|
|
Post by Duragizer on May 15, 2024 1:52:51 GMT -5
I've started work on a rewrite of the Evil Dead Trilogy. It's a project I've briefly considered doing in the past, but never committed to as I've been a huge fan of the original Evil Dead films since I was a teenager and never had any major issues with them. That was until recently, when I rewatched Army of Darkness. It's still entertaining as a fantasy adventure Ray Harryhausen homage, but as an Evil Dead film, it only leaves me cold.
This'll be a nine-act, 3-in-1 rewrite designed to tidy up the chaotic Evil Dead continuity, include material from the deleted scenes/shooting scripts/early drafts/comic adaptations, and provide additional references to the Cthulhu Mythos. The first third, which'll cover The Evil Dead, won't deviate too much from the source material, though I anticipate there'll be greater deviations once I start retelling Evil Dead II, depending on how many ideas I utilize which are unique to the Evil Dead II rough drafts. And the final third will certainly be a breed apart from any film version of Army of Darkness; the setting, characters, tone, and ending will be palpably different, even if the broad strokes of the plot are preserved.
I know this is a family-friendly forum, so I'll do my best not to get too descriptive with the violence and gore.
|
|
|
|
Post by Duragizer on May 15, 2024 2:01:13 GMT -5
FADE IN
On whisping smoke against a black background.
DISSOLVE TO
A close-up of a pair of haunted eyes. The rest of the face hidden in shadow, they dart about quickly in fear. The NARRATOR speaks to us with urgency.
NARRATOR
I know now that there is such a thing as a living Evil. A dark and shapeless thing that lives not in the spaces that we know, but between them. In the dark. In the night. (beat) Now listen carefully, because there isn't much time. Listen and believe, because it's all true….
FADE OUT
TITLE: BOOK OF THE DEAD
FADE IN
EVIL FORCE'S P.O.V. — SWAMP
Something evil's lurking deep within the wooded mountains of Tennessee. Rising from the stagnant water‚ it sees autumn mist hanging about the bog. Creeping silently past fallen trees‚ gliding over a car wreck‚ it moves onward into the woods.
EXT. ROAD — DAY
Nearby‚ a stretch of road curves along the base of a mountain. A gold 1973 Oldsmobile Delta 88 comes into view.
INT. DELTA 88 — DAY
Inside're five students from Michigan State University. They're couples SCOTT and SHELLY‚ ASH and LINDA, and CHERYL‚ Ash's sister. Scott's a handsome young man, with dark blond hair, blue eyes, and a Han Solo-type demeanour. Shelly's a curvy brunette with full, sultry lips. Ash has jet black hair, warm brown eyes, and a strong angular chin. Linda's an attractive blonde, with a sweet, cherubic face. Cheryl's a slender girl, pretty, demure, with dyed red hair. Scott's driving with Shelly seated next to him. Ash‚ Linda, and Cheryl're in back. They listen to Shelly, who's singing Bruce Reynolds' "Word Back Here".
EVIL FORCE'S P.O.V. — WOODS
The force continues through the trees, over the brown leaves blanketing the ground.
INT. DELTA 88 — DAY
Scott's singing now, too.
EVIL FORCE'S P.O.V. — WOODS
The force's moving faster.
EXT. ROAD — DAY
The Delta 88 rounds a corner. The rumble of an engine can be heard. It's a large, red logging truck headed their direction.
INT. DELTA 88 — DAY
SCOTT
Hey, uh, Ash, where are we?
ASH
(tracing route on map with finger) Well, we just crossed the Tennessee border…
EVIL FORCE'S P.O.V. — WOODS
The force's getting closer.
INT. DELTA 88 — DAY
ASH
(cont'd) Which would put us…
SCOTT
(chuckling) Yeah?
EXT. ROAD — DAY
The truck's getting closer.
INT. DELTA 88 — DAY
ASH
(cont'd) Which would put us…
EVIL FORCE'S P.O.V. — WOODS
A low-hanging tree lies directly in the force's path. It passes under a curved bough.
INT. DELTA 88 — DAY
ASH
(cont'd) Right…
EVIL FORCE'S P.O.V. — DELTA 88
The dark, brooding force stops atop a forest ridge, peering downward. It focuses on the Oldsmobile moving along the narrow road below.
INT. DELTA 88 — DAY
ASH
(cont'd) Here!
Suddenly, the wheel jerks from Scott's hand.
EXT. ROAD — DAY
The car screeches out of control into the opposite lane. The oncoming truck races toward the car on a collision course, horn blaring.
INT. DELTA 88 — DAY
ASH
Turn!
Their steering wheel's locked.
EXT. ROAD — DAY
At the last possible instant, Scott regains control of the wheel. As Shelly screams, the car swerves back into its own lane, the truck speeding harmlessly past them.
INT. DELTA 88 — DAY
ASH
(irate) What the hell was that? Are you tryin' to kill us?
SCOTT
Hey, don't blame me, it's your steering wheel. Damn thing jerked right outta my hand!
ASH
I can't understand it. I had this thing in for a tune-up yesterday and they said they'd go over everything!
SCOTT
Yeah, well, you better take it back 'cause the damn thing don't work. The only thing that does work is this lousy horn. (honking horn)
EXT. ROAD — DAY
Two local fishermen standing by the side of the road respond to the horn by waving. Scott leans out the window at them.
SCOTT
(yelling) Ah, go to hell, I'm not honkin' at you!
The men're still waving in the distance. Scott turns back to drive.
SCOTT
Jesus Christ.
INT. DELTA 88 — DAY
Shelly turns around in the front seat, holding up a jar of moonshine.
SHELLY
Here's to Scotty, who almost killed us.
SCOTT
Aw‚ eat shit and die, will ya?
The others laugh.
SHELLY
Okay‚ okay, alright — here's to a wild weekend in a wonderful cabin with good friends (glancing at Scott) provided we live that long.
Shelly coolly drinks from the jar then passes it back to Ash.
ASH
(askance) It smells like varnish.
Ash pours Linda a drink in the lid and keeps the jar.
ASH
Careful there. Don't let any of it get on your clothes.
