room.
ASHLY turns to SCOTT.

ASHLY

Scott, you knew not to play it, I

mean...I mean you knew it was upset-
ting her. You just don't know when
you're carrying something too far.

SCOTT
 (To SHELLY) C'mon. (Back to ASHLY)
Big deal, it's just a joke, shit.

SCOTT and SHELLY head for their bedroom. SCOTT mumbles

to himself along the way.

SCOTT

You'd think she's three years old or

something.

SCOTT slams the door behind him. ASHLY sighs. He moves

to the broken window and reaches through it to close
the outside shutters.

LINDA

He's really been bothering you hasn't

he?

ASHLY walks to a chair near the other window.

ASHLY

No. It's not Scott. Scotty's okay.

It's just that ever since we came
up here, things have been a little
too tense. (He sits) All these crazy
things going on. And look at that
window- we're gonna have to pay for
that window now.

LINDA

It'll be better tomorrow. Things'll

smooth out, you'll see.
 ASHLY

I hope so.

He looks at LINDA lovingly for a long moment.

ASHLY

What'ya say we stay up for a while

and listen to the storm.

LINDA

Deal. Lemme check on Cheryl. I'll be

right back.

From across the room, she is seen opening CHERYL's door

a crack. LINDA asks if she is all right, and gets a
muffled reply. In the foreground, ASHLY removes the
small box he showed to CHERYL earlier and places it in
his hand. He glances behind to LINDA. She closes CHERYL's
door and walks back to find ASHLY sound asleep with the
box in his hand. She reaches for the box and ASHLY opens
his eyes to watch. LINDA looks at him, but his eyes are
closed again in time to still appear fast asleep. LINDA
turns her attention back to the box. ASHLY watches again
wide-eyed as she removes it from his hand. Quickly,
LINDA turns to him but as expected, ASHLY is sleeping
like a baby. She begins to turn back toward the box
and ASHLY opens his eyes, but LINDA turns back again
in time to catch him with his eyes wide open.

LINDA

Ah ha!

ASHLY
 (Laughing) Stealing from the blind
eh? It's for you.

LINDA begins to open the box.

LINDA

It better be good.

The gold necklace is revealed inside.

LINDA

Oh Ash, it's beautiful.

LINDA kisses ASHLY. He removes the necklace from the box

and holds it around her neck.

ASHLY

(Fastening it around her neck) I was

going to give it to you before we
left, but things got so hectic, this
is the first chance I've had. Do you
like it?

LINDA moves to a mirror.

LINDA

It's beautiful. I really love it.

(She turns to ASHLY) I'll never take
it off.

43 EN - CAB
 Lightning strikes as something in the woods examines the
small cottage. Through the outside window, ASHLY and
LINDA can be seen embracing. This force watching them
moves around the house to another window. The silhouette
of SCOTT and SHELLY undressing can be seen. The force
continues around and arrives at CHERYL's window. Inside,
she brushes her hair in front of the mirror for a
moment, then sets down her brush and moves to the window.
She stops to uncrumple the sketch drawn earlier, looks
at it, then out to the dark woods.

44 IN - C.B.

CHERYL can faintly hear some kind of sound. It is the

same sound she had heard earlier from the cellar. A
noise almost like that of something breathing.

45 EN - CAB

The evil entity rounds the corner of the cabin as CHERYL

walks through the rooms to the front door. She can be
seen stepping out the door. It closes behind her. Wind
shaking the tree branches sends dead leaves fluttering
about.

CHERYL

(Calling to the woods) Is anybody

out there?

There is no answer. CHERYL steps away from the cottage

toward the woods.
46 EN - W

The breeze animates her nightgown and it too seems alive.

CHERYL stops.

CHERYL

I know someone's out there...I

heard you...I heard you in the cellar.

Suddenly, CHERYL becomes chilled. She folds her arms

around herself and stands at the woods edge, listening.
There is only darkness and sounds of the evening wind
blowing through the trees. CHERYL steps into the forest
a few feet then stops. A cry deep within the woods can
be heard. She freezes. Whispering in the distance grows
somewhat louder and a soft wail is heard- like that of
something long since dead, dredged up to roam the earth
again. CHERYL is about to turn back toward the cabin
when a rustling comes from a group of trees about twenty
yards behind her. She stops. No sound. Nothing moves.
Several yards to her left a twig snaps suddenly. She
turns but there is silence again. The winds die down,
leaving a deathly stillness throughout the woods. Then,
all at once, the entire forest becomes alive in a flurry
of chaotic noises and movement. Snake-like vines wrap
around her ankles and slither up her legs. Tree branches
near by begin to claw and rake at her. The force is now
moving through the woods toward her. CHERYL is able to
break the vines and run toward the cabin. She emerges
from the woods and into the clearing. The force is
still following.

47 EN - CAB

CHERYL reaches the cabin door but it is locked. She

begins pounding upon the door.
 CHERYL

Help, help, let me in. Open the door!

The evil entity now emerges from the woods.

CHERYL

Ashly! Linda! Open up!

CHERYL spots the small key ring above the door where
SHELLY had returned them earlier. One by one, she fran-
tically jams one key after another into the lock, but
still cannot find the right one. The force comes closer
with each key.

CHERYL

Please, someone please! Help me, help

meeeee!

