EVIL DEAD II
BY
Sam Raimi
Scott Spiegel
SEVENTH DRAFT - May 5, 1986
FADE IN:
DE LAURENTIIS ENTERTAINMENT GROUP LOGO
FADE OUT.
FADE IN:
RENAISSANCE PICTURES LOGO
FADE OUT.
00 BLACKNESS 00
A sound is building. Like a living wind. A
thousand screams in agony.
From the blackness, gusts of smoke pull together
quickly, forming the Main Title against black:
"e;EVIL DEAD"e;
Then beneath it, the Roman Numeral "e;II."e;
A SLOW ZOOM brings it toward us. And as the screams
reach their sharp crescendo the title zooms through us.
FADE IN:
1 ANGLE - STOP MOTION ANIMATION 1
Whisping smoke against a black background. EERIE
MUSIC. In the distance, through the smoke, a
small object. It fans toward us quickly, filling the
frame. It is an ancient skin covered volume, with
the outline of a human face on it's cover. This is
the Book of the Dead.
NARRATOR
Legend has it, that it was written by
the dark ones: NECRONOMICON EX MORTES;
Roughly translated...The Book of the Dead.
The face on the cover of the book pulls away from its
skin binding and leans toward the camera. EYES
on the book blink open and peer at us. It's mouth
opens and emits a hideous scream. The CAMERA races
into the blackness of the screaming mouth.
DISSOLVE THRU TO:
1P PLATE FOR PREVIOUS SCENE - SMOKE 1P
2 A SPINNING VORTEX - (3 PAINTINGS ON AN ANIMATION 2
STAND) - 12 SEC. PLATE
Spiraling downward.
NARRATOR
To trace the origin of the Book, we
must go back...back...to a day when
spirits ruled the earth.
Wispy shapes of animated ghosts move through this
vortex, coming toward the CAMERA with WAILING and
MOANING and then are gone.
NARRATOR
When the seas ran red with blood.
DISSOLVE THRU TO:
2P PLATE FOR PREVIOUS SCENE - ROD PUPPET GHOSTS 2P
3 STOCK FOOTAGE - (OPTICALLY COLOR SEPARATED) 3
A raging ocean of blood. Great waves rise and swell
as if before a storm.
NARRATOR (V.O.)
It was this blood that was used to ink
the book.
DISSOLVE THRU TO:
4 AN OPEN COPY OF THE BOOK OF THE DEAD - ANIMATION 4
STAND - BLUE SCREEN IN BG
Through animation, the blank pages of the Book are
scripted in a strange hieroglyphic by an invisible hand.
Faster and faster the pages turn on the Book as the
blood red ink is scrawled across them. The pages flip
furiously until the Book snaps shut, reveal ing its
gruesome face on the cover.
The book flaps violently away from camera.
NARRATOR (V.O.)
The Book of the Dead was last seen
in 1300 A.D.
DISSOLVE THRU TO:
4A OMIT 4A
4AP OMIT 4AP
4B OMIT 4B
4C OMIT 4C
4D OMIT 4D
4P STOCK FOOTAGE - THE RIFT 4P
5 EXT. KANDAR CASTLE - DUSK - 4 WARRIORS - 4 HORSES 5
CAMERA panning down to reveal a magnificent newly built
castle of stone. Bright banners fly from its turrets.
An ox grazes nearby. 4 Warriors on horseback in the BG.
NARRATOR (V.O.)
It was then that the dark spirits
again rose up to battle the living.
The ground in front of the castle begins to split apart.
A red glow and smoke pour from the growing crevice.
Something evil is being unleashed. A strong wind kicks
up blowing sand in a furious rage.
5A EXT. KANDAR CASTLE - DUSK 5A
TRACKING SHOT - ASH
Through the blowing silt, a lone figure appears. An
image of power and light. His clothing is ragged,
and he holds what appears to be a jagged toothed
longsword. Two massive columns of stone stand on
either side. CAMERA slowly moves closer, but his face
is still hidden by the darkness and blowing sands.
NARRATOR (V.O.)
It is said that a hero came from the
sky. A man who defeated this evi and
buried the Book in the Castle of Kandar.
And there it lay for 700 years...
DISSOLVE THRU TO:
6 EXT. CASTLE OF KAN DAR - DAY - RUINS 6
As the raging dust storm clears to reveal the same
castle which we saw earlier, but now, in a ruined state.
It has aged 700 years. The ox is gone. Now only its
petrified skeletal remains stand in a weathered heap.
NARRATOR (V.O.)
...Waiting.
A four wheel drive vehicle roars PAST THE CAMERA and
toward the castle.
7 INT. CASTLE OF KAN DAR - DAY - (STUDIO) 7
TRACKING SHOT
The CAMERA slowly tracks in toward the Book of the
Dead as it sits in the darkness of the stone tomb.
Next to it rests the KANDARIAN DAGGER, an ancient
knife, its handle fashioned from the skull of a
weasel. They rest upon a small pedestal covered
with cobwebs. Prominently displayed on the stone wall,
a bas relief of the "e;Hero from the Sky"e; holding his
unusual jagged edged weapon.
NARRATOR (V.O.)
And then...
The grinding of rock scraping against rock is heard,
and a large stone is swung open on a secret hinge in
the wall behind the book. Wind sweeps in through the
tomb, along with the blinding light from outside. A
sharply silhouetted figure steps in the newly created
doorway. The figure lights a torch that he holds,
illuminating his face. This is PROFESSOR RAYMOND
KNOWBY. An intelligent, grey bearded man in his late
fifties. He lowers the cloth around his face that had
been protecting him from the sand. He stares at the
Book, awestruck.
Behind him, two other figures appear in the entrance of
the tomb. The first is a large school-marmish woman,
the wife of Raymond Knowby, HENRIETTA. She moves to
Raymond's side and takes his hand. Immediately behind
her is their daughter, ANNIE KNOWBY; twenty-four years
old, strong stance and beautiful. Behind her a
handsome looking man, ED GETLY, enters the tomb. He
moves to Annie's side. They exchange excited glances.
The CAMERA PANS down to the Book.
DISSOLVE THRU TO:
8 INT. STUDIO - BLACK 8
MED. SHOT - FOG
Billowing past the camera in front of a black drape.
DISSOLVE THRU TO:
9 EXT. CABIN - NIGHT 9
LONG SHOT
An old log cabin, built in the valley of a dark forest.
A great wind billows fog about the place.
NARRATOR (V.O.)
Professor Raymond Knowby and his wife,
HENRIETTA, brought the book to a small
cabin where they could study it
undisturbed.
10 INT. CABIN MAIN ROOM - NIGHT 10
Professor Raymond Knowby sits at a writing desk and
transcribes passages from the Book of the Dead. A
small framed photograph of his daughter Annie sits
upon the table. Behind him, HENRIETTA sits knitting in
a rocking chair.
11 CLOSE SHOT - RAYMOND 11
He speaks the phonetic pronunciation of completed
sentences into the microphone of a tape recorder.
RAYMOND
Kanda...Es-trata...Ta-toon...Hazan
sobar...Ear-Grets, Gat, ...Nos-feratos
...Amantos...Kanda!