They drink. Linda reacts harshly to the strong liquor. Ash tries to hide his reaction with marginal success.
ASH
(rough) Smooth. (passing jar to Cheryl) Here, Cheryl.
CHERYL
(raising hand) Nuh-uh-uh.
Ash passes the jar back up front to Scott.
LINDA
Hey, Scotty, what's this place like anyway?
SCOTT
Well, it's an old place, little run down, but it's right up in the mountains.
CHERYL
Are you sure it's deserted?
SCOTT
Oh, yeah. (beat) I think so.
Ash glances at the map again.
ASH
(pointing) Hey, I think this is where we get off.
EXT. BRIDGE — DAY
The car turns off the main road and follows a backroad to a dilapidated wooden bridge extending over a great chasm. There's a sign; it reads:
DANGEROUS BRIDGE
TRAVEL AT OWN RISK
3 TONS
LOAD LIMIT
The Oldsmobile ambles across the rickety old structure.
CHERYL
(worried; O.S.) This is the bridge we're gonna cross?
Rotted wooden beams break off beneath, falling into the river far below.
SCOTT
(O.S.) Jesus Christ! The whole thing's falling apart on us!
ASH
(O.S.) Don't let the noise fool you, girls. This thing is solid as a rock.
As he says that, the left rear tire plunges through rotted planks. Ash opens his door and looks down as more wood falls into the water below. Startled, he quickly closes his door. Scott laughs at Ash as the Delta 88 pulls off of the shaky bridge.
EXT. DRIVEWAY TO CABIN — DAY
The car follows a narrow dirt lane that winds upward into the mountains.
EXT. CABIN — DAY
It's late afternoon when they finally arrive at their destination. Behind the small wooden cabin're the workshed and woodshed. The property's surrounded by thick woods. Scotty shuts off the car. The group emerges. A banging can be heard. The sound's coming from the porch swing; it's banging against the cabin exterior. Scott moves to the front door of the cabin. He looks back briefly at the others, then reaches the door frame, where he finds a small ring of keys concealed on the shelf above the door. The swing stops.
SCOTT
It's supposed to be one of these on here.
After trying a few keys, he's able to unlock the door.
INT. CABIN/LIVING ROOM — DAY
The interior of the cabin's dark. Scott opens the door and stands silhouetted in the doorway for a moment‚ then enters. The dim illumination from outside reveals white-panelled walls and a cedar floor. There're two closed doors which lead to the bedroom, kitchen/dining room, and bathroom areas of the cabin. The living room contains a stone fireplace set into the wall, a mounted deer head over the mantle, a rocking chair by the hearth. There's a desk, piano, and sofa, and hanging in one corner, partially hidden in the shadows, an antique wall pendulum clock. Located beneath the clock's a trapdoor leading to the cellar. This catches Scott's eye. Unlocking a chain securing the trapdoor with one of his keys, he tries to open the hatch but can't. It's been nailed shut.
EXT. CABIN — DAY
Ash and the girls're unloading the Oldsmobile.
INT. WORKSHED — DAY
Scott enters the small workshed. Greeted by a mounted cow skull, he finds a work bench and an assortment of tools upon the wall. After a short investigation, he leaves.
EXT. CABIN — TWILIGHT
With the generator up and running, the cabin windows glow orange in the deepening darkness.
INT. CABIN/LIVING ROOM — TWILIGHT
Cheryl sits alone in the living room near a window. She's drawing a sketch of the old clock. As she works‚ the ticking stops unexpectedly. Cheryl frowns at the clock. Its hands frozen in position, it starts chiming. A gust of wind comes through her open window.
EVIL FORCE
(faintly) Join us … join us….
Cheryl looks out the window but can see only the porch swing rocking. Something's outside‚ yet remains hidden within the woods. Cheryl glances down at her hand. It turns a pale white and begins trembling uncontrollably. She stares on incredulously as her hand‚ guided by some unseen force, grips the pencil tightly and begins scrawling a shape upon her pad. The wind dies down slowly as her hand completes the drawing, losing the pale cast as it comes back under her control. She lifts the sketchpad to her face. The likeness of a book with some form of face on its cover's been crudely sketched.
A loud banging's heard from the cellar. Cheryl fixes her gaze upon the trapdoor, still nailed shut in the floor. It sounds as if there's something down there trying to get out. Then it subsides, leaving Cheryl shaken.
|
|
|
|
Post by Duragizer on May 15, 2024 15:10:36 GMT -5
INT. CABIN/KITCHEN — NIGHT
A blender screams as it mixes up a drink in the kitchen. Shelly shuts it off and carries it to the dining area.
INT. CABIN/DINING ROOM — NIGHT
She joins the others who're now seated at the dinner table and serves the mixture. Scott sits between Linda and Cheryl.
SCOTT
(whispering) Dead bodies in the cellar … dead bodies in the cellar….
CHERYL
(annoyed) Will you stop it?
SCOTT
(imitating Rod Serling) Cheryl, there's a signpost up ahead, just beyond that ridge. You're about to enter—
LINDA
Scotty‚ leave her alone, will ya?
SCOTT
(facing Linda) Ah, c'mon. I'm just kiddin'. She can take a joke.
He stops talking as he hears/feels the trickling of water. He looks down to see Cheryl finish pouring a cup of water in his lap. The others laugh. Scott's silent for a moment‚ then begins chuckling to himself. He faces Cheryl.
SCOTT
(jokingly) I'm gonna get ya. (chuckling) I'll get ya.
With a napkin, he blots the water from his pants.
SCOTT
Cute.
Ash stands with his drink.
ASH
I'd like very much to make a toast here for all this evening.
The others voice their approval.
ASH
Ah, as a Greek friend of mine once said … uh … he said, "I…"
Ash falters, struggling to recall the words. Scott rolls his eyes.
ASH
(cont'd) No, okay, okay, okay. "Nis-nis … tu-tu-tu … tu-tar-im."
LINDA
Which means?
SCOTT
Party down! Yeah!
The laughter's stifled by a loud creaking of wood heard from the living room. All rise from the table and hurry to investigate.