The evil entity is almost upon her, but her actions are
so frantic that the ring falls to the ground. She bends
down to pick them up, but a hand grabs her arm. It is
SCOTT who has opened the door from the inside. She
pushes him in the door and slams it tightly.

48 IN - M.R.

SCOTT

What the hell happ-

CHERYL

(In hysterics) It...it tried to kill

 me. I, I heard a noise and...and I
ran and the trees...the trees!

SCOTT

What are you-

He is cut off by ASHLY approaching with the others.

ASHLY

Cheryl what's wrong with you? Did

something in the woods do this to
you?

CHERYL

No, no, no...the woods themselves-

The trees- they're alive...

She hugs ASHLY tightly and cries in hysterical sobs.

CHERYL

They're alive...

LINDA

Ash, why don't I take her into the

bedroom so she can lie down a little-

CHERYL

(Cutting her off) -I'm not lying

down! I'm not staying here. We're
leaving this place, we're leaving
this place right now!
 SCOTT

Wait a minute, I'm sure as hell not

going anywhere.

SHELLY

Cheryl-

ASHLY

Cheryl, there's nothing out there.

Trees do not attack people.

CHERYL

Ashly, will you drive me into town

or not?

ASHLY

(Looking at his watch) Right Now?

(He realizes how desperate she is)
Sure, sure I'll drive you into town.
But if you'll just listen to what
you're saying, you-

CHERYL

I don't care how it sounds. I want

to leave this minute. You can bring
back my things when you go.

ASHLY

Okay- if you don't want to stay, I

can't make you.
 LINDA puts a coat around CHERYL as ASHLY helps her to
the door.

49 EN - CAB

ASHLY and CHERYL move to the car. ASHLY helps CHERYL in

then then gets in the drivers side.

50 IN - CAR

CHERYL

I'll stay some place in town tonight.

ASHLY tries to start the car. There is no response.

CHERYL becomes somewhat worried. ASHLY tries again.
The car will not turn over. A look of dread comes
across CHERYL's face.

51 EN - CAB

SCOTT and the others join the two outside.

52 IN - CAR

CHERYL

It's not gonna start.

 ASHLY again tries the engine.

CHERYL

I know it's not gonna start. It's

not gonna let us leave.

ASHLY keys the engine and it turns over this time, start-
ing up with a roar. ASHLY, worried by CHERYL's condition
glances over to her. Confused and upset, CHERYL turns
away from ASHLY and looks out her window. They drive off
into the night through the wooded mountains toward town.
ASHLY glances at CHERYL who is studying the forest in-
tensely for any sign of movement. The concern for his
sister is made obvious by the expression on his face.
Their car approaches the narrow bridge area and slows
down.

CHERYL

Why are you slowing down?

ASHLY brings the car to a halt.

CHERYL

What is this?

ASHLY's gaze is fixed directly ahead, and his mouth opens

slowly. He flips on the high beams which stab through the
evening mist.

53 EN - B

The bridge over the chasm has been torn away. CHERYL is
silent as ASHLY walks to the ravine's edge to examine
 any remains.

54 IN - CAR

CHERYL

(Mumbling to herself) No, no, no, no,

no...it's not going to let us leave,
it's not going to let us go...it's
not gonna let us gooooo!

55 EN - CAB

An axe is raised into the air, then brought down smash-

ing upon a log, splitting it in two. SCOTT is chopping
wood outside the cabin. Behind him, through a window,
CHERYL sits with a cup of tea in her hand watching him.
SCOTT sets his axe down, gathers the wood and moves
away. CHERYL shifts her gaze from SCOTT to the woods
beyond. The camera moves in toward CHERYL then past
her to SHELLY and LINDA who can be seen playing cards
on the floor. ASHLY is seated near the fireplace with
the tape recorder in front of him. He plugs an earphone
in so only he can hear it. SCOTT enters the cabin and
passes in front of ASHLY to drop his wood to one side
of the fireplace. He throws a log in, and heads back
outside.

56 IN - M.R.

From inside, LINDA speaks.

LINDA

Cheryl, wanna play some cards?

 CHERYL

(Turning with a smile) Uh-uh.

CHERYL turns to face the window again.

LINDA

Hey, tomorrow morning, we'll find

some way around that cliff into town
okay?

CHERYL

Okay.

Outside the window, SCOTT chops more wood for the nights
fire. ASHLY turns on the tape recorder to listen with
the ear plug.

VOICE

March 12th. Suzanne came after me

and almost murdered me. My own wife.
At first I thought it was a mental
or physical disorder because of what
had happened to her eyes, but I was
only fooling myself. I knew what it
was.

Outside the window, SCOTT continues to chop and gather

wood. SHELLY, still engaged in cards with LINDA, holds
up one in particular.

SHELLY
 Okay, guess this card.

LINDA

How am I going to know what card

that is?

SHELLY

Guess, I'm going to see if you're

psychic.

The card is a two of clubs.

LINDA

Okaaaay...is it a queen?

SHELLY

Right!

LINDA

Really?

SHELLY

Yeah.

LINDA

Hey Ash, I guessed the card right.

ASHLY
 (indifferently) Truly amazing Linda.

He is listening intently to the log as it continues.

VOICE

Three days have passed since that

thing has been down there. I was hop-
ing to weaken it without food or
water. Nothing worked. Finally, in
desperation I dragged her out to the
shed and dismembered her so that what-
ever it was could not get up again.

