Evil Dead Script
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