INT. CABIN/LIVING ROOM — NIGHT
The nails that held down the trapdoor've been ripped out‚ and although still intact‚ the hatch's wide open. The five stand silently around it‚ looking blank as to what could've done this. Cheryl's slightly more nervous than the others.
ASH
What is this?
LINDA
Whatever it is‚ it's still down there.
CHERYL
I don't like cellars. Let's just close it up. It's probably just some animal.
SCOTT
An animal? An animal‽ (laughing) That is the stupidest thing I ever heard of. Jesus Christ.
SHELLY
Well, there's something down there.
Scott locates a flashlight.
LINDA
Well, maybe it is just some animal.
SCOTT
Yeah‚ you're probably right. Probably just some animal. (offering flashlight to Cheryl) Here, Cheryl‚ why don't you go check, make sure.
CHERYL
(pushing flashlight away) Scotty‚ I'm not going down there!
SCOTT
Okay‚ okay, you cowards‚ I'll go.
With flashlight in hand‚ he descends the narrow steps into the cellar's blackness.
SHELLY
Be careful.
SCOTT
Back in a minute.
He disappears below the floor. Shelly‚ Cheryl‚ Linda, and Ash wait above.
ASH
(calling down) Hey, Scotty‚ you find anything?
There's no answer.
ASH
Scotty. (beat) Scotty! (beat) Scott!
SHELLY
He's just kidding around. (beat) Isn't he?
There's silence.
ASH
Scotty! Scott!
No sounds come from the cellar.
ASH
Linda‚ get me a flashlight.
LINDA
That's the only one we brought down.
Ash spots a lantern on the fireplace mantle.
ASH
(pointing) Then get the lantern.
Opening the kerosene valve and lighting the wick‚ Linda brings it over. Ash descends into the basement.
INT. CABIN/CELLAR/MAIN ROOM
Down below‚ Ash scans with his light, revealing old stone walls and wooden beams which support the main floor above.
ASH
Scotty?
Condensation from water pipes above turn the cellar into an echo chamber as drips fall into shallow pools on the dirt floor below. Suddenly, there's a loud crash. In front of Ash stands an old door which leads to another section of the cellar. Cautiously‚ he moves toward it. Breaking into a cold sweat, he twists the knob. The door swings open slowly with a groan.
INT. CABIN/CELLAR/REAR ROOM
Ash steps through the doorway and deeper into the cellar. He runs squarely into a shadowy figure.
SCOTT
Boo!
Ash starts, the wits scared out of him. Scott breaks out in laughter.
ASH
What the hell are you doing down here‚ jerkin' off‽
SCOTT
Hey, c'mere. I wanna show you something.
Scott sweeps his light to another corner and reveals several items atop a small table: a double-barrelled shotgun, a reel-to-reel tape recorder, tapes, an ancient dagger, a box of shotgun shells, a shattered photograph of a smiling young woman, a book, and other paraphernalia.
SCOTT
Look at all this stuff.
They sit at the table. While Ash goes through some papers, Scott takes the shotgun, inspecting it.
SCOTT
I bet this still shoots.
ASH
(absentminded) Probably does.
Scott aims the gun at Ash's face. Ash looks up and jolts, again scared out of his mind by Scott. They both get a good laugh out of Ash's scare. Setting the papers down, Ash picks up the book. It's an ancient skin-bound volume, with the outline of a tortured human face on its cover.
ASH
Oh, God. Look at this.
Ash flips through the pages of the book; there're detailed illustrations, diagrams, and charts, chockful of horrific imagery of corpses and monsters, with lines of hieroglyphic text, all penned in red-brown ink on parchment.
SCOTT
Look at this.
Scott shows Ash the dagger. The tarnished, serrated copper blade has a handle fashioned from real bones, including the skull of a human fetus.
SCOTT
(cont'd) This kinda looks like your old girlfriend.
They both laugh.
SCOTT
C'mon, let's take this stuff upstairs. I'll grab the recorder and you get everything else.
Picking up the tape recorder, Scott leaves. Ash continues to look through the book after he's gone. He flips to the next page; it's a picture of the book itself, its face in an evil grimace, engulfed in flames.
INT. CABIN/LIVING ROOM — NIGHT
The group sits huddled around the fireplace talking about school. Ash's rewinding the tape recorder.
SCOTT
(cont'd) This guy was a real turd, y'know. Everybody hated him — everybody.
SHELLY
Like, like you, kind of, right?
SCOTT
(jokingly) Yeah, just like me. I'm gonna break your face! (beat) He's into also — he's into this western stuff. He makes all of these little models—
Ash turns to the others who're talking.
ASH
Okay, shhh‚ listen to this. This is the tape I found downstairs.
Ash turns the tape recorder on. A distinguished male voice's heard.
RAYMOND
(V.O.) This is Professor Raymond Knowby, Department of Ancient History, Miskatonic University, Log Entry #2.
EXT. CASTLE CA'N DAR — DAY (FLASHBACK)
A raging dust storm clears to reveal Castle Ca'n Dar, situated atop a barren plateau somewhere in Azerbaijan. Once a magnificent fortress of stone, its fallen into ruin after three-thousand years.
RAYMOND
(V.O.; cont'd) It has been a number of years since I began excavating the ruins of Ca'n Dar with my wife, Henrietta, my daughter, Annie, and associate professor Ed Getley.
INT. CASTLE CA'N DAR/TOMB (FLASHBACK)
Four figures appear in the recently unsealed entrance to the chamber. The first holds a lit torch. This' PROFESSOR RAYMOND KNOWBY, an intelligent, gray-haired man in his late fifties. Behind him's a large schoolmarmish woman, his wife, HENRIETTA. She moves to Raymond's side and takes his hand. Immediately behind her's their daughter, ANNIE, twenty-four years old, auburn hair, strong stance and beautiful, the same woman we saw in the photo from the cellar. At Annie's side, a strapping, handsome blond man, ED GETLEY. They exchange excited glances, awestruck. In the darkness of the stone chamber, resting upon a small pedestal covered with cobwebs, are the skin-bound book and ancient dagger.