SHELLY

Cheryl, did you see that?

CHERYL remains with her back to them staring out the

window.

SHELLY

Try this one.

She removes a nine of clubs from the deck and holds it up.

LINDA

Okay, lemme think, uh...

She puts her hands to her head in a curved funnel form-

ation as if to direct her thoughts to the card.

LINDA
 ...Um, it's a seven.

SHELLY

Oh my God, what suit?

LINDA

Diamonds, no wait! I mean hearts!

SHELLY

That's right- seven of hearts!

LINDA

Hey Ash, did you see that? I guessed

two cards in a row.

ASHLY

(Still not paying attention) How do

you do it Linda?

He is concentrating on the tape.

VOICE

This is when I saw the dark figures

moving about in the woods. I should
have never tampered with the "Book
Of The Dead." I now know that what-
ever it is I have resurrected through
this book, is coming for me.

LINDA
 You know, I always thought I had
some sort of extra sense. You know,
like e.s.p or something.

SHELLY

What's this one?

She holds up the queen of spades.

LINDA

Another seven!

SHELLY

I don't believe it!

CHERYL

(Still looking outside) Queen of

spades.

SHELLY looks at her card then back to CHERYL. She holds

up another card.

CHERYL

Four of hearts.

The card is a four of hearts. SHELLY bites her lip in

fear and reaches for another card. ASHLY and LINDA listen
in silence.

CHERYL
 Eight of spades.

SHELLY picks up the card. CHERYL is correct again.

CHERYL

Two of spades- jack of diamonds-

jack of clubs-

Faster and faster she calls them off. Even before SHELLY
can flip them to keep up. Suddenly, CHERYL turns toward
the group. Her eyes are bone white. SHELLY's deck of
cards slip from her hand and scatter across the floor.
CHERYL's body is hoisted up to its feet and jerked about
like a white-eyed marionette. She speaks in a voice un-
like her own.

CHERYL

Why have you disturbed our sleep,

awakened us from our ancient slum-
ber? You will die. Like the others
before you. We will take you one by
one. All of you ha-ha-ha-ha-ha-

She screams in a low gruff voice and collapses to the

floor.

ASHLY

Oh my God, Shelly, get Scott in here!

SHELLY does not respond.

ASHLY

Hurry!
She exits through the front door. LINDA moves to CHERYL
and lifts her head gently. CHERYL appears unconcious but
behind her, she reaches for a pen.

LINDA

Did you see her eyes? I'm scared.

What's wrong with her?

ASHLY begins to speak when SCOTT and SHELLY enter.

SCOTT

What happened to her?

CHERYL's hand clutches the pen tightly.

LINDA

Look at her eyes.

SCOTT's hand reaches for CHERYL's eyes to inspect them,

but they blink open. The pen in her hand races upward,
then slashes down, ripping into LINDA's achilles tendon.
LINDA screams fiercely and with a blur, the bloodied
pen is raised again. ASHLY grabs CHERYL's arm stopping
her, but with a powerful swipe, she swings her remaining
arm at LINDA who is sent sprawling across the cabin
floor. CHERYL then clutches ASHLY and, almost lifting
him, sends his body reeling across the room into a book-
case which topples over, trapping him beneath its weight.
SHELLY stands screaming as CHERYL now advances toward
ASHLY's face with the bloody pen. He struggles to pull
himself out but cannot. CHERYL is almost upon him when
SCOTT grabs her from behind. Effortlessly, she tosses
him off and moves toward ASHLY again. SCOTT climbs to
his feet and grabs the axe. CHERYL raises the pen above
 ASHLY's face, and SCOTT gives her a sharp jab in the
jaw with the wooden handle. CHERYL stumbles past LINDA
and falls backwards, head first into the cellar. She
begins to climb out but SCOTT slams the trap door shut
upon her hand. It won't close. CHERYL starts to push
the trap door open from below. SCOTT climbs on top
and is almost thrown off until he viciuosly rams the
butt of his axe down upon her protruding hand. Demented
screams and moans are heard from below as CHERYL's hand
is finally pulled back and SCOTT manages to secure the
chain across the hatch.

57 IN - LB

Later that evening, LINDA is seen in her bed, sleeping.

ASHLY covers her with a blanket, kisses her, and walks
to the door, closing it quietly behind him.

58 IN - M.R.

ASHLY joins SCOTT and SHELLY who sit near the fire in
the main room. From the cellar, strange moans, sobs and
laughter emerge, then horrible rasping sounds from CHERYL's
breathing. Through the next sequence of dialogue, her
breathing becomes louder then somewhat quiet.

SCOTT

She'll be okay Ash, she just took a

bad bump.

ASHLY

(Quietly) Yeah.

SCOTT and SHELLY listen to the strange noises from below

as ASHLY looks out the window to the woods beyond.

ASHLY

We've still got a few hours before

morning.

SHELLY

I don't know if I can wait that

long.

SCOTT

You have to. We all have to. Then,

once it's light out, we'll try to
find a way to get around that chasm.

SHELLY

(Covering her ears) Why does she keep

making those horrible noises?

ASHLY

I don't know.

SHELLY

And what about her eyes?

ASHLY and SCOTT are quiet.

SHELLY

What about her eyes? (Desperately)

For God's sake what happened to
 her eyes?!

