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BOOK OF THE DEAD
"e;The Ultimate Experience In Grueling Terror"e;
Interior - I
Exterior - E
Day - D
Night - N
Twilight - T
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
12 ID - D.R.
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 "e;Michigan State"e; 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 "e;Baby Moses And The Thrillers"e; song on the
radio, and SHELLY is slapping the dash board as if it
were a drum.
(Singing with the music)... Together,
Ash, where are we?
I'll tell ya in a second. Now we're
still on seventy-five just past the
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.
...Which would put us...which would
Jesus Christ, just tell us already
ASHLY zeroes in on the map with his finger.
SCOTT is growing impatient.
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
Scotty, watch out!
8 ED - CAR
The truck races closer.
9 ID - CAR
Their steering wheel is locked.
10 ED - CAR
At the last possible instant, SCOTT's wheel again can
be controlled, and the car swerves sharply back into its
11 ED - CAR
The truck speeds harmlessly past them.
12 ID - CAR
Damn it Scott, what the hell was that?
You trying to kill us?
Don't yell at me, it's your lousy
steering wheel. The damn thing jerked
right out of my hand.
I can't understand it. I just had
this thing in for a tune-up.
Radio's dead too, ace.
And I just had 'em tune up the whole
Well, then take it back 'cause the
damn thing don't work. Only thing
that works on the whole car is the
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.
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.
SHELLY turns around in the front seat and holds up a
pint of Scotch.
Well, I'd like to make a toast. To
Scott who almost killed us.
Aw, eat shit and die will ya?
SHELLY and the others laugh.
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 "e;No,
thank you,"e; then back up front to SCOTT.
Hey Scotty, what's this place like
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.
Why are we getting it so cheap?
I don't know, might be in real bad
You mean nobody's seen this place
Might not be too bad.
Actually, it might be very nice.
It's probably a real pit.
I can't believe that we're renting
a place for a week-end that nobody's
(Mumbling to himself) Jesus Christ,
not this again...
(Turning to ASHLY) You know, mom and
dad would never let us go up to a place
like this if they knew-
-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.
Hey, I think this is where we get
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.
These mountains seem familiar.
What do they remind you of? Some-
thing majestic? Adventure?
Yeah, more like adventure.
Any adventure in particular?
ASHLY and SCOTT laugh out loud. LINDA laughs quietly,
and CHERYL lets out an embarassed giggle to herself.
(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.
I...I sent 'em a check for the tune-up.
but I'm just not paying for it.
This place is perfect.
The woods come awfully close to the
house don't they?
So what's wrong with the woods, they
can't bite ya.
It's just a little claustrophobic
Well, I think it's beautiful.
Me too, it's gonna be a bomb week-
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.
It's supposed to be one of these on
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.
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
Put these back will you?
SHELLY leaves with the keys, and SCOTT tries to open the
hatch but cannot.
They nailed it shut.
Good, I don't like cellars. Probably
just some garbage down there anyways.
Cheryl, they don't nail garbage in
cellars. I mean it's not going to
try and get out or anything.
Well, what's down there?
Well, could be any number of things.
Old baseball cards, mushrooms, dead
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.
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
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.
What're you drawing Cheryl?
He picks up the piece of paper. LINDA looks over his
shoulder to glance at it.
I...I don't know.
Is it a bible?
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.
Well, this one of the clock's not
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.
(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.
Cheryl, this is really good. I like
how you did the numbers in that wood-
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.
(Still in a whisper) I knew you'd
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.
It's really good Cheryl. Very close
to the origional.
(In a relieved whisper) Yes, very
I'm gonna check dinner.
LINDA returns to the kitchen and ASHLY turns to CHERYL.
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-
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.
(In a whisper) Dead bodies in the
cellar, dead bodies in the cellar...
Will you stop it?
Scott, leave her alone will ya?
SCOTT turns toward LINDA.
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.
(Jokingly) I'll get ya.
With a napkin, he blots the water from his pants.
I'll get ya for this Cheryl.
ASHLY stands with his drink and raises the glass.
I'd like to make a toast for all
here this evening. As a greek friend
of mine once said, "e;Nis-hat-nis-fert-
The laughter is stifled by a loud snap and cracking of
wood heard from the main room.
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.
(Slowly) What is this?
Whatever it is, it's still down there.
I don't like cellars, let's close it
up. (She does not want to deal with
it) It's probably just some animal.
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.
Maybe it is just some animal.
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
Scotty, I'm not going down there!
Okay, okay you cowards, I'll go.
Scotty don't. You're crazy if you
go down there. Why don't you wait
Look, I'll be all right.
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.
I, your virgin queen eagerly await
the precious moment when you will
Virgin queen?! Ha-ha-ha-ha-ha-
He disappears below the floor. SHELLY, CHERYL, LINDA and
ASHLY wait above.