RAYMOND
(V.O.; cont'd) It was in the rear chamber of the castle that we stumbled upon something remarkable: a volume of ancient Candarian burial practices and funerary incantations, the first of six, the others still lost. It is entitled Nacheron De'manto — roughly translated: Book of the Dead.
INT. CABIN/LIVING ROOM — NIGHT
RAYMOND
(V.O.; cont'd) The book is bound in human flesh and inked in human blood.
Linda, nervous, takes Ash's hand.
INT. CABIN/LIVING ROOM — NIGHT (FLASHBACK)
Raymond sits at his desk, dictating into the tape recorder. The framed photograph of Annie, pristine, sits upon the desktop. Behind him, Henrietta sits knitting in her rocking chair.
RAYMOND
(cont'd) Now my wife and I have retreated to a small cabin in the solitude of these mountains. Here I continued my research undisturbed by the myriad distractions of modern civilization and far from the groves of academe. It was here that I began the translations.
INT. CABIN/LIVING ROOM — NIGHT
RAYMOND
(V.O.; cont'd) This particular volume deals with demons, demon resurrection, and those forces which roam the Katardi, the dark, numb underworld of the forsaken departed.
Thunder booms outside. Scotty and Shelly move closer together.
RAYMOND
(V.O.; cont'd) The first few pages warn that these enduring creatures may lie dormant but are never truly dead. They may be recalled to active life through the recitations presented in this book. It is through recitation of these passages that the demons are given license to possess the living.
Cheryl turns off the machine at this point.
SCOTT
Hey‚ what'd you do that for? It was just gettin' good.
CHERYL
I just don't want to hear it anymore, that's all.
SCOTT
(singing) OOoooOOOooOOOOoooOOo….
ASH
Scott‚ c'mon. Leave her alone, man.
SCOTT
Hey, c'mon, I just want to hear the rest of it. No big deal.
He reaches for the tape recorder, fast-forwards it a bit, then turns the machine back on. The passage continues.
RAYMOND
(V.O.) Katra … a'mistrobeen … asanta … tande'ea manoan…
EXT. CABIN — NIGHT
The cabin's in the distance. In the foreground‚ smoke begins seeping out from underground.
RAYMOND
(V.O.; cont'd) Manseez … o'han on'sopar…
INT. CABIN/LIVING ROOM — NIGHT
RAYMOND
(V.O.; cont'd) Somant'ta rosa … kan-daa…
EXT. CABIN — NIGHT
The earth begins to swell.
INT. CABIN/LIVING ROOM — NIGHT
CHERYL
(tense) Shut it off.
RAYMOND
(V.O.; cont'd) Kan-daa!
EXT. CABIN — NIGHT
The earth rips apart, a blue glow and smoke emanating from the cracks. Something evil's again being unleashed.
INT. CABIN/LIVING ROOM — NIGHT
CHERYL
(louder) Shut it off.
RAYMOND
(V.O.; cont'd) Kan-daa!
A bolt of lightning strikes nearby, the thunder crash deafening. Overwhelmed with fear, Cheryl bolts up, covering her ears.
CHERYL
Shut it OFF!
A window shatters as a branch from a nearby tree comes crashing through, startling everyone. Scott turns the tape recorder off. Crying, Cheryl runs to her room.
SHELLY
(concerned) Cheryl, where you going?
Shelly follows her. Ash turns to Scott.
ASH
I can't believe this. Scott, you knew not to play that! I mean, c'mon, you knew it was upsetting her. You just don't know when you're taking somethin' too far.
SCOTT
Hey, don't give me that! You were playin' it, too. You could'a shut it off. I mean big deal! She's nuts. I mean it's just a joke, c'mon! Jesus Christ. She acts like she's three years old or somethin'.
Scott heads for his bedroom. Ash moves to the broken window, pushing the broken limb back out and closing the outside shutter.
|
|
|
|
Post by Duragizer on May 16, 2024 15:37:39 GMT -5
EXT. CABIN — NIGHT
Outside‚ clouds roll in from the east‚ thunder booming in the distance.
INT. CABIN/LIVING ROOM — NIGHT
Ash's playing waltz music on the old piano. He's a very good pianist. Linda dances behind him, spinning in the semi-darkness of the living room, until finally Ash moves to her, halting her in mid-spin. Out of breath, hair tousled across her eyes, she stares deeply into Ash's, her lips parted in a sensual manner. He returns her stare, lost in her beauty. He pulls her close. She pulls away suddenly.
LINDA
I feel funny about being here. What if the people who own this place come home?
ASH
(shaking head) They're not gonna come back. Even if they do, we'll tell 'em the car broke down or somethin' like that.
LINDA
(cheeky) With your car, they'd believe it.
He looks at Linda lovingly for a long moment.
ASH
Listen, why don't we stay up for a while and listen to the storm?
LINDA
Alright, yeah. Let me check on Cheryl first to make sure she's okay.
Linda goes out into the hall. Ash peeks around the corner, spying on her; she's seen opening Cheryl's door a crack. Reaching inside his shirt, Ash removes a small box, placing it in his hand. As Linda closes Cheryl's door and walks back, Ash hurries to the sofa. Linda finds him sound asleep with the box in his hand. Taking a seat beside him, she reaches for the box; Ash opens his eyes to watch. Linda looks at him; his eyes're closed again. Linda turns her attention back to the box; Ash watches again as she removes it from his hand. Quickly, Linda turns to him, but as expected, Ash's sleeping like a baby. She keeps her eyes on him. Ash opens his eyes, and this time Linda catches him with his eyes wide open.
LINDA
(pointing) Ah!
ASH
(laughing) Ooh! (taking box back) Stealing from the blind, huh? (giving box back) This is for you.
Linda opens the box. A silver magnifying glass necklace's revealed.
LINDA
Ash, how sweet of you. (beat) Would you put it on?
ASH
Oh, sure.
Handing Ash the necklace, Linda turns around for him. He fastens it around her neck.
ASH
I was gonna give it to you before we came down here, but things got so hectic, this is really the first chance we've had to be alone. (gesturing to mirror) Take a look.
Linda moves to a mirror on the wall.