CHERYL patiently sits in the cellars darkness with a

streak of light across her eyes from the crack in the
trap door. Her head is slightly tilted as she watches
and listens to what is said above. From her point of
view we hear SCOTT speak to SHELLY.

SCOTT

Everything's gonna be all right.

CHERYL's lips part slightly and a thick blackish yellow

liquid drools out between her teeth. She grins.

59 EN - CAB

Outside, the forest is very dark. The unseen force moves

from the wooded area, pushing over small trees and shrubs
as it advances. The cottage comes into view and the evil
entity glides up to it. The figure of a girl in the cabin
window can be seen looking out. The force stops and moves
behind a bush.

60 IN - M.R.

Inside, SHELLY is studying the woods.

SHELLY

Scotty, I...I think there's some-

thing out there.

SCOTT joins her at the window and looks out.

61 EN - CAB

From within the woods, this force watches SCOTT peer out,
but he can see nothing. Through the window he says some-
thing to reassure SHELLY and moves away.

62 IN - M.R.

Inside, SCOTT can be heard in mid sentence.

SCOTT

...Is to get some rest. Ash and I

can stay up with Cheryl.

SHELLY

Okay.

SCOTT

Everything's gonna be okay. Come

morning- you'll see.

SHELLY heads to her bedroom. SCOTT walks back to the

fireplace and sits. He slices twigs from a branch with
the Sumarian dagger and tosses them into the fire. ASHLY
glances at the Book Of The Dead, then to the old clock.
It stands silent.

63 EN - CAB
 Again, the evil entity watches from outside. It sees
SHELLY leave one room and turn the lights on in another.
She begins to undress near the window. The force now
moves from behind its cover and rushes at tremendous
speed to SHELLY who is looking out her bedroom window.
She sees it and sheer terror covers her face as a scream
stifles itself in her throat, but it is too late.

64 IN - M.R.

A noise is heard from SHELLY's bedroom. SCOTT drops the

small stick he was whittling and looks up. He places
the dagger on the floor and walks toward SHELLY's room.

SCOTT

Shelly, are you okay?

She does not answer. SCOTT approaches her door and turns
to ASHLY.

SCOTT

Keep an eye on Cheryl for a minute.

65 IN - S.B.

SCOTT enters the darkness of her room and sees nothing

amidst the shadows.

SCOTT

Shelly?
 He looks over to her window. It is open, and wind blows
upon the curtains.

66 IN - S. BATH

SCOTT steps into SHELLY's bathroom and sees that the

shower curtain is drawn. Cautiously, he moves up to it.

SCOTT

Shelly?

He pulls the curtain back to reveal an empty tub. SCOTT

turns back to the bedroom when SHELLY steps into the
doorway, posessed. With a scream, she latches upon SCOTT.
Her eyes have gone bone white and she claws at SCOTT's
face and clothes with her nails.

67 IN - S.B.

Screaming, SCOTT stumbles through her bedroom with SHELLY

still upon him biting at his throat.

68 IN - M.R.

They stagger into the main room where SCOTT manages to

knock SHELLY off himself and into the fireplace. She
remains motionless as her head smolders upon the hot
coals. SCOTT rushes to her, grabs an arm and pulls her
out. SHELLY's face and hair on one side of her head are
seared and blackened. She blinks her eyes open, turns
her charred head to SCOTT, and speaks in a rasp.
 SHELLY

Thank you. I don't know what I would

have done if I had remained on the hot
coals burning my pretty flesh. You
have pretty skin- give it to us!

Cackling, SHELLY clutches SCOTT's neck and begins throttl-

ing the life out of him with a vice-like grip. He tries
to break the hold but cannot. ASHLY also tries but with
a backhand blow, SHELLY knocks him into a cabinet, smash-
ing it to bits. A garbled cry for help escapes from
SCOTT's frothing mouth. SHELLY reaches down, picks up
the Sumarian dagger, and holding SCOTT by his throat
with one hand, she raises the dagger with the other.
ASHLY, slightly injured, crawls to his feet. SCOTT
grabs her raised arm and although choking, swings
his camping knife from its side sheath and slices
deep into SHELLY's raised wrist, almost severing it.
A murky black ooze pumps from the wound. She emits
an ear splitting- howl and tightens her grip on SCOTT's
throat. He drops the hunting knife. ASHLY watches
terrified, unable to move as SHELLY raises her dangling
hand (Still clutching the dagger) to her mouth and
bites it off. The useless part falls to the floor
with the dagger still firmly in its fist. SCOTT, now
almost dead, grabs her severed hand clutching the
dagger and in a last attempt, swings it around ramming
the blade into her spine.

SHELLY screetches along with CHERYL in the cellar, the

old grandfather clock gongs and lightning strikes all
at the same instant. SHELLY reaches around with her
remaining arm to clutch at the severed hand and knife
protruding from her own back. A thick black ooze pours
from the wound as she bends backward screaming. ASHLY
stands in horror, clutching the axe, unable to move.
Black ooze runs from SHELLY's mouth as her body writhes
about spasmatically upon the floor. Gradually, the move-
ments cease and she is dead. As SCOTT slowly stands to
his feet, SHELLY's arm grabs his leg.
 SCOTT

Ahhhhhhh!

Some force reanimates her, even though the body is

dead.

ASHLY

No...no...no...

SCOTT

Hit her!

SHELLY's body is hoisted up, jerking about to its feet,

and laughing madly.