(Calling down) Hey Scott, see any-
There is no answer.
He's just kidding around.
There is silence.
No sounds come from the cellar.
Linda, get me a flashlight.
That's the only one we brought up.
ASHLY spots a lantern on the fireplace mantle.
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 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.
It is only SCOTT behind him.
What the hell are you doing down
here, jerkin' off? How come you
didn't answer me?
Just now, I mean upstairs.
I didn't hear you.
Oh well, did you find anything?
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.
Shhh, listen to this.
My name is Julian Knowby. I am a pro-
fessor of ancient Egyptian mythology
in Dextin university's ancient history
This is the tape I found downstairs.
(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 "e;Naturan Demanto"e; roughly trans-
lated "e;Book Of The Dead."e; It is bound
in human flesh, and inked with blood
of the deceased...
Jeez, I'd hate to find out what they
used for pens.
(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.
Hey, what'd you do that for? It was
just getting good.
I just don't want to hear any more
(Singing) Cheryl's scared, Cheryl's
Scott, leave her alone will ya?
He moves to the tape recorder and fast forewards it for
a bit then stops.
She's acting like a baby- it's no
He turns the machine on. The passage continues.
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
34 IN - M.R.
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.
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.
(In a whisper) Shut it off.
39 EN - CAB
The winds howl, and blackbirds fly from their nests,
40 IN - M.R.
(Louder now) Shut it off.
ASHLY, hearing her for the first time, turns from the
window to CHERYL. She is overwhealmed with fear.
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.
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.
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.
(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.
You'd think she's three years old or
SCOTT slams the door behind him. ASHLY sighs. He moves
to the broken window and reaches through it to close
the outside shutters.
He's really been bothering you hasn't
ASHLY walks to a chair near the other window.
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.
It'll be better tomorrow. Things'll
smooth out, you'll see.
I hope so.
He looks at LINDA lovingly for a long moment.
What'ya say we stay up for a while
and listen to the storm.
Deal. Lemme check on Cheryl. I'll be
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.
(Laughing) Stealing from the blind
eh? It's for you.
LINDA begins to open the box.
It better be good.
The gold necklace is revealed inside.
Oh Ash, it's beautiful.
LINDA kisses ASHLY. He removes the necklace from the box
and holds it around her neck.
(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
LINDA moves to a mirror.
It's beautiful. I really love it.
(She turns to ASHLY) I'll never take
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
(Calling to the woods) Is anybody
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.
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
47 EN - CAB
CHERYL reaches the cabin door but it is locked. She
begins pounding upon the door.
Help, help, let me in. Open the door!
The evil entity now emerges from the woods.
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.
Please, someone please! Help me, help
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.
What the hell happ-
(In hysterics) It...it tried to kill
me. I, I heard a noise and...and I
ran and the trees...the trees!
What are you-
He is cut off by ASHLY approaching with the others.
Cheryl what's wrong with you? Did
something in the woods do this to
No, no, no...the woods themselves-
The trees- they're alive...
She hugs ASHLY tightly and cries in hysterical sobs.
Ash, why don't I take her into the
bedroom so she can lie down a little-
(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!
Wait a minute, I'm sure as hell not
Cheryl, there's nothing out there.
Trees do not attack people.
Ashly, will you drive me into town
(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-
I don't care how it sounds. I want
to leave this minute. You can bring
back my things when you go.
Okay- if you don't want to stay, I
can't make you.
LINDA puts a coat around CHERYL as ASHLY helps her to
49 EN - CAB
ASHLY and CHERYL move to the car. ASHLY helps CHERYL in
then then gets in the drivers side.
50 IN - CAR
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
It's not gonna start.
ASHLY again tries the engine.
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
Why are you slowing down?
ASHLY brings the car to a halt.
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
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
54 IN - CAR
(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
56 IN - M.R.
From inside, LINDA speaks.
Cheryl, wanna play some cards?
(Turning with a smile) Uh-uh.
CHERYL turns to face the window again.
Hey, tomorrow morning, we'll find
some way around that cliff into town
Outside the window, SCOTT chops more wood for the nights
fire. ASHLY turns on the tape recorder to listen with
the ear plug.
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
Outside the window, SCOTT continues to chop and gather
wood. SHELLY, still engaged in cards with LINDA, holds
up one in particular.
Okay, guess this card.
How am I going to know what card
Guess, I'm going to see if you're
The card is a two of clubs.
Okaaaay...is it a queen?
Hey Ash, I guessed the card right.
(indifferently) Truly amazing Linda.
He is listening intently to the log as it continues.
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.
Cheryl, did you see that?
CHERYL remains with her back to them staring out the
Try this one.
She removes a nine of clubs from the deck and holds it up.
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.
...Um, it's a seven.
Oh my God, what suit?
Diamonds, no wait! I mean hearts!