The sound of RAYMOND reciting the passages is faded
down AS THE CAMERA SLOWLY TRACKS away from RAYMOND and
over to HENRIETTA as she rocks back into the darkness
and forward into the light. As she rocks forward into
the light, she comes into FULL CLOSEUP revealing that her
eyes have changed to a milky white. She continues to
knit.
DISSOLVE THRU TO:
12 INT. STUDIO - BLACK 12
MED. SHOT - FOG
Blowing past the camera in front of black drape.
DISSOLVE THRU TO:
13 INT. CABIN CELLAR - NIGHT (STUDIO) 13
A dank fruit cellar with shelves of half-rotten
preserves. Raymond has his back to the stone wall.
He is dictating into the tape recorder, sweating and
distraught.
RAYMOND
It has only been a few hours since
I've translated and spoke aloud the first
of the demon resurrection passages from
the Book of the Dead.
The sound of heavy footsteps. Dust drifts down INTO
FRAME. Raymond looks up to the ceiling of the cellar.
It is also the floor to the main room of the cabin.
He watches in horror as Henrietta's silhouette paces the
floor above him. And then, the footsteps halt.
RAYMOND
And now, I fear that my wife has become
host to a Kandarian demon. May God forgive
me for what I have unleashed onto this
earth.
13Y REVERSE ACTION 13Y
The milky eyed possessed figure of HENRIETTA jolts quickly
into the frame, and shrieks in the voice of a demon!
Raymond Knowby screams. He drops the microphone.
13X CLOSE SHOT - TAPE RECORDER 13X
As the microphone falls atop it. High pitched feed-
back screams from the speaker.
13A CLOSE SHOT - RAYMOND 13A
Screaming in terror.
13B CLOSER - RAYMOND 13B
His fearful eyes fill the screen as the scream continues.
13C EXTREME C.U. RAYMOND'S EYE 13C
Darting about wildly and the scream continues.
DISSOLVE THRU TO:
14 INT. DARK TUNNEL - DAY 14
ROUNDY-ROUNDY - CAMERA MOUNTED ATOP VAN
CAMERA MOVING swiftly down a dark tunnel. A light
at the end growing closer. The SOUND of AIR RUSHING
BY. The Delta 88 Oldsmobile comes ROARING out of
the tunnel with a BLAST of AIR, and the sound of
loud rock and roll music.
NARRATOR (V.O.)
It was one week later that a group
of college students came to the cabin.
14A EXT. CABIN - NIGHT - TRACKING SHOT 14A
The Delta 88 Oldsmobile parked out front. Fog roars
past the place. We faintly hear waltz music from
within. The silhouette of a woman sweeps by the rear
bedroom window.
14B INT. CABIN - REAR BEDROOM - NIGHT 14B
ASH AND LINDA
LINDA, an attractive college student, is waltzing in
the semi darkness of the bedroom. She wears a "e;Michigan
State University"e; sweatshirt. She hums melodically to
the music as she moves. Around her neck is draped a
delicate silver necklace.
14C MEDIUM SHOT - ASH AND LINDA 14C
A handsome young man, ASH, is playing the waltz music
on an old wooden piano. Linda dances behind him. Ash
is not a very good pianist, and can only plunk out the
melody with two fingers.
LINDA
Ash, what's that you're playing?
ASH
Our song.
Ash begins to play faster.
14D MEDIUM SHOT - ASH AND LINDA 14D
As she picks up the tempo, spinning and laughing,
until finally Ash moves to her, halting her in mid
spin.
14E CLOSE SHOT - LINDA 14E
Out of breath, hair tousled across her eyes, she
stares deeply into Ash's eyes. Her lips, parted,
in a sensual manner.
14F CLOSE SHOT - ASH 14F
He returns her stare, lost in her beauty. He pulls
her close.
LINDA
Ow!
14G SHE PULLS AWAY SUDDENLY 14G
And looks down to the tiny silver necklace that she
wears about her neck.
14H CLOSE SHOT - NECKLACE 14H
In its center is a magnifying glass.
14I MEDIUM SHOT - LINDA AND ASH - TULIP CRANE 14I
She looks from the necklace to Ash.
LINDA
I really love it. I'll never take
it off.
They kiss and now begin to dance together, to the
haunting waltz melody that sweeps up upon the soundtrack.
DISSOLVE THRU TO:
NARRATOR (V.O.)
It was in the cabin's cellar that they
found the Professor's tape recorder,
and the Book of the Dead.
14J INT. CABIN MAIN ROOM - NIGHT 14J
CAMERA tracks in toward the trap door. It opens by
itself as we move down the steps into the blackness.
15 MEDIUM SHOT - INT. CABIN CELLAR - NIGHT 15
The CAMERA pans down from the blackness to Ash who
finds a shotgun, Raymond Knowby's tape recorder,
tapes, the Kandarian dagger and...
16 CLOSE SHOT 16
...the shattered photograph of Annie Knowby and the
Book of the Dead.
17 LONG SHOT - INT. CABIN MAIN ROOM 17
The group of students sit about the fire as they listen
to the tape recorder. Coming from the speaker is the voice
of Raymond Knowby reciting the demon resurrection passage.
PROFESSOR KNOWBY
(on tape)
Kan Da, Es-trata ta-toon hazan sobar
...Ear-Grets, Gat...
18 MEDIUM SHOT 18
Linda takes Ash's hand. She's frightened. Ash smiles
to comfort her. She nervously fingers the silver locket
she wears about her neck.
19 CLOSE SHOT - TAPE RECORDER 19
PROFESSOR KNOWBY
(on tape)
...Nos-Feratos...Amantos...Kanda!
20 EXT. CABIN - NIGHT 20
The cabin is in the distance. In the foreground the
earth begins to swell, then rips apart as a red glow
emanates from beneath. Something evil is being
unleashed.
NARRATOR (V.O.)
One by one, they fell to the possession
of the dark spirits.
21 OMIT 21
22 EXT. HILLSIDE - GRAVEYARD - NIGHT 22
CLOSE SHOT - LINDA
Her eyes pop open. They are bone white. She has fallen
to the possession.
22A EXT. HILLSIDE - GRAVEYARD - NIGHT 22A
ASH AND LINDA
Possessed Linda is coming after Ash. Ash back peddles,
stumbles and falls.
22B ANGLE - ASH ON GROUND 22B
As the Shadow of approaching Linda envelops Ash,
he picks up a shovel from the ground.
22C LINDA LEAPS OVER THE CAMERA, TOWARD HIM. 22C
22D LINDA DUMMY 22D
Ash swings the shovel, slicing off Linda's head.
22D1 LINDA'S DUMMY HEAD - ON WIRE 22D1
22E ANGLE 22E
Linda's head rolls down the hillside and disappears into
the darkness.
22F EXT. HILLSIDE GRAVEYARD - NIGHT 22F
ASH AND LINDA
Ash buries Linda's headless body. He jams a crude
wooden burial cross into the earth of the grave. A bolt
of lightning strikes.
22G HILLSIDE - GRAVEYARD/CABIN - NIGHT - LONG SHOT - ASH 22G
As he runs from the grave site and toward the cabin.
23 OMIT 23
24 OMIT 24
25 OMIT 25
26 INT. CABIN - MAIN ROOM - NIGHT - CLOSE SHOT - ASH 26
NARRATOR (V.O)
One man, Ash, destroyed the Book.