SCOTT

Hit it!

SCOTT screams this as he backs toward ASHLY who stands

with the axe, paralyzed. Gurgling black ooze, SHELLY
advances toward them with one remaining arm. SCOTT
grabs the axe from ASHLY, pushes him away and slams
it into her. Lightning flashes, thunder booms, and
CHERYL screams from the cellar. SCOTT brings his axe
down again and again in a frenzy. Then, after the
final chop, there is silence.

SHELLY's body remains on the floor for quite some time-

until ASHLY can cope with the fact that she is dead and
something must be done.

ASHLY

Uh...Scott.
 SCOTT

Yeah.

ASHLY

What is uh...what are we gonna do?

SCOTT

Bury her.

ASHLY

You...can't bury Shelly. She's a friend

of ours isn't she?

SCOTT

Ash, she's dead.

ASHLY moves away from SCOTT.

SCOTT

Shelly's dead. We're gonna bury

her now.

ASHLY bites his lip and looks about blankly.

69 EN - CAB

Finally, the body is dragged outside and buried near

 the work shed. Harsh floodlights from the house make the
task look very stark and barren.

70 IN - M.R.

SCOTT and ASHLY return inside. ASHLY heads to LINDA's

room to check in on her.

71 IN - L.B.

He peers in to see LINDA sleeping peacefully.

72 IN - M.R.

ASHLY quietly returns to the main room. SCOTT is load-

ing new batteries into a flashlight.

SCOTT

I saw an old hiking trail when we

were driving up here. Now I don't
know if it goes all the way around
that gorge-

ASHLY

-Or if it's even still in tact.

SCOTT

Or if it's even still in tact. But

uh, I guess I'll find out. Take good
care of Linda.
 ASHLY

I will. Do you have everything?

SCOTT

(Putting on a small back pack) Yeah-

all set.

ASHLY

Listen...Scotty...I'm sorry about

falling apart like that when-

SCOTT

Don't bother, really.

He steps out the door.

SCOTT

If I find a way out of here, I'll

mark it and then come back. Then if
I'm not back here in a few hours...
if for some reason...well, if I don't
come back, grab Linda, leg and all,
and just get her the hell out of here.

They shake hands.

ASHLY

You're a good man.

 SCOTT

Good, I'm the best.

73 EN - CAB

ASHLY smiles a good-bye to SCOTT and watches him move

off into the night. He lingers for a moment by SHELLY's
grave, then slowly disappears into the woods.

74 IN - M.R.

ASHLY closes the door and turns back to the main room.
He sees CHERYL's eyes through the crack in the cellar.
She has been watching all of this through a space be-
tween the trap door and floor. ASHLY walks past her to
LINDA's room.

75 IN - L.B.

He opens the door and a crack of light falls across her.

LINDA wakes up.

LINDA

Who's there? Ash?

ASHLY

It's me Linda.

LINDA
 Ash, I had a bad dream about Linda.

ASHLY

You did baby?

LINDA

Yeah. She's all right isn't she?

ASHLY

Yeah. Fine.

LINDA

Is Shelly okay too Ash?

ASHLY can no longer hide his fear and anxiety. He speaks

in a whisper so as not to let his voice quiver.

ASHLY

Yeah, sure. She's sleeping that's

all.

LINDA

Ash, I love you. (She turns over)

ASHLY

Get some rest.

ASHLY closes the door behind him and the fear from a few
hours ago engulfs him once more.
76 IN - M.R.

ASHLY moves into the main room and stops dead in his
tracks when a voice in the cellar speaks.

CHERYL

You lied to her. You lied to Linda.

Shelly's not sleeping. She's dead.
Don't you know the difference? You
killed her. You and Scott cut her up
with the axe. She's dead ha-ha-ha-ha-
ha-ha-

ASHLY picks up the axe and slams it down upon the trap
door. CHERYL is silent from below for a moment, then
the hatch opens an inch or so. (The length of the chain
securing it) CHEYL's white eyes can be seen again.

CHERYL

Ha-ha-ha-ha-ha-ha-

ASHLY takes the axe and steps outside.

77 EN - CAB

He begins to chop wood, taking out his emotions upon

the logs with each blow. SHELLY's blood can still be
seen on the blade of the axe.

78 IN - M.R.
 From her dungeon, CHERYL watches ASHLY chop wood in the
window. The shadow of his axe rising then striking is
seen over her white eyes.

79 EN - CAB

Exhausted, ASHLY puts down the axe. He looks off into

the woods but there is no sign of SCOTT. He returns to
the cabin.

80 IN - M.R.

CHERYL begins her taunting again.

CHERYL

Soon all of you will be like me and

then who will lock you in the cellar?
Ha-ha-ha-ha-ha-

CHERYL begins to violently ram her fists against the trap

door. ASHLY walks by her to LINDA's room.

81 IN - L.B.

She is still asleep. Quietly, so as not to wake her, ASHLY

pulls back her blanket exposing the bandaged leg. He re-
moves the wrappings and looks at the wound. As he does
this, it infects with a blackened coloration at an in-
credible speed. ASHLY looks up to see if LINDA is still
sleeping and sees that she has been watching him with
white eyes and an evil grimace upon her face. She lets
 out a low growl.