LINDA
Oh, Ash, it's beautiful. (facing Ash) I really love it. I'll never take it off.
They kiss then begin to dance together. Linda spins, laughs, then leaps into Ash's arms.
EVIL FORCE'S P.O.V. — CABIN
Through the outside window‚ Ash and Linda can be seen embracing. This force watching them moves around the house to another window. Scott and Shelly can be seen undressing. The force continues around, arriving at Cheryl's window. Inside‚ she sits in front of a mirror, robe worn over her nightgown, brushing her hair. She sets down her brush and picks up her sketchpad, looking at the sketch drawn earlier.
EVIL FORCE
Join us.
Cheryl moves to the window, looking out to the dark woods. The evil force rounds the corner of the cabin as Cheryl walks through the rooms to the back door. She can be seen stepping out. Wind shaking the tree branches sends dead leaves fluttering about.
EXT. CABIN — NIGHT
CHERYL
(calling to woods) Is anybody out there?
There's no answer. Chilled, Cheryl folds her arms around herself and steps away from the cabin toward the woods' edge.
EXT. WOODS — NIGHT
Cheryl steps several feet into the woods then stops.
CHERYL
I know someone's out there. (beat) I heard you. I heard you in the cellar.
She stands listening. There's only darkness and the sounds of the evening. Then several yards away, a rustling comes from the trees. A branch snaps. A cry deep within the woods can be heard, a soft wail like that of something long since dead dredged up to roam the Earth again.
EVIL FORCE'S P.O.V. — WOODS
The force's now moving through the woods toward Cheryl.
EVIL FORCE'S P.O.V. — WOODS
Cheryl gasps. She's about to turn back toward the cabin when‚ all at once‚ the entire woods comes alive in a flurry of chaotic noise and movement. Snake-like vines wrap around her arms and slither up her legs. She screams, first in terror as the vines ensnare her, then pain as they begin clawing and raking at her, tearing her clothes to ribbons, cutting into her skin. They pull her down, stretching her legs and arms as far as they'll go, holding her naked, lacerated flesh spread-eagle to the ground. Moaning, Cheryl struggles against the vines.
EVIL FORCE'S P.O.V. — CHERYL
Freeing herself, Cheryl runs toward the cabin.
EXT. WOODS — NIGHT
Cheryl stumbles, falls, picks herself up and continues, screaming.
EVIL FORCE'S P.O.V. — CHERYL
The force's still following.
EXT. CABIN — NIGHT
Cheryl emerges from the woods into the clearing. She reaches the front door but it's locked.
CHERYL
(pounding on door) Ashly!
EVIL FORCE'S P.O.V. — CABIN
The evil force now emerges from the woods.
EXT. CABIN — NIGHT
Cheryl frantically struggles with the knob, but it still won't open.
CHERYL
Help!
EVIL FORCE'S P.O.V. — CABIN
The evil force's almost upon her.
EXT. CABIN — NIGHT
The door opens and a hand grabs Cheryl's arm. It's Ash.
EVIL FORCE'S P.O.V. — CABIN
As Cheryl pushes Ash in the door and slams it tightly, the force retreats.
INT. CABIN/LIVING ROOM — NIGHT
Ash puts a trench coat around Cheryl as the others approach.
SCOTT
What the hell happened to you‽
ASH
(concerned) Cheryl, what's the matter with you‽ Did something in the woods do this to you‽
CHERYL
(hysterical) No‚ it was the woods themselves! (hugging Ash tightly; sobbing) They're alive, Ashly. The trees … they're alive….
LINDA
(reaching out to Cheryl) Ash‚ why don't I take her into the bedroom so she can lie down—
CHERYL
(lashing out) I'm not lying down! (facing Ash) I wanna get out of here. I want to leave this place right now! Right now, Ashly.
SCOTT
(irate) Wait a minute‚ I sure as hell am not leaving any place tonight.
SHELLY
Cheryl—
LINDA
Cheryl—
ASH
Look, Cheryl‚ there's nothing out there. Trees do not attack people.
CHERYL
Ashly‚ will you drive me into town or not?
ASH
What, right now‽ (realizing how desperate she is) Look, sure‚ sure I'll take you into town. But just listen to what you're saying!
CHERYL
I don't care how it sounds! I wanna get outta this place right now!
ASH
(resigned) Okay, you can stay somewhere in town tonight, I dunno….
Ash slips into his own coat and helps her to the door.
EXT. CABIN — NIGHT
Ash and Cheryl move to the car. He helps her in then gets in the driver's side. Scott, Shelly, and Linda stand on the porch to see them off.
INT. DELTA 88 — NIGHT
Ash tries starting the car. There's no response.
ASH
C'mon, c'mon, c'mon….
Ash tries again. The car won't turn over. A look of dread comes across Cheryl's face.
CHERYL
I know it's not gonna start. It's not gonna let us leave.
Ash keys the engine and it turns over this time‚ starting up with a roar. Ash‚ worried by Cheryl's condition, glances to her. Confused and upset‚ Cheryl turns away from him and looks out her window, cranking it up.
EXT. CABIN — NIGHT
They drive off into the night. The other three head back inside the cabin.
INT. DELTA 88 — NIGHT
Cheryl's studying the woods intensely for any sign of movement. Ash's concern for his sister's made obvious by the expression on his face.
EXT. BRIDGE — NIGHT
As the Oldsmobile approaches the narrow bridge area, it slows down. Ash brings the car to a halt.
INT. DELTA 88 — NIGHT
CHERYL
Why're you stopping?
Ash's gaze's fixed directly ahead. He flips on the high beams, which stab into the evening mist but don't penetrate it. Opening his door, he turns to Cheryl.
ASH
Wait here a minute.
EXT. BRIDGE — NIGHT
Ash steps out. Cheryl's silent as Ash walks to the ravine's edge.
CHERYL
Do you see something?
Ash disappears into the mist.
CHERYL
Where you going‽
No response.
CHERYL
Ashly?
Exiting the Delta 88, Cheryl follows her brother.
CHERYL
(cont'd) Ashly?