Ash enters the cabin. He sees The Book of the Dead
and tosses it onto the flames.
27 CLOSE SHOT - MELTDOWN - MAIN ROOM (STUDIO) 27
STOP MOTION ANIMATION
A possessed demon begins to wither and melt. Flesh
shrinks away from its skull and dissolves to nothing.
NARRATOR (V.O.)
But the evil that had been resurrected
from it, lives on.
28 CLOSE SHOT - BOOK IN FIREPLACE 28
STOP MOTION ANIMATION
The Book of the Dead is burned to cinders. The face
upon the Book screams as it burns.
29 OMIT 29
29A INT. CABIN MAIN ROOM - NIGHT - HIGH SHOT 29A
Ash picks himself up from the floor.
29B INT. CABIN MAIN ROOM 29B
Ash stands and clutches the necklace of Linda, in
sorrow for his loss of her.
29C EXT. CABIN - DAWN - LONG SHOT 29C
Ash staggers from the cabin.
FADE OUT.
30 OMIT 30
31 EXT. CABIN - DAWN - RECREATION OF THE 31
FINAL SHOT OF EVIL DEAD I
We are racing forward. We have taken the POV of
an EVIL ENTITY as it glides with dark purpose through
a section of woods. It approaches the rear door of the
cabin. The door is torn violently open. The next door
falls away from us. We approach the front door. SLAM! It
jigsaws in two and we are again outside, now in front of
the cabin. Ash is seen in the distance. He is staggering
away, his back to us as we race at him. He turns suddenly
towards CAMERA and screams.
32 EXT. WOODS - DAWN 32
INTERVOLOMETER STOP MOTION/CRANE - SAM-O-CAM
The final shot of Evil Dead I has a new ending; an
extension. Ash is caught by an invisible grip.
"e;G"e; force is distorting Ash's face as he is rocketed
backwards. He is swept hand over foot through the
air. He reaches the edge of the woods and begins
tearing through the branches and smaller trees,
clearing a path with his body. He finally slams into
a large ungiving tree trunk and he is knocked
unconscious.
33 WIDE SHOT - LOOKING UPWARD - ASH - DUMMY - DAWN 33
As he falls from the tree branch and plummets towards
the earth.
34 ASH'S POV - (CRANING DOWNWARD) - UNDERCRANKED - DAWN 34
A puddle of mud below, which rushes up upon us quickly.
35 MED. SHOT - MUD PUDDLE - ASH 35
As his head splashes down into the muddy water.
36 CLOSE SHOT - ASH - DAWN 36
He lifts his face from the mud, and turns toward us.
His eyes have gone white. His skin is now a pale color,
his lips, jet black. He is Possessed. A bright edge of
morning sunlight moves across his face. He turns his
beastly face skyward.
37 EXT. RIDGE - DAY (STUDIO) - MATTE PAINTING 37
LONG SHOT - THE SUN (Miniature)
Rising over a mountain ridge. Sunlight streaming
through a gaping hole in the parting clouds, in
bright shafts. It pours through the trees.
38 MED. SHOT - THE SUN - MATTE PAINTING - MINIATURE 38
Closer on the sun as it looms larger and brighter.
39 CLOSE SHOT - THE SUN - MATTE PAINTING - MINIATURE 39
The frame is filled with the rising sun.
40 EXT. WOODS - DAWN - CLOSE SHOT - ASH - MUD PUDDLE 40
The bright edge of morning sunlight spreading across
his face, he lets loose a demonic death shriek.
41 EXT. WOODS - DAY - (STUDIO) 41
EXTREME CLOSE SHOT - ASH'S FACE (STUDIO)
DUMMY HEAD - LIQUID EYE CHAMBER - MINIATURE
The white in Ash's eyes swirls about, and his pupils
change back to their original brown color.
41A EXT. WOODS - DAWN 41A
Ash, no longer possessed, collapses into the mud puddle,
unconscious.
41B EXT. WOODS - DAY - REVERSE ACTION - FOG - 3 ANGLES 41B
Streams of morning sunlight pierce the darkness of the
woods. We hear the shriek of demons. The sound of
SIZZLING. A great wind blows back fog into the darker
sections of the woods. The scene grows brighter and
the peaceful sounds of morning are faded up.
DISSOLVE THRU TO:
42 EXT. WOODS - DAY 42
WIDE SHOT - ASH
As he lies unconscious. Time passes.
43 CLOSE SHOT - ASH - CRANE - UNDERCRANKED 43
His eyes open. They stare blankly up at the sky. Then
fear registers and we CRANE BACK QUICKLY, revealing a
vast area of empty woods around Ash.
44 MEDIUM SHOT - ASH 44
He sits up slowly into frame, looking fearfully about.
45 ASH'S POV 45
Panning the battered cabin and sections of the woods.
All is peaceful. The sound of birds tweeting.
46 CLOSE SHOT - ASH 46
ASH (V.O.)
It's gone.
He looks up to the sky.
47 EXT. RIDGE - DAY - (STUDIO) - MATTE PAINTING 47
LONG SHOT - THE SUN - LATE AFTERNOON
Just above the horizon.
ASH
Sun's driven it away...
for now. Gotta get the hell
out of here... before night falls.
48 OMIT 48
49 OMIT 49
50 OMIT 50
51 CLOSE SHOT - ASH 51
As he nods to himself, then suddenly glances up beyond
the CAMERA.
52 EXT. CABIN - DAY - MITCHELL CAMERA 52
ASH'S POV - THE CABIN
A perfectly normal log cabin with one exception;
superimposed over the front of the place is...
52P PLATE FOR PREVIOUS SCENE - (BLACK STUDIO) 52P
MITCHELL CAMERA
A hideous human skull with living eyeballs that stare
out at us with evil malice. The eyes stare out from
the two dark windows. The dark nose area is the open
doorway, and the rotted teeth of the skull are the
whitewashed stones placed at the foot of the cabin.
Then it fades, leaving only the cabin.
53 EXT. WOODS - DAY - WIND FAN 53
CLOSE SHOT - ASH - MUD PUDDLE
He shudders uncontrollably as he picks himself up from
the mud.
Ash MOVES INTO A CLOSE UP. His eyes shift back and forth
like a trapped animal as he looks about for a means of
escape. He spots something.
54 EXT. CABIN - DAY - ASH'S POV 54
THE DELTA 88 OLDSMOBILE
Parked in front of the cabin.
55 EXT. WOODS - DAY 55
CLOSE SHOT - ASH
He shifts his glance from the car to the road.
56 EXT. ROAD - DRIVEWAY TO CABIN - DAY 56
A narrow dirt road cutting through the woods. Then,
the Delta 88 roars down it, and past the CAMERA. It
kicks up dust and gravel.
57 INT. DELTA 88 - DAY 57
(CAR MOUNT)
Ash is driving. He wipes the mud and blood from his
face with a rag. As he pulls the rag away, his face
forms a sudden look of horror as he sees:
58 EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) 58
CAR'S POV - TRACKING SHOT - STOP MOTION ANIMATION
A GIANT STEEL HAND LOOMS towards us. It is the twisted
remains of the steel and wood bridge that crossed
a great mountain chasm. A LOUD SCREECH of brakes
is heard on the soundtrack on this cut.