82 IN - M.R.

ASHLY jolts backwards out of her room to escape through

the front door. He steps outside and stops to look back
in. He can see the main room, but finds it difficult to
see in LINDA's room, being lost in the shadows. Something
ragged and bloody grabs him. It is SCOTT's mutilated
body ripped and torn to shreds. He is still alive. ASHLY
looks behind him through the door to LINDA's room. He
can barely make out LINDA who sits on the bed watching
him with glaring white eyes. ASHLY helps SCOTT to the
couch so he can sit. SCOTT is in agony and can barely
speak.

SCOTT

Ash, I think I'm dying. Jesus, I

can't feel my legs.

ASHLY

Uh...uh Scotty you're gonna be okay.

You're gonna be just fine- you'll see.

He throws another log on the fire.

ASHLY

You'll see.

He looks off into LINDA's bedroom again, but she is gone.

She is now sitting in the corner of the main room where
ASHLY is, watching him. SCOTT begins to cough with hor-
rible rasping sounds.
 SCOTT

It's, it's not gonna let us leave...

Cheryl...Cheryl was right...we're
all gonna die here...

ASHLY

We're not gonna die!

SCOTT

...All gonna die. All of us.

ASHLY grabs SCOTT and shakes him violently.

ASHLY

We're not gonna die! We're not gonna

die! We're getting out of here! Now
listen to me- is there a way around
the chasm.

SCOTT passes out.

ASHLY

Scotty. Scott!

ASHLY slaps SCOTT. He stirs awake and mumbles.

SCOTT

Jesus Ash. I don't want to die. So...

so lonely to die like this. You're not
gonna leave me are you? Are you Ash?
 CHERYL

(Imitating SCOTT) I don't want to

die. So lonely to die like this. You're
not gonna leave me are you? Are you
Ash? Ha-ha-ha-ha-ha-

ASHLY

Scott, is there some way around the

chasm?

SCOTT

Ash, I'm scared- I...I can't feel

my legs.

ASHLY

Scott, listen to me please, for

God's sake. Is there a way around
the chasm?

SCOTT

There is...one way, the trail...but

the trees, they know...don't you see-
they're alive!! They're ali-ahhhhhhh!

His sentence is cut short as he cries out in sharp pain.

Blood dribbles from his nostrils and he doubles over
grabbing his stomach. LINDA begins to laugh. ASHLY looks
to her, or rather what posesses her with hatred.

ASHLY

Shut up!
She continues to laugh. CHERYL in the cellar joins in
the laughter. ASHLY walks to LINDA and slaps her but
she continues. He grabs a hunting rifle from a rack on
the wall, loads it with shells, flips off the safety
and places the barrels against LINDA's head.

ASHLY

God forgive me Linda.

The laughter stops and her eyes return to normal. It

is LINDA again. ASHLY puts down the rifle.

LINDA

Ash, oh Ash, help Me! Please.

She hugs him tightly.

LINDA

Don't let them take me away again,

please, please, please.

ASHLY

(Crying and holding her tightly) I

won't, I won't- I promise.

CHERYL's voice is heard from the blackness of the cellar.

CHERYL

Ashly? Ashly, help me. Let me out

of here. I'm all right now.
ASHLY releases LINDA and moves cautiously to the cellar.
LINDA remains behind nervously fumbling with her necklace.

CHERYL

I'm all right now, Ashly. I'm all

right. Come unlock this chain and
let me out.

ASHLY

Cheryl?

There is no reply from the cellar. ASHLY looks through

the crack but sees only darkness. He reaches for the
chain and begins to unlock it, but sensing something
wrong, he stops.

ASHLY

Cheryl?

He puts his ear to the floor listening for the slight-

est sound. CHERYL's arms rip through the floor boards
and grab ASHLY's head. He breaks away and her hand
reaches for the chain but cannot quite grasp it. Slowly
it withdraws beneath the floor.

CHERYL

(A little too sweet) Ash, what are you

doing? This is your sister Cheryl. Don't
you recognize me?

Her voice drifts off, and the evil leughter resumes from
the celler.
 ASHLY

(Crying and yelling to the cellar)

You bastards! Why are you doing this?
Why?

There is silence for a moment. Laughter from behind him

begins again. It is LINDA. Her eyes are white once more,
and she laughs at ASHLY.

ASHLY

Oh...Linda.

With newly found courage, ASHLY angrily grabs LINDA by

the legs and drags her outside.

83 EN - CAB

LINDA

It's useless, useless, useless. In

time we'll come for him, then you
ha-ha-ha-ha-ha-

ASHLY leaves her in the woods and runs back to the cabin,
closing the door behind him.

84 IN - M.R.

SCOTT is coughing again.

SCOTT
 Ash, Ash, please...I don't want to
die- but...but I can't stand this
pain. It hurts Ash. Gimme something.
Gimme something to put me out.

ASHLY

Scott, I can't. I- I know it's bad.

But I can't be alone now, I can't.
I'd lose my mind.

SCOTT

Please Ash, please.

ASHLY

You'll get better- you'll see.

LINDA's laughter is faintly heard outside. ASHLY moves

to the window and pulls back the curtain. LINDA is no
longer in the woods but sitting at the edge of the clear-
ing, watching ASHLY with her glowing white eyes.

ASHLY

Yeah, tomorrow, soon, you'll be

better and we'll both get out of
here tomorrow.

SCOTT

There is no tomorrow! You- you've

got to kill her and cut- cut her
up- your sister too.