Cheryl walks down the dirt road a little ways. Suddenly, a vine-entangled branch drops down in front of her, frightening her. Cheryl carefully continues down the road. She gets to the end. The bridge over the chasm's been torn away, the twisted remains forming a giant steel hand. Afraid, she turns and runs back for the car. Ash takes hold of Cheryl, trying to calm her.
CHERYL
(hysterical) It's not going to let us go! It's not going to let us go! I told you! I told you! It's not going to let us go! Why won't you listen to me‽ No … no … NO!
|
|
|
|
Post by Duragizer on May 17, 2024 22:41:54 GMT -5
EXT. CABIN — NIGHT
An axe's raised into the air‚ then brought down upon a piece of firewood‚ splitting it in two. Scott's chopping wood outside the cabin. Behind him‚ through a window‚ Cheryl sits with her chin cupped in her hand, watching him. Setting his axe down‚ Scott gathers the wood and moves away.
INT. CABIN/LIVING ROOM — NIGHT
Behind Cheryl, Shelly and Linda're sitting on the floor playing cards. Ash's seated near the fireplace with the tape recorder on his lap, an earphone plugged in so only he can hear it. He turns on the tape recorder.
RAYMOND
(V.O.) It's only been a few hours since I've translated and spoken aloud the first of the demon resurrection passages from the Book of the Dead.
INT. CABIN/CELLAR/MAIN ROOM (FLASHBACK)
Raymond's back's to the stone wall. He's dictating into the tape recorder, sweating and distraught. There's a pounding coming through the trapdoor, sending dust drifting down. He looks up, watching in terror as Henrietta's silhouette paces the floor above him.
RAYMOND
(cont'd) And now I fear that my wife has become host to a Candarian demon.
From the room above, the pounding halts. Raymond switches off the tape recorder.
HENRIETTA
(O.S.) Raymond, build me a fire, won't you, dear? It's that night air, swept in and gave me a chill.
Again there's the pounding.
HENRIETTA
(O.S.; demonic) Raymond! Raymond, build me a fire!
Raymond starts up the tape recorder once again, badly shaken. He picks up the Nacheron De'manto.
RAYMOND
The Book speaks of a chapter that contains a passage to rid us of this evil…
Raymond desperately flips through the book.
RAYMOND
(cont'd) But those pages are missing!
From the room above comes the hideous cackle of the witch that's Henrietta.
INT. CABIN/LIVING ROOM — NIGHT
RAYMOND
(V.O.) I fear that the only way to stop those possessed by the spirits of the Book is through the act of bodily dismemberment. I believe now to avoid this horror, but for myself, I … I have seen the dark shadows moving in the woods and I have no doubt that whatever I have resurrected through this book is sure to come calling … for me. May God forgive me for what I have unleashed unto this Earth.
Shelly‚ still engaged in cards with Linda‚ holds up one in particular: a nine of diamonds. Linda puts her hands to her head in a curved funnel formation as if to direct her thoughts to the card.
LINDA
Okay, ah, let me think. Ummm … it's a seven.
SHELLY
What suit?
LINDA
Ahhh … diamonds. N-n-no, wait! Ummm, hearts!
SHELLY
Oh, my God! Seven of hearts! You're right!
LINDA
(ecstatic) Hey, Ash‚ I guessed the card right.
ASH
(indifferent) Truly amazing, Linda. (turning tape recorder off)
LINDA
I don't know, I don't know, but I think it's really some sort of extra sense or something. Y'know, like ESP?
SHELLY
Okay, try this one.
She removes an eight of hearts from the deck and holds it up.
LINDA
Okay‚ ummm … it's a seven.
SHELLY
I don't believe it!
CHERYL
(looking outside) …of spades. Queen o-of spades.
Shelly looks at her card then to Cheryl. She holds up another card.
CHERYL
(cont'd) Four of hearts.
The card's a four of hearts. Shelly reaches for another card. Ash and Linda listen in stunned silence.
CHERYL
(cont'd) Eight of spades.
Cheryl's correct again.
CHERYL
(cont'd) 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 spins toward the group. Her skin's taken on a pale, bluish tinge, her eyes bone white. The others scatter back in fright. Cheryl's body's hoisted up like a white-eyed marionette, jerking spasmodically, levitating.
CHERYL
(demonic) Why have you disturbed our sleep‚ awakened us from our ancient slumber? You will die! Like the others before you. One by one, we will take you.
Rolling her head, she utters a low groan, then collapses to the floor.
ASH
Oh, my God. Shelly‚ get Scott in here!
Shelly doesn't respond.
ASH
Hurry!
She exits through the front door. She quickly returns with Scott.
SCOTT
(concerned) What happened to her?
Linda moves to Cheryl, crouching over her. Ash joins her.
LINDA
(concerned) Did you see her eyes? Ash, I'm scared. What's wrong with her?
Cheryl appears unconscious. Ash slowly reaches out a hand to inspect Cheryl's eyes, unaware that she's reaching for a pencil on the floor within reach. Clutching the pencil tightly, she opens her eyes. Springing up, she brings the pencil in her hand up, then stabs down‚ into Linda's ankle. Linda screams fiercely. With a blur‚ the bloodied pencil's raised again. Ash grabs Cheryl's wrist, stopping her‚ but with a powerful swipe‚ she sends Linda sprawling across the floor. Cheryl then clutches Ash's face and sends him hurtling across the room into a bookcase which topples over‚ trapping him beneath its weight. Shelly stands petrified as Cheryl advances toward Ash, grinning and growling, bloody pencil in hand. He struggles to pull himself out but can't. Scott intercepts her, grabbing her shoulder.
SCOTT
Cheryl, stop it!
Effortlessly‚ she tosses him off and resumes moving toward Ash. Scott climbs to his feet and grabs the axe. Cheryl's almost upon Ash, raising the pencil, when Scott gives her a sharp jab in the jaw with the wooden handle. Cheryl stumbles, falling backward by the open cellar. She begins to sit up, but Scott kicks her in the face, knocking her headfirst into the cellar. He tries to slam the trapdoor shut, but Cheryl pushes it back open from below. Scott viciously rams the butt of his axe repeatedly into her face. Grabbing his foot, she tries pulling him down into the cellar with her.
CHERYL
Join us!
Getting loose, Scott slams the trapdoor down on her protruding hand, ramming it with the axe handle. Demented screams and moans're heard from below as Cheryl's hand's finally pulled back and Scott manages to secure the chain across the hatch.
INT. BEDROOM #2 — NIGHT
Later that evening‚ Ash checks in on Linda. She's in her bed‚ sleeping. Ash covers her with a blanket‚ kisses her‚ then walks out‚ closing the door quietly behind him.
CHERYL'S P.O.V. — LIVING ROOM
From the cellar‚ horrible, inhuman moaning‚ sobbing, laughter, and rasping emerge from Cheryl. Scott and Shelly sit near the fire, listening to the strange noises from below, when Ash joins them.
SCOTT
(standing) Ash‚ I think we ought to get outta here.
ASH
(quietly) Yeah. (beat) We still have a few hours before morning.
SHELLY
(anxious) I don't know if I can wait that long.
SCOTT
You have to. We all have to! And then in the morning‚ we'll try to find a way to get around that chasm.
SHELLY
(standing) Why does she keep making those horrible noises‽
ASH
(frustrated) I don't know!
SHELLY
And what about her eyes?
Ash and Scott're quiet.
SHELLY
(cont'd) What about her eyes? (kneeling) For God's sake, what happened to her eyes‽
INT. CABIN/CELLAR/MAIN ROOM
Cheryl sits back on the cellar steps. A streak of light falls across her eyes from the gap in the trapdoor; her face's gone chalk white and leprous. She begins laughing maniacally, drool running down her chin.
|
|
|
|
Post by Duragizer on May 19, 2024 21:44:11 GMT -5
EVIL FORCE'S P.O.V. — WOODS The unseen force moves through the wooded area. INT. CABIN/LIVING ROOM — NIGHT Ash seated on the sofa, Scott and Shelly kneel together by the fireplace. He places a reassuring hand on her knee. SCOTT
Everything's gonna be alright. EVIL FORCE'S P.O.V. — CABIN The cabin comes into view. The evil force advances. INT. CABIN/LIVING ROOM — NIGHT As Scott feeds wood into the fire, Shelly rises and moves over to a window. EVIL FORCE'S P.O.V. — CABIN The evil force glides up to the cabin window. Shelly can be seen looking out. INT. CABIN/LIVING ROOM — NIGHT Inside‚ Shelly's studying the woods. SHELLY
Scotty‚ I-I think there's something out there. Scott joins her at the window and looks out. EVIL FORCE'S P.O.V. — SCOTT & SHELLY Right outside the window, this force watches the couple peer out. They can see nothing. INT. CABIN/LIVING ROOM — NIGHT Placing a reassuring arm around Shelly, he moves them away from the window. SCOTT
Go to bed and get some sleep, okay? EVIL FORCE'S P.O.V. — SHELLY The evil force watches Shelly head to her bedroom. As she parts the curtains to look out her bedroom window, its rushes at tremendous speed toward her. Sensing it, Shelly backs away, but it's too late. As the pane shatters, she releases a bloodcurdling scream. INT. CABIN/LIVING ROOM — NIGHT Hearing the scream from the bedroom, Scott and Ash look up. Scott approaches the bedroom door, exchanging glances with Ash, who remains seated, afraid. INT. CABIN/BEDROOM #1 — NIGHT Scott enters their bedroom. Shelly's vanished. He leans out the broken window, searching the darkness of the night, but sees nothing amidst the shadows. A noise's heard from the closet. Cautiously, he opens it; no Shelly inside. INT. CABIN/HALLWAY — NIGHT Opening the door out to the hallway, Scott passes the empty kitchen/dining area for the rear of the cabin. He notices the door to the bathroom's ajar. SCOTT
(frowning) Shelly? INT. CABIN/BATHROOM — NIGHT Scott steps into the bathroom. Seeing that the shower curtain's drawn, he cautiously moves up to it. He pulls the curtain back, revealing an empty tub. He turns to head out. Shelly's standing in the doorway‚ possessed. Latching onto his throat with one hand, she claws at his face with the other, drawing rivulets of blood. INT. CABIN/LIVING ROOM — NIGHT Screaming‚ Scott stumbles through the hallway door with Shelly still clinging to him, scratching and biting at his throat. They stagger into the centre of the room, where Scott manages to knock Shelly off him into the fireplace. She screams in agony as her head burns upon the hot coals. Scott rushes to her‚ grabbing her legs and pulling her out. Shelly's face on one side's been seared and blackened, the hair burnt to ash. She opens her bone white eyes‚ turning her charred head to Scott. SHELLY
Thank you. I don't know what I would have done if I had remained on those hot coals, burning my pretty flesh. You have pretty skin — give it to us! Cackling‚ Shelly clutches Scott's neck and begins throttling him. He tries breaking her hold but can't. Cheryl begins pushing violently against the trapdoor. Ash tries to help Scott, but with a backhand blow‚ Shelly knocks him into a cabinet‚ smashing it to bits. Bending him back, Shelly pushes Scott's head toward the fire. SHELLY
Join us! Join us! Scott pushes back, away from the flames. A garbled cry escapes his frothing mouth. SHELLY
(cont'd) Join us! Shelly reaches down‚ picks up the Candarian dagger‚ and holding Scott by the throat with one hand‚ raises the dagger with the other. As she brings it down, he grabs her wrist, holding it back. Although choking‚ he reaches behind him with his free hand for the hunting knife sheathed to his belt. Getting it free, he slices deep into Shelly's raised wrist‚ almost severing it. She emits an ear-splitting howl and tightens her grip on Scott's throat, forcing him to drop the hunting knife. Ash, slightly injured, crawls to his feet, grabbing the axe. He rears it back, but freezes as Shelly raises her dangling hand to her mouth and begins gnawing at the wound. Disgusted, Ash and Scott watch as she bites through, casting the useless appendage to the floor with the dagger still firmly in its grasp. Scott grabs the dagger and swings it around, ramming the blade into her spine. Shelly screeches, reaching around with her remaining hand to clutch at the severed hand and dagger protruding from her back. Ash stands in horror‚ clutching the axe‚ unable to move. Blood oozes from the dagger's skull pommel as she bends backward screaming. She writhes about spasmodically upon the floor. Gradually‚ the movements cease and she lies still. As Scott walks past her‚ Shelly springs back to life, grabbing at his leg. Shelly hoists herself up, jerking about to her feet, laughing madly. Scott backs toward Ash, who stands with the axe. SCOTT
Hit her! Hit her! Ash's paralyzed. SCOTT
(cont'd) Hit it! Gurgling, Shelly advances toward them. Scott grabs the axe from Ash and hacks into her, bringing her down. Shelly screams. Then‚ after the final chop‚ there's silence. Scott drops the axe. He and Ash stand there in a daze as Shelly's remains lie twitching on the floor, still possessing a blasphemous facsimile of life. ASH
Scott.
SCOTT
Yeah?
ASH
(shaky) What is — what are we gonna do?
SCOTT
We're gonna bury her.
ASH
We can't bury Shelly. She's a — she's a friend of ours.
SCOTT
Ash, she's dead! (beat) Shelly's dead. (beat) We gotta bury her now. EXT. CABIN — NIGHT Scott and Ash carry Shelly's remains out of the cabin in a bloody sheet, to a spot near the workshed. As the two boys dig their deceased friend a grave, the harsh floodlights from the house make the task look very stark and barren. Once she's covered up, Scott jams a crude wooden cross into the earth at the head of her grave. A bolt of lightning flashes. EVIL FORCE'S P.O.V. — CABIN The evil force's outside the cabin, wandering around. INT. CABIN/LIVING ROOM — NIGHT Scott's standing at a window, looking out. Ash joins him. ASH
Linda's still sleeping. I think once her leg—
SCOTT
I'm gettin' out of here.
ASH
Scott, we can't take Linda anywhere with her leg like that. We don't even know if there is any other way back besides the bridge.
SCOTT
Well, maybe there's a hiking trail, or an old road or some other way around the cliff. I mean there's gotta be another way besides the bridge.
ASH
Listen to me. Linda cannot walk with her leg like that. She can't even stand up!
SCOTT
Well, then we'll leave her here. Until we can send somebody back.
ASH
What‽ Are you crazy‽
SCOTT
(angry) Look, I'm gettin' out! I don't care what happens to her. She's your girlfriend, you take care of her. I'm gettin' the hell outta here, right now. EXT. CABIN — NIGHT Scott leaves the cabin. Wearing his coat and a small backpack, he takes out his flashlight and moves off into the night. He lingers for a moment by Shelly's grave‚ then slowly disappears into the woods. |
|
|
|
Post by Duragizer on May 20, 2024 16:00:50 GMT -5
INT. CABIN/LIVING ROOM — NIGHT Ash turns away from the window. He sees Cheryl's eyes through the space between the trapdoor and floor. Ash walks past her to Linda's room. INT. CABIN/BEDROOM #2 — NIGHT Ash opens the door and a sliver of light falls across Linda. She wakes up. LINDA
(sleepily) Who's there? Ash?
ASH
It's me, Linda.
LINDA
Ash‚ I had a bad dream about Cheryl.
ASH
You did, baby?
LINDA
Yeah. She's alright, isn't she?
ASH
Yeah. Fine.
LINDA
Is Shelly okay, too, Ash? Ash can no longer hide his fear and anxiety. He speaks in a whisper so as not to let his voice quiver. ASH
Yeah‚ sure. She's sleeping, that's all.
LINDA
Ash‚ I love you. (closing eyes)
ASH
Get some rest. INT. CABIN/LIVING ROOM — NIGHT Ash moves into the living room, closing the door behind him. He stops dead in his tracks when Cheryl speaks to him from the cellar. POSSESSED 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! (laughing) Ash picks up the axe and slams it down upon the trapdoor. Cheryl's silent from below for a moment‚ then the hatch opens an inch or so. Cheryl's white eyes can be seen again, and she resumes laughing. Ash takes the axe and steps outside. EXT. CABIN — NIGHT He begins chopping wood‚ taking his frustrations out with each blow. Shelly's blood can still be seen on the axe's blade. EXT. WOODS — NIGHT Scott winds his way through the woods, desperately seeking a path through the dense underbrush by the beam of his flashlight. Unable to avoid the choking branches and brambles, bleeding scratches mark his face and hands. SCOTT
There's gotta be a way out of this pit. Logging road, hiker's path, something…. Before long, the woods ahead thin out, revealing a hiking trail winding through. Walking further along the trail, back turned to him, is ANOTHER PERSON. SCOTT
Whoa. I don't believe this. (calling out) Hey, pal! Wait up! Scott jogs to catch up with this lone traveller. SCOTT
Me and my friends, we … we ran into some … uhh … trouble back in the woods. The bridge is out. Some people were hurt! The figure continues along at his leisurely pace, not acknowledging Scott's presence. SCOTT
Look, I'll toss in a ten and some brew if you can walk me down to the main road. Catching up, Scott reaches out to him. SCOTT
My friends call me Scotty— Scott freezes in terror as his doppelgänger turns to face him. EVIL SCOTT
Funny. So do mine. Snagging Scott's outstretched wrist, Evil Scott snaps it; broken bone erupts through the flesh. SCOTT
GYAAAHH!!! The vines and branches attack Scott in full force, winding their way up his legs, seizing his shoulders. Evil Scott grabs Scott by the hair. EVIL SCOTT
What do you think, will the girls still love us with half our face gone?
SCOTT
(terrified) Oh, God! NO! EXT. CABIN — NIGHT Exhausted‚ Ash puts down the axe. He looks off into the woods; there's no sign of Scott or anyone. POSSESSED CHERYL'S P.O.V. — ASH From her dungeon, Cheryl watches Ash as he returns, resuming her taunting. POSSESSED CHERYL
Soon all of you will be like me, and then who will lock you up in the cellar‽ (laughing) Ash walks by her toward Linda's room. |
|