59 EXT. BRIDGE SIDE I - DAY 59
MEDIUM SHOT - DELTA 88 - PARTIAL BRIDGE SET
As it pulls to a halt. Ash steps quietly from the car.
He looks at the bridge.
60 EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) 60
ASH'S POV - BRIDGE
A sign hangs from the twisted girders. It reads:
"e;DANGEROUS BRIDGE - 2 TON WEIGHT LIMIT - CROSS AT OWN
RISK."e; Beyond this we see the twisted remnants of the
former bridge and the rock cliffs far away on the other
side.
60A EXT. BRIDGE SIDE I - DAY - MITCHELL CAMERA 60A
FROM RAVINE, LOOKING UPWARD AT ASH AND DELTA
(5 FRAMINGS)
Ash gapes at the uncrossable chasm.
60AP TWO CLIFF EDGES - (STUDIO) - MINIATURE 60AP
61 EXT. BRIDGE - DAY 61
CLOSE SHOT - ASH
He is stunned at the sight. His only escape, gone.
He looks from the bridge to the West.
62P1 PLATE FOR FOLLOWING SCENE 62P1
ASH'S POV - LONG SHOT - MOUNTAIN RIDGE - INTERVOLOMETER
The sun is now resting on the horizon. Lower than it was
before. It is BLOOD RED, and sets in the course of seven
seconds.
62 INT. STUDIO (BLUE SCREEN) 62
MEDIUM SHOT - ASH - PULLING BACK
To reveal Ash as he looks from the sunset, to the ruined
bridge, to the road behind him. He moves in halting
steps, not knowing which way to turn.
Ash opens his mouth, draws in his breath, and just as
he begins to scream, we CUT TO:
62P2 OMIT 62P2
63 EXT. BRIDGE - TWILIGHT - POV OF EVIL FORCE 63
3 CAMERAS - BREAKAWAY TREES
As it rises up from what appears to be the mountain
chasm and reveals the opposite side of the twisted
girders which form the "e;Giant Hand."e; It spots Ash
immediately beyond. It moves swiftly towaad him.
Ash looks up, sensing the evil and darts into the
Delta 88. The FORCE moves through the twisted girders,
pushing them away violently and races towaad the car.
The Delta starts up and peels off. The Evil Force
just misses it. The car doesn't have the room to
complete the one hundred and eighty degree turn
necessary to head back down the road the way it
originally came, and is forced into a line of break-
away trees which explode into sawdust as the front of
the Delta 88 rips through them. The car swerves
onto the road, headed back toward the cabin.
64 INT. DELTA 88 - NIGHT 64
CLOSE SHOT - ASH - CAR MOUNT
As the broken bits of tree slam against his
windshield.
65 CLOSE SHOT - CAR RADIO/TAPE DECK 65
As the channel switches suddenly to the hard rock
song "e;Journey to the Center of Your Mind"e; which blares
within the car throughout the chase to follow.
66 EXT. BRIDGE - NIGHT 66
POV - EVIL FORCE - UNDERCRANKED
As it gives chase to the Delta.
67 TRACKING SHOT - DELTA - DRAGWAY - UNDERCRANKED - ATV 67
Alongside the car as it barrels along the wooded
road.
68 EXT. DRAGWAY - NIGHT 68
TRACKING SHOT - DELTA - UNDERCRANKED - ATV
As he drives this wild course.
69 POV - EVIL FORCE - UNDERCRANKED 69
As it begins to gain on the speeding automobile.
70 INT. DELTA 88 - NIGHT - UNDERCRANKED 70
OVER ASH'S SHOULDER
Looking through the windshield, as branches beat and
smash themselves against the windshield, obscuring
our vision of the "e;Road"e; ahead. Our view suddenly
clears, revealing a large tree that looms directly
ahead.
71 CLOSE SHOT - ASH 71
Swerving the wheel.
72 EXT. CABIN - NIGHT 72
ANGLE - DELTA - UNDERCRANKED
It swerves and slams into a rotted tree, stopping
it dead.
73 INT. DELTA 88 - NIGHT 73
CLOSE SHOT - ASH - UNDERCRANKED
As he is rocketed forward from his seat.
74 EXT. CABIN - NIGHT 74
ANGLE - FRONT OF DELTA - DUMMY OF ASH
As Ash comes ripping through the windshield and past
the CAMERA.
74A ASH'S POV 74A
As he approaches the ground with a great velocity.
74B MEDIUM SHOT - ASH 74B
As he slams into the earth with a rain of glass. He
moans and gets to his feet.
75 EXT. WOODS/CABIN - NIGHT 75
POV - EVIL FORCE - BREAKAWAY TREES
As it sweeps down out of the woods, pushing over trees,
and approaches the Delta. Steam pours from the hood of
the car.
76 EXT. CABIN - NIGHT 76
CLOSE SHOT - ASH
As he runs. His face is cut and bleeding.
76A ANGLE - OVER ASH'S SHOULDER 76A
As he runs toward the cabin. (Actually he is running
in place in the rear of a camera car that is slowly
backing away from the cabin.) The more he runs, the
farther away from the cabin he gets.
77 POV - EVIL FORCE 77
IMO CAMERA MOUNTED ON LONG POLE AND TRUCK - 3 DELTAS
"e;RAM-O-CAM"e;
It approaches the rear of the Delta, rips through the
back window, moves through the car's interior, music
still blasting, and bursts out the remains of the front
windshield. We move through the steam of the radiator
and approach Ash as he runs for the cabin.
78 CLOSE SHOT - ASH 78
As he runs toward the cabin not making much progress
as though caught running in a nightmare. He shakes his
head "e;No."e;
78A CLOSE SHOT - ASH'S FEET AS THEY RUN 78A
79 ANGLE - OVER ASH'S SHOULDER 79
Now closer to the cabin. (Again, Ash is running in
place in the camera car as it slowly backs away
from the cabin.)
80 POV - EVIL FORCE 80
Now quickly gaining its lost ground. Just a few feet
behind Ash.
81 EXT. CABIN - LOCATION 81
SIDE SHOT - ASH
As he runs up the porch steps to the cabin.
82 EXT./INT. CABIN - LOCATION 82
POV - EVIL FORCE
We race into the cabin, splintering the hall door
which Ash had swung shut. Ash retreats into the
rear hallway, and swings the hallway door shut. We race
right up to the door and it shatters into many pieces
as we glide forward.
83 INT. CABIN - STUDIO - "e;MAZE SHOT"e; - FORCE POV 83
Camera moves through the main room and up to the
Hallway door. It shatters in front of us. We close
in on Ash as he races down the hallway. We lose him
as he swings into the back bedroom of the cabin and
slams the door behind him. We rip through this door
and enter the rear bedroom, only to see Ash scrambling
for the door to the middle bedroom, which we approach
and he swings shut in our face. We rip through to
reveal Ash scurrying into the Hallway. We follow him
through the bathroom, the maze, and back out into the
Hallway. We round the corner after him and see that
Ash has led us into the main room, but there is not a
trace of him. We look about for him, but he is gone.
The hallway is bare except for a few dry leaves.
84 INT./EXT. CABIN - LOCATION - POV EVIL FORCE 84
The force begins to pull back with an ever-increasing
speed, out the front door of the cabin, and deep into
the blackness of the woods.