ASHLY
 No, that was only with Shelly. You
had to with Shelly. You- Linda loves
me. You're delirious- I...I'll get
you some water.

ASHLY places a glass to Scott's lips.

ASHLY

Now, now the sun will be up in an

hour or so and we'll get out of here
...together. You, me, Linda, Shelly-
n-no not Shelly, she- we'll all go
home together. Wouldn't you like to
be going home? You'd like that I'd
bet, wouldn't ya?

There is no answer from SCOTT. The water runs out of

his mouth.

ASHLY

...Scott.

SCOTT is dead. LINDA's laughter is heard again. ASHLY

walks to the window and pulls back the curtain. There
is nothing there. He turns and she is there! With the
Sumarian dagger, LINDA rips into ASHLY's shirt, cutting
his arm. He screams and watches in horror as she runs
her tongue over the dagger, licking the blood from it.
She turns her attention toward ASHLY again but he grabs
her and they struggle. LINDA backs ASHLY up against
SCOTT, knocking his body to the floor. CHERYL's gnarled
arm reaches up through the broken floor boards and
grabs at ASHLY's foot. He manages to turn LINDA's arm
so the knife is behind her back. Forcefully, ASHLY
pushes her over the body of SCOTT and she falls back-
ward upon the dagger, impaling herself upon it. The
blade tears into her back and rips through her stomach.
 Lightning flashes, thunder roars, and LINDA screams in
a deep growl once, then all is quiet.

ASHLY drags LINDA's corpse past the crumpled body of

SCOTT, past CHERYL, who watches all of this from below,
through the back door and out to the work shed.

85 IN - W.S.

He lifts her up onto the work bench and secures her body
to it with a number of chains which hang from nails
along the wall. He rips down a tarp hanging on the
wall to reveal a chain saw. He starts it up and moves
toward her. Buzzing madly, the saw is lowered to a
position several inches above LINDA's neck. ASHLY looks
into LINDA's face. Her eyes have gone back to blue. He
turns off the saw.

ASHLY

(In a whisper) Linda...

He drops the saw and breaks down crying over LINDA's

body.

86 EN - CAB

An evening mist drifts out of the woods and cloaks the

shed as ASHLY carries LINDA's body outside for burial.
He lays the body upon the ground and picks up a shovel.
Harsh floodlights from the corners of the cabin create
strange shadows on the ground as ASHLY digs LINDA's
grave. She lies on her back during the digging. One of
her eyes opens. It is white. ASHLY drops the shovel
and looks at her. She appears to be dead.
87 IN - M.R.

Inside the cabin, CHERYL begins slamming her fists

against the trap door in the cellar again. She wants
out. The screws holding the hatch in place begin to
loosen.

88 EN - CAB

ASHLY places LINDA's corpse in the grave, oblivious to

CHERYL's pounding. He begins to cover her with dirt.

89 IN - M.R.

CHERYL has ripped out all but one screw which holds the
trap door in tact.

90 EN - CAB

ASHLY glances to the grave and sees LINDA's necklace on

top of the dirt mound. He reaches down to pick it up
when LINDA's hand shoots up from beneath the grave and
grabs him! She pulls herself up out of the grave scream-
ing and clutches ASHLY's leg with a black and bloodied
hand. He twists around, trying to free himself, but she
will not let go. By now, LINDA is almost completely out
of the grave. With her fingernails, she rips into ASHLY's
leg, tearing his skin. Screaming, he picks up a large
log nearby and swings it roundhouse into her face again
and again, breaking the wood into smaller bits. She grabs
the log with him clinging to the other end, lifts him
up and throws ASHLY log and all, away from her. ASHLY
hits the ground with considerable force and for the
first time begins to comprehend the power of this thing
 he is dealing with. Thick black ooze pours from LINDA's
nose and mouth as she turns toward ASHLY sprawled on
the ground.

ASHLY

Stay back.

His hand gropes for the handle of the spade. LINDA

advances toward him, laughing.

ASHLY

Linda please, if you can still hear

me. Keep away.

His fingers tighten on the wooden handle. With a scream,

she lunges toward him. From the ground, ASHLY swings the
spade upward, lopping off her head. The head falls into
the mud, but the body falls upon him, grabbing and jerk-
ing about spasmatically. Thick black ooze pumps from
her neck and ASHLY manages to pull himself out from
underneath the body. He backs away in disgust and falls.
He picks himself up again and sees LINDA's necklace
upon the ground. ASHLY stashes it in his pocket and
staggers back to the cabin.

91 IN - M.R.

Inside, he looks to the main room beyond SCOTT's body.

ASHLY

Oh.....

It is a moan from deep inside him. The trap door is open

 and CHERYL is gone. ASHLY walks over and kicks it shut.
A slight breeze sweeps through the front door causing
SHELLY's bedroom door to creak open. ASHLY picks up the
rifle again and cautiously moves to the door.

92 IN - S.B.

He enters. The room is dark and the closet door bangs

back and forth because of the breeze. ASHLY moves toward
it, grabs the handle and slowly opens the door. Only
clothes are inside. He turns toward the other end of
the room and CHERYL pops up in the window right by him.
He swings and fires, shattering the window. CHERYL
backs away and spots the open front door.

ASHLY

The door...

He makes a mad dash through SHELLY's room.

93 IN - M.R.

In the main room, ASHLY races for the door.