That's right- seven of hearts!
Hey Ash, did you see that? I guessed
two cards in a row.
(Still not paying attention) How do
you do it Linda?
He is concentrating on the tape.
This is when I saw the dark figures
moving about in the woods. I should
have never tampered with the "e;Book
Of The Dead."e; I now know that what-
ever it is I have resurrected through
this book, is coming for me.
You know, I always thought I had
some sort of extra sense. You know,
like e.s.p or something.
What's this one?
She holds up the queen of spades.
I don't believe it!
(Still looking outside) Queen of
SHELLY looks at her card then back to CHERYL. She holds
up another card.
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
Eight of spades.
SHELLY picks up the card. CHERYL is correct again.
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.
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
Oh my God, Shelly, get Scott in here!
SHELLY does not respond.
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.
Did you see her eyes? I'm scared.
What's wrong with her?
ASHLY begins to speak when SCOTT and SHELLY enter.
What happened to her?
CHERYL's hand clutches the pen tightly.
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.
She'll be okay Ash, she just took a
SCOTT and SHELLY listen to the strange noises from below
as ASHLY looks out the window to the woods beyond.
We've still got a few hours before
I don't know if I can wait that
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.
(Covering her ears) Why does she keep
making those horrible noises?
I don't know.
And what about her eyes?
ASHLY and SCOTT are quiet.
What about her eyes? (Desperately)
For God's sake what happened to
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.
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.
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.
...Is to get some rest. Ash and I
can stay up with Cheryl.
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.
Shelly, are you okay?
She does not answer. SCOTT approaches her door and turns
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.
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.
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.
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.
Some force reanimates her, even though the body is
SHELLY's body is hoisted up, jerking about to its feet,
and laughing madly.
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.
What is uh...what are we gonna do?
You...can't bury Shelly. She's a friend
of ours isn't she?
Ash, she's dead.
ASHLY moves away from SCOTT.
Shelly's dead. We're gonna bury
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.
I saw an old hiking trail when we
were driving up here. Now I don't
know if it goes all the way around
-Or if it's even still in tact.
Or if it's even still in tact. But
uh, I guess I'll find out. Take good
care of Linda.
I will. Do you have everything?
(Putting on a small back pack) Yeah-
Listen...Scotty...I'm sorry about
falling apart like that when-
Don't bother, really.
He steps out the door.
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.
You're a good man.
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
75 IN - L.B.
He opens the door and a crack of light falls across her.
LINDA wakes up.
Who's there? Ash?
It's me Linda.
Ash, I had a bad dream about Linda.
You did baby?
Yeah. She's all right isn't she?
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.
Yeah, sure. She's sleeping that's
Ash, I love you. (She turns over)
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.
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-
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.
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
80 IN - M.R.
CHERYL begins her taunting again.
Soon all of you will be like me and
then who will lock you in the cellar?
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
Ash, I think I'm dying. Jesus, I
can't feel my legs.
Uh...uh Scotty you're gonna be okay.
You're gonna be just fine- you'll see.
He throws another log on the fire.
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.
It's, it's not gonna let us leave...
Cheryl...Cheryl was right...we're
all gonna die here...
We're not gonna die!
...All gonna die. All of us.
ASHLY grabs SCOTT and shakes him violently.
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
SCOTT passes out.
ASHLY slaps SCOTT. He stirs awake and mumbles.
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?
(Imitating SCOTT) I don't want to
die. So lonely to die like this. You're
not gonna leave me are you? Are you
Scott, is there some way around the
Ash, I'm scared- I...I can't feel
Scott, listen to me please, for
God's sake. Is there a way around
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.
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.
God forgive me Linda.
The laughter stops and her eyes return to normal. It
is LINDA again. ASHLY puts down the rifle.
Ash, oh Ash, help Me! Please.
She hugs him tightly.
Don't let them take me away again,
please, please, please.
(Crying and holding her tightly) I
won't, I won't- I promise.
CHERYL's voice is heard from the blackness of the cellar.
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.
I'm all right now, Ashly. I'm all
right. Come unlock this chain and
let me out.
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.
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.
(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
(Crying and yelling to the cellar)
You bastards! Why are you doing this?
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.
With newly found courage, ASHLY angrily grabs LINDA by
the legs and drags her outside.
83 EN - CAB
It's useless, useless, useless. In
time we'll come for him, then you
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.
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.
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.
Please Ash, please.
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.
Yeah, tomorrow, soon, you'll be
better and we'll both get out of
There is no tomorrow! You- you've
got to kill her and cut- cut her
up- your sister too.
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.
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
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.
(In a whisper) Linda...
He drops the saw and breaks down crying over LINDA's
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
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
His hand gropes for the handle of the spade. LINDA
advances toward him, laughing.
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.
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.
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.
(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.
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
...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
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