85 INT. CABIN MAIN ROOM - NIGHT 85
A static shot of the fireplace. All is quiet. Smoke
from the near dead fire wafts up the chimney. We hold
on this for a moment.
85A ANGLE - MIDDLE BEDROOM CLOSET - NIGHT 85A
A static shot of a closet with it's door half open.
The door begins to swing slightly open, revealing
a rack of clothes inside. We hold on this for a
moment.
85B ANGLE - CABIN MAIN ROOM - NIGHT - TRACKING SHOT 85B
A writing desk with some papers atop it. They begin
to tremble and finally blow away from the light breeze
that sweeps through the cabin. The CAMERA PANS down
from this desk to reveal a trap door in the floor of
the main room. The trap door to the cellar. It is
raised up on its hinge an inch or so and in that
slight space between the trap door and the floor we
see Ash's eyes, looking cautiously about. He breathes
a sigh of relief.
86 EXT. WOODS - NIGHT 86
The cabin in the distance. Fog rolls past.
87-128 OMIT 87-128
128 A,B,C OMIT 128 A,B,C
129-143 OMIT 129-143
143 A-F OMIT 143 A-F
143FP OMIT 143FP
144-149 OMIT 144-149
149A-J OMIT 149A-J
149K EXT. AIRSTRIP - NIGHT - LONGSHOT - ED 149K
Ed Getly stands in the FG and watches as an older
style twin engine cargo plane flies over the camera
and lands.
149L AIRSTRIP - NIGHT - TRACKING SHOT - PASSENGERS 149L
The airplane rolls to a halt. A man wearing a
jumpsuit ties the airplane off and blocks the wheels
while a redcap opens the hatch and helps out Annie
Knowby. She carries a glass case in her hand as she
moves toward us. Behind her five other passengers
emerge from the Plane. Ed approaches Annie.
ED
Annie!
ANNIE
(smiling at sight of him)
Hi.
They embrace and kiss.
ED
How'd everything go on the expedition?
ANNIE
Terrific. I found the additional pages
from the Book of the Dead.
ED
So you said in the telegram. What
condition are they in?
She holds out the glass case for Ed to look at.
149M CLOSE SHOT - GLASS CASE 149M
Inside are 12 pages from the Book of the Dead.
149N AIRSTRIP - NIGHT 149N
TRACKING SHOT - ED AND ANNIE - THEY CONTINUE WALKING
ED
Haven't aged a day in three thousand years.
ANNIE
Maybe longer.
ED
When do we begin the translations?
ANNIE
Tonight. Is everything all set with my
father?
ED
Should be, but I haven't spoken to him
in a week, what with no phone in that
cabin. Take us about an hour to get there.
They arrive at the parking lot. Two new, sharp looking
cheverolets and Ed's old style cheverolet.
ED
We'll take my car.
Ed opens the car trunk. Behind him a redcap pulls up
a large steamer trunk on a hand dolly. Ed and the redcap
hoist the steamer up into the car's trunk.
ED
Annie, you hinted in your telegram that
your father was on to something with the
first part of his translations. What's
the big mystery? What has he found in
The Book of the Dead?
ANNIE
Maybe nothing. But just possibly...
the doorway to another world?
Annie slams the car trunk.
149O OMIT 149O
150 OMIT 150
151 EXT. WOODS/CABIN - W/ ASH - NIGHT 151
CHEVROLET CAR TRUNK
CAMERA has taken the POV of the evil force as it glides
eerily through the woods, around trees and over rotted
stumps. It moves over a rise revealing a clear view
of the boarded cabin in the distance. It approaches.
It moves to the window, and peering through the cracks
in the boards we see Ash asleep in the rocking chair.
152 INT. CABIN MAIN ROOM - NIGHT 152
Camera begins on hammer, nails, and planking which
lay upon the cabin floor. Camera pans to window #1.
It is boarded up tight. Camera pans to door. It
is repaired. Camera pans to Ash who sleeps in the
rocking chair in front of another boarded window.
Ash awakens suddenly, sensing something, the
shotgun clutched in his lap. He lifts his head and
turns to a whispering musical sound. Harp like music.
It is coming from the back bedroom of the cabin.
153 MAIN ROOM/MIDDLE ROOM/REAR BEDROOM 153
MEDIUM SHOT - ASH
As he stands and moves cautiously towards the rear
bedroom.
154 ASH'S POV - MIDDLE ROOM AND REAR BEDROOM 154
As he approaches the rear bedroom, the music grows louder.
As he enters the room he halts his gaze on the old wooden
piano.
155 INT. CABIN/REAR BEDROOM - NIGHT 155
MEDIUM SHOT - ASH
As he moves to the piano. The sound is coming from
within. Suddenly, the piano begins to play by itself;
Ash draws back from it. It plays a waltz. Now the
piano music mixing with the harp-like strings. The
radiator next to the piano begins to release bursts of
musical steam, adding a wind section to this strange
orchestra.
156 CLOSE SHOT - ASH 156
As he listens to this haunting version of a waltz melody.
He recognizes the music. It is the same music that Ash
had played earlier, when Linda was dancing.
157 CLOSE SHOT - PIANO AND RADIATOR 157
As steam spouts from the radiator pipes. As the piano
keys depress and release themselves. The melody grows
louder.
158 CLOSE SHOT - ASH 158
As he lowers his head. His horror gives way to sadness.
From his pocket he removes Linda's delicate silver locket
that dangles from the end of a chain. In the locket's
center is a magnifying glass. He stares mournfully into
the glass. BANG! He looks up sharply toward the main
room.
159 OMIT 159
159P1 OMIT 159P1
159P2 OMIT 159P2
159P3 OMIT 159P3
160 OMIT 160
161 INT. CABIN MAIN ROOM - NIGHT 161
ASH'S POV - SHUTTERS
As they rip open, splintering Ash's reinforcements.
Wind sweeps in through the place as the curtains flutter
wildly. Through the window is a sweeping fog.
162 INT. CABIN MIDDLE ROOM - NIGHT 162
Ash runs through this room and into the main room. He
moves to the window and looks out. Wind blowing on his
face from outside.
163 EXT. HILLSIDE GRAVEYARD - NIGHT 163
ASH'S POV - THE GRAVEYARD
A stark wooden cross marks Linda's lonely grave.
164 OMIT 164
165 OMIT 165
166 EXT. HILLSIDE GRAVEYARD - NIGHT 166
LONG SHOT - CABIN IN DISTANCE - STOP MOTION ANIMATION
The tiny figure of Ash can be seen looking off toward
this hill. In the foreground is a crude burial cross
and a mound of earth. The earth begins to crack and
splinter. The wooden cross caves in and is swallowed
as the headless corpse of Linda pulls itself to its
feet. The HAUNTING WALTZ MELODY sweeps through the
night air.
166P PLATE FOR PREVIOUS SCENE - EXT. CABIN - NIGHT 166P
ASH IN WINDOW - MITCHELL CAMERA
167 INT. CABIN MAIN ROOM - NIGHT 167
CLOSE SHOT - THROUGH THE WINDOW - ASH
His eyes, illuminated by a shaft of light, widen in
amazement and horror as...
168 EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) 168
(MINIATURE/STOP MOTION/REAR SCREEN) - 3 ANGLES
The WALTZ MELODY fills the sound track, and the rotting
corpse that was Linda begins to dance, bending and
swaying as she sweeps gracefully through the evening
fog. A waltz of the dead.
The style of dance begins to change. It becomes more
primitive. The music changes to a more primal beat.
The dance becomes sexually oriented. Erotic, with
sharp pelvic thrusts and gyrating hip motions.
168P 3 PLATES FOR PREVIOUS SCENE - MITCHELL CAMERA 168P
EXT. HILLSIDE GRAVEYARD - NIGHT - FOG/WIND FAN
169 INT. CABIN MAIN ROOM - NIGHT 169
CLOSE SHOT - THRU THE WINDOW - ASH
Lost in the horrific beauty, he turns his head to a
rumbling sound.
170 EXT. HILLSIDE GRAVEYARD - NIGHT - (REVERSE ACTION) 170
ASH'S POV
Linda's DECAPITATED HEAD rolls across the ground and
up the hillside graveyard.
171 EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) 171
(MINIATURE/STOP MOTION/REAR SCREEN) LINDA'S HEAD
3 ANGLES
As it leaps through the air and gracefully situates
itself atop Linda's neck, she begins to spin, yet her
head remains in place, never taking her eyes from Ash.
With a sensual twirl and leap, she disappears into the
evening mists.
171P 3 PLATES FOR PRECEDING SCENE - MITCHELL CAMERA 171P
EXT. HILLSIDE GRAVEYARD - NIGHT - FOG W/WIND
172 INT. CABIN MAIN ROOM - NIGHT 172
CLOSE SHOT - THRU WINDOW - ASH
His eyes dart about, trying to catch another glimpse
of Linda through the fog.
173 EXT. CABIN MAIN ROOM - NIGHT 173
ASH'S POV - THRU WINDOW
Linda swings sharply into frame, completing the spin
of her dance immediately in front of Ash as the music
abruptly halts.
LINDA
DANCE WITH ME!
Linda extends her dead arms towards Ash.
174 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ASH 174
He screams as...
175 EXT. HILLSIDE - GRAVEYARD - NIGHT 175
CLOSE SHOT - LINDA'S CORPSE (OVERCRANKED)
Linda's head rolls off of her neck and tumbles through
space.
176 INT. BLACK STUDIO - NIGHT 176
LINDA'S HEAD - ON WIRE
As it tumbles through a void of blackness, falling.
177 INT. CABIN MAIN ROOM - NIGHT 177
CLOSE SHOT - ASH
As he screams himself awake. CAMERA PULLS BACK to reveal
him sitting in the rocking chair. Ash halts his scream,
getting control of himself. He looks to the window that
had blown open.
178 ASH'S POV - THE BOARDED WINDOW 178
Still boarded as though it had never been opened.
179 CLOSE SHOT - ASH 179
Reassuring himself.
ASH
That's all. Just a crummy dr-
Linda's decapitated head falls into frame and lands in
Ash's hands.
180 CLOSE SHOT - LINDA'S HEAD 180
It opens its eyes and looks to Ash.
LINDA'S HEAD
Hello lover, I came from the other
side of your dream to dance with you.
181 CLOSER SHOT - LINDA'S HEAD (BACKWARD MOTION) 181
A four foot long blackened tongue emerges from her mouth
like a lashing serpent.
182 MEDIUM SHOT - ASH - (BACKWARD MOTION) 182
The tongue enters Ash's frame and forces itself into
Ash's mouth. Screaming as he clutches at the head of his
former love. The tongue instantly retracts inside her
head.
183 CLOSE SHOT - LINDA'S HEAD 183
As it bites deeply into Ash's right hand, drawing blood.
183A MED SHOT - ASH AND LINDA'S DUMMV HEAD 183A
Ash stands and rushes across the room screaming, as he
tries to rid himself of the head.
183 B-L OMIT 183 B-L
184 OMIT 184
185 OMIT 185
185A OMIT 185A
186 EXT. CABIN - NIGHT - ASH AND DUMMY HEAD - LONG SHOT 186
As Ash staggers painfully around the side of the
cabin and towards the work shed; Linda's head still
clamped to his hand.
187 INT. WORK SHED - NIGHT - LINDA DUMMY HEAD - ASH 187
The door to the place is kicked open, revealing Ash
and Linda's head on the end of his hand. It is a room
full of sawdust, chains and power tools. Old bones
hang from the walls.
187A MEDIUM SHOT - INT. WORK SHED - ASH 187A
As he places Linda's head within the vice and
tightens it around her, then withdraws his hand.
LINDA'S HEAD
Even now we have your darling Linda's
soul! She suffers in torment!
187B CLOSE SHOT - ASH'S HAND 187B
As it rips away an old tarp revealing the chalk
outline of where a chainsaw once was.
187C CLOSE SHOT - ASH - HEADLESS LINDA BODY 187C
Confused. Wondering what has happened to the
chainsaw. Behind him, the door to the shed bursts
open and in comes the flailing, headless, body of
Linda, charging at Ash with the chainsaw buzzing high
above her head. Ash is screaming.
187D MEDIUM SHOT 187D
Ash grabs a large crowbar and swings it
toward the approaching blade.
187E CLOSE SHOT 187E
The crowbar hits the bottom of the blade with a
shower of sparks, sending the buzzing saw flipping
backward.
187F MEDIUM SHOT - HEADLESS LINDA DUMMY - 3 ANGLES 187F
The blade of the chainsaw swings upward and arcs
back into headless Linda, imbedding itself in her
neck. She goes nuts as the chainsaw bites its way
into her chest cavity. She spins wildly about the
room knocking into shelves as she tries to pull the
blade free. She slams against the wall of the shed,
and slumps to the floor, the chainsaw still buzzing.
187G MEDIUM SHOT - ASH 187G
As he is splattered with black bile. He reaches down.
187H MEDIUM SHOT - HEADLESS LINDA 187H
As Ash dislodges the spinning chainsaw from her.
187I MEDIUM SHOT - ASH 187I
As he swings the chainsaw around and poises it above
Linda's head.
187J WIDE SHOT - ASH AND LINDA'S HEAD IN VICE 187J
From the chainsaw, fumes of blue amoke. Ash turns
to the head and falters.
187K CLOSE SHOT - LINDA'S HEAD IN VICE 187K
She is no longer possessed. She looks as she did
earlier in the film. A vision of beAuty. She is
again Linda, the woman Ash loved. Tears roll down from
her eyes.
LINDA
Please Ash, help me. I love
you, please don't hurt me.
187L CLOSE SHOT - ASH 187L
Trying to fight his feelings, he knows what he must
do. He pumps the throttle on the saw.
187M CLOSE SHOT - LINDA 187M
Pleading with him.
LINDA
You promised me we'd always be
together. You swore to me!
187N CLOSE SHOT - ASH 187N
Agonized.
ASH
NO!
187O CLOSE SHOT - LINDA'S HEAD 187O
Once again fully possessed, and speaking in the voice
of the demon. Her eyes again white, her flesh, rotten.
LINDA'S HEAD
YES! YOU LIED TO HER! YOU LIED TO
LINDA! YOUR LOVE WAS A LIE! AND
NOW SHE BURNS IN HELL!
187P EXTREME CLOSE SHOT - LINDA'S DUMMY HEAD 187P
She opens her mouth and emits a jet stream of bile.
187Q CLOSE SHOT - ASH 187Q
As he's drenched in the face. Linda begins to laugh at
him in a wild, high pitched squeal.
He gains control of himself and steadies the saw.
ASH
Eat chainsaw.
He brings down the spinning blade. And moves past
the CAMERA and towards the head. We are left looking
at the wall of the work shed upon which we see the
stark shadow of the ghastly deed. We hear the sound
of spinning steel meeting bone and the screams of a
demon.
187R CLOSE SHOT - LIGHT BULB 187R
As it is splattered with blood.
187S MEDIUM SHOT - ASH 187S
Ash stumbles back into frame and falls against the
wall, now lit in crimson. He looks at the off screen
carnage in terror. He begins to shake as though in
shock. He trembles as he looks down at his
hands; they are covered in Linda's blood.
He wipes his hands on his pants and shirt, trying
to rid himself of it, but only succeeds in painting
himself with the stuff. Ash screams a wild scream of
fear and despair. It echoes off into the night.
188 CRANE SHOT - EXT. WORK SHED - NIGHT 188
Ash in a confused state as he staggers from the
work shed and towards the cabin. Again clutching
the chainsaw.
189 INT. CABIN REAR DOORWAY - NIGHT 189
Ash enters through the doorway. He pushes the door
shut behind him and halts. We hear a creaking sound.
It is coming from the main room of the cabin. He
moves in the direction of the sound.
189A ASH'S POV - REAR HALLWAY - NIGHT 189A
TRACKING SLOWLY FORWARD
Curtains flutter on the partially boarded windows of
the hall. Ash moves slowly past them and towards the
main room ahead. The gentle creaking sound grows
louder. Ash tosses down the saw and picks up the gun.
189B INT. CABIN MAIN ROOM - NIGHT 189B
Ash enters from the hallway and turns his head to the
sound.
189C MAIN ROOM - NIGHT - ASH'S POV - THE ROCKING CHAIR 189C
It rocks back and forth with a definitive motion,
halting for a moment at it's pints furthest forward
and backward, as if some invisible thing was sitting
there and rocking.
189D CLOSE SHOT - ASH 189D
He slowly approaches the chair, scared shitless.
189E MEDIUM SHOT - FROM BEHIND THE ROCKING CHAIR 189E
The chair rocks in and out of frame in the foreground
as Ash takes halting steps towards it. Ash gathers
his courage and reaches out his hand to halt the
rocking motion. Slowly his hand approaches the chair.
Just as his hand goes to touch it, the chair abruptly
halts, on its own accord.
190 MEDIUM SHOT - ASH 190
In a confused state as he backs away from the chair and
into the wall. He turns and comes face to face with
himself in a hanging framed mirror. He clutches at his
face, trying to reassure himself of his sanity.
ASH
I'm fine... I'm fine...
191 INT. CABIN MAIN ROOM/MIRROR ROOM - NIGHT 191
MEDIUM SHOT - OVER ASH'S SHOULDER - ASH AND REFLECTION
Ash's reflection becomes an independent entity. It
reaches out of the mirror and grabs ahold of Ash by his
throat. The reflection looks like a Mr. Hyde version of
Ash. Sweating and nasty looking.
192 SIDE SHOT - SPLIT SCREEN - ASH AND REFLECTION 192
MITCHELL CAMERA (ASH AS MR. HYDE)
The reflection pulls Ash close and speaks to him in an
intimate whisper.
REFLECTION
I don't think we're "e;fine"e;. We're
losing it... starting to slip. We
just cut up our girlfriend with a
chainsaw. Does that sound fine?
The reflection tightens its hold on Ash's throat and
begins to strangle him.
192P PLATE FOR PREVIOUS SCENE 192P
INT. CABIN MAIN ROOM - NIGHT
ASH - MITCHELL CAMERA
193 CLOSE SHOT - ASH - DOLLY 193
Two hands in the bottom of frame, throttling him.
CAMERA races back to reveal Ash's own hands on his throat.
There is no sign of Ash's evil reflection. Ash has
been strangling himself. He realizes this the same
moment we do. He quickly pulls his hands away, looks at
them incredulously, then to the mirror.
194 OVER ASH'S SHOULDER - INTO MIRROR 194
His reflection is as it should be.
195 CLOSE SHOT - ASH 195
He looks back down to his hands.
196 INT. CABIN MAIN ROOM - NIGHT (STUDIO) 196
CLOSE SHOT - ASH'S RIGHT HAND - DUMMY HAND
INTERVOLOMETER
The bite marks that Linda's teeth have left in the hand
stand out sharply. The wound suddenly blackens and
spiderwebs it's infection across the entire surface of the
hand.
197 INT. CABIN MAIN ROOM - NIGHT 197
CLOSE SHOT - ASH - HAND IN FOREBROUND - MAKE UP BLADDER EFX
The hand quivers and shakes, now out of Ash's control.
The hand has taken a whitish cast. It's veins throb and
pulsate. It is possessed by the evil force. The hand's
fingernails grow inches. The wound oozes black fluid.
Ash is repulsed.
198 CLOSE SHOT - ASH 198
Ash's demon hand makes a lunge at his face which is
countered by his good hand.
199 MEDIUM SHOT - ASH 199
He slams the hand to the cabin floor. He screams to
the air:
ASH
You bastards. Give me back my hand.
200 EXT. CABIN - NIGHT 200
Wind and fog swirl about the place. Ash's ECHOING
SCREAM is heard above the HOWLING GALE.
ASH (0.S.)
Give me back my hand!!
201 OMIT 201
201A OMIT 201A
201B OMIT 201B
201C OMIT 201C
202 OMIT 202
203 OMIT 203
204 INT. CABIN MAIN ROOM/KITCHEN - NIGHT 204
Ash rushes into the kitchen and places his hand in
the sink. He turns on the faucet.
205 INT. CABIN KITCHEN - NIGHT 205
Cool water runs over Ash's burned hand. Ash rests his
head on the kitchen counter and mumbles reassurances to
himself.
ASH
Can't... can't be happening.
206 CLOSE SHOT - THE HAND 206
As the water pours over it. It grabs a plate sitting
in the dishwater and reaches up silently out of the sink.
207 MEDIUM SHOT 207
The plate is shattered over Ash's head. The
hand grabs Ash's hair and mercilessly slams his
head down upon the kitchen counter again and again.
Ash punches himself in the face and is sent reeling
backwards. He smashes into a cupboard where dishes
and plates fall upon him.
208 CLOSE SHOT 208
The hand picks up plates and begins breaking them over
Ash's head. Then a bottle.
209 MEDIUM SHOT 209
Ash is knocked unconscious. The hand continues breaking
objects over his head. Ash lies unmoving, but still
alive.
210 CLOSE SHOT 210
The hand stops as though it senses something. The
CAMERA PANS to a large meat cleaver which lies upon the
wooden floor.
211 MEDIUM SHOT 211
The hand as it independently crawls towards the meat
cleaver. The hand is stopped when it runs out of arm,
now anchored by Ash's unconscious body.
212 CLOSE-SHOT - HAND 212
It digs its nails deep into the floorboards and begins to
pull...
213 MEDIUM SHOT - ASH 213
... as he is pulled along the kitchen floor.
214 CLOSE SHOT - HAND - GELETIN HAND 214
As it pulls Ash's unconscious body along after it. The
hand clutches the meat cleaver when a large knife comes
slicing through the demon hand, pinning it to the
floorboards. CAMERA pulls over to reveal a revived Ash.
ASH
Who's laughing now?
214A ANGLE - ASH - COMEDY KNIFE RIG 214A
He reaches over with his good hand and pulls a fire
engine red chainsaw down from the shelf.
He holds the body of the machine between his legs and,
with his good hand, pulls the starter cord. The
CHAINSAW ROARS to life. The CAMERA TRACKS IN to Ash's
sweating face.
ASH
Who's laughing now!?
He lowers the spinning blade of the chainsaw down out
of frame and toward the evil hand. Blood flies up
into frame.
215 OMIT 215
216 EXT. CABIN - NIGHT 216
LONG SHOT
We hear the BUZZING of the CHAINSAW as it slices through
bone and then falls silent.
217 EXT. BRIDGE - NIGHT (SIDE II) 217
CRANE
The CAMERA cranes down as Annie's car approaches from
the distance. It pulls to a halt. Ed and Annie step
from the car.
218 ANNIE'S POV 218
A red tow truck with its orange lights flashing is
parked there. Painted on it's side is "e;Jake's Gas
N' Go."e; Jake, a toothless, backwoods, greasemonkey is
setting up flares and wooden roadblocks. Annie and Ed
approach.
ANNIE
Excuse me. This the road to the
Knowby's cabin?
JAKE
Thas' right. But you ain't goin' there.
ANNIE
And why not?
219 CLOSE SHOT - JAKE 219
As he reaches in his truck to pull on the headlights.
220 CLOSE SHOT - TRUCK HEADLIGHTS 220
As they snap on.
221 MEDIUM SHOT - JAKE, ANNIE, AND ED 221
All stand in the bright glare of the lights as the fog
swirls about them. Annie and Ed gape in frightened
wonder at what they see.
222 EXT. BRIDGE - NIGHT - (SIDE II) - (STUDIO MINIATURE) 222
THEIR POV - TABLE TOP MODEL GIRDERS
The piercing beams of light illuminate twisted remnants of
the destroyed bridge that leads to the cabin. A road sign,
similar to the one on the other side of the bridge
reads: "e;Dangerous Bridge - Two Ton Weight Limit"e;.
223 EXT. BRIDGE - NIGHT - (SIDE II) 223
CLOSE SHOT - ED AND ANNIE
Frightened as they view the wreckage.
ANNIE
What happened?
JAKE
Lady, I ain't never seen nothin' like
it.
ED
Terrific. Now what?
ANNIE
There must be another way in.
Another road or something.
224 JAKE, BOBBY JOE, ANNIE AND ED - TWO CAMERAS 224
BOBBY JOE
Sure ain't no, road.
CAMERA pans over to reveal a brassy southern spitfire
of a woman, Bobby Joe.
BOBBY JOE
Hell you wanna go there for, anyway?
Bobby Joe takes a pinch of chewing tobacco and stuffs
it into her mouth. She doesn't like Annie and her
fancy clothes. She stares at Annie like a cat.
224X MEDIUM SHOT - ANNIE AND ED 224X
Annie steps forward. She eyes Bobby Joe.
ANNIE
None of your business.
224Y CLOSE SHOT - JAKE 224Y
He feigns surprise and pleasantness.
JAKE
Hey! I just remembered... Yeah,
that's right... There is a trail.
You could follow Bobby Joe and me.
ED
That sounds all right.
JAKE
But, it'll cost ya.
ANNIE
How much?
JAKE
Forty Fi...
224A ANGLE 224A
Jake looks up suddenly at Bobby Joe who gives
a sharp shake of her head.
JAKE
Hundred bucks.
224B CLOSE SHOT - ANNIE 224B
ANNIE
Tell you what. You take my bags
you got a deal.
224C CLOSE SHOT - JAKE 224C
He glances through the window of Annie's car.
224D JAKE'S POV 224D
The tiny case containing the missing pages of the Book
of the Dead, and a small handbag.
224E CLOSE SHOT - JAKE 224E
Looking back to Annie, a big smile on his near
toothless face.
JAKE
Sure!
225 EXT. WOODS - NIGHT 225
A hiking trail winds through the woods. Bobby Joe
leads the way with flashlight in hand. She pockets
some bills. She is followed by Annie and Ed who
carry the glass case containing the missing pages
and the handbag. A grunting and sweating Jake brings
up the rear, the large steamer trunk on his back.
He is cursing under his breath.
JAKE
Jesus H. Christ! I thought she
was talkin' 'bout them two goddamn
little pieces!
226 OMIT 226
227 EXT. CABIN - NIGHT 227
The wind rushes fog about the place with a fury.
A large moon hangs in the night sky.
228 INT. CABIN MAIN ROOM - NIGHT 228
CLOSE SHOT - EVIL HAND
No longer attached to Ash's arm, it still writhes about
beneath Ash's foot which pins it to the floor.
229 MEDIUM SHOT - ASH - HAND'S POV - EYEMO W/ MOUNT 229
As he grabs the steel wastebasket, dumps out the trash
lowers it quickly over the CAMERA, trapping the hand
within.
230 MEDIUM SHOT - ASH 230
With a note of finality, Ash slams down a pile of books
atop the overturned wastecan, to anchor it. The top
book's title reads "e;Farewell to Arms"e;.
231 FIREPLACE 231
Ash raises a red hot fireplace shovel that had been
resting upon the coals. He grits his teeth.
232 ANGLE 232
Just out of frame, Ash thrusts the glowing shovel against
the stump to cauterize the wound. Red steam hisses up
into frame as Ash screams.
233 MEDIUM SHOT - ASH 233
He tosses aside the shovel and douses his smoldering
stump into a vase of fresh flowers.
234 CLOSE SHOT - ASH 234
Unspooling a roll of duct tape.
235 MEDIUM SHOT - ASH 235
He tapes the tablecloth into a makeshift bandage
about his wrist. Behind him, the wastebasket
silently slides across the floor.
236 MEDIUM SHOT - ASH 236
"e;CLANG"e;! He turns to see.
237 CLOSE SHOT - THE WASTEBASKET 237
Upon its side. The Evil Hand is gone.
237A CLOSE SHOT - ASH 237A
He turns to a "e;pitter patter"e; sound.
238 OMIT 238
238P OMIT 238P
239 OMIT 239
240 OMIT 240
241 OMIT 241
242 OMIT 242
243 OMIT 243
244 OMIT 244
245 CLOSE SHOT - HAND 245
It scampers across the floorboards headed for a hole
in the wall.
246 INT. CABIN MAIN ROOM - NIGHT (STUDIO) 246
MEDIUM SHOT - ANIMATED HAND (4 SEC.)
Same action as above but covered now through animation.
247 INT. CABIN MAIN ROOM - NIGHT 247
HAND - POV
Low angle tracking shot approaching the hole in the wall.
248 CLOSE SHOT - ASH AND HAND - SQUIB