94 EN - CAB

Outside, CHERYL is almost upon the door.

95 IN - MR
 ASHLY arrives in time, but CHERYL has already started
reaching in. He slams the door on her fingers and rams
his gun butt down upon them. Horrible screams are heard
as CHERYL withdraws her hand. ASHLY is able to slam
the door and bolt it. He runs to the back entrance lead-
ing to the shed and locks it also. On his way back to
the main room, he pumps his rifle in preparation. It is
his last shell.

ASHLY

(To himself) More shells. Where did

I see that box of shells?

96 IN - C

From the basement, the trap door lifts open and ASHLY
decends. The bottom step, now rotten, breaks under his
weight, and ASHLY sprawls to the floor. Slowly, he picks
himself up and walks through the dividing stone doorway
beneath the water pipes to a small table. On it, he finds
the box of shells and quickly loads them into the gun.
He ascends the steps and enters the main room once more.

97 IN - M.R.

The sound of ticking catches ASHLY's attention. He looks

up to see the old grandfather clock slowly winding back-
wards. He watches and waits tensely. Turning carefully,
ASHLY tries to monitor all the windows. The ticking grows
louder. A shadow passes in the window before him and he
fires, shattering the glass into a million pieces. Wind
whips through the cabin swirling glass and leaves to the
floor. ASHLY waits, leaning against the front door for
something to happen. He is tense and more determined
than ever to survive. He whispers to himself.
 ASHLY

C'mon, c'mon, get it over with, why

are you torturing me like this?

Placing his hand to his side, ASHLY discovers something

in his pocket. He lifts it to his eyes. It is LINDA's
necklace.

ASHLY

...Linda. (He whispers)

The ticking stops. He tilts his head for the slightest

sound. All is silent. From behind, two arms rip through
the door and grab him. ASHLY tears away and falls to
the floor. The necklace is tossed away in the confusion.
CHERYL's hands pull away and she looks through a hole
in the door. From the floor, ASHLY raises his rifle and
fires at her head.

98 EN - CAB

Clutching at her face and screaming horribly, CHERYL

is jolted from the door.

99 IN - M.R.

ASHLY places a dresser and chair against the holes in

the door. Behind ASHLY, SCOTT's corpse sits up and opens
its white eyes. It stands and moves toward ASHLY. He
turns with the gun, but SCOTT knocks it out of his hands.
Desperately, ASHLY grabs a table lamp and shatters it
across SCOTT's head, then jams the exposed socket into
his face, shocking him. SCOTT staggers back several
steps, then continues after ASHLY.
100 EN - CAB

Outside, Cheryl is now pounding against the front door.

101 IN - M.R.

ASHLY picks up a small table upon which are the Book Of

The Dead, and the professors journal. He throws it at
SCOTT. This does not affect him, and he advances closer.
The Book Of The Dead lands near the fireplace and edges
of the paper darken from the heat. SCOTT picks up ASHLY
and begins to throttle him as if he were a rag doll. The
front door begins to give under CHERYL's pounding. ASHLY
brings his hands to SCOTT's eyes. With a crash, CHERYL
breaks through the front door and begins to push the
dresser away. Pages from the Book Of The Dead are smolder-
ing now. ASHLY jams his fingers into SCOTT's eyes and
slips from the grip. SCOTT clutches his eye sockets and
his back begins to smolder. ASHLY now sees the book. Its
pages burn at the edge. CHERYL topples the dresser and
enters the room. Her face is partially torn away from
the shot gun blast. ASHLY rushes to throw the book onto
the burning logs, but CHERYL, smoldering also, gives
him a backhand blow across the head, and he is sent
sprawling to the floor. She grabs a fireplace poker with
her crushed fingers and turns back to ASHLY who is crawl-
ing toward the fireplace. When almost in reach of the
book, SCOTT grabs his leg and begins to pull ASHLY back-
ward. CHERYL approaches with smoke pouring from her
clothes and slams ASHLY across the back with her poker.
ASHLY screams. A glitter catches his eye. It is LINDA's
necklace. Grabbing it, he tosses the end with a clasp
toward the book. It slides off the cover. SCOTT pulls
him back once more as ASHLY swings the necklace in a
last desperate attempt. CHERYL raises the poker for the
final blow. The necklace drapes over the book and as
ASHLY is dragged, the clasp hooks the cover and pulls
the book with him. With a yank, he seizes the book and
tosses it upon the blaze.
CHERYL and SCOTT freeze. The Book Of The Dead burns in
a bluish green flame. Smoke pours from SCOTT and CHERYL
as distant demonical screams are heard from the woods.
The fireplace poker slips from CHERYL's hand and sticks
into the wood scarcely an inch from ASHLY's head. The
bodies of SCOTT and CHERYL then begin to cave inward
upon themselves, collapsing to the floor in smoldering
heaps. Finally, nothing is left but the burnt clothing
and a blackish grey ooze on the floor where their bodies
once were.

The old clock begins to tick again, normally. ASHLY slowly

climbs to his feet to stand above the fuming debris. Open-
ing his hand, he looks down at LINDA's necklace. The force
retreats from him, out the door, slowly returning to the
darkness from which it emerged. Gradually, the natural
sounds of the forest swell and trees lose their gloom as
Autumn colors return. The first rays of sunlight gleam
over the woods beyond the cabin. Daybreak has finally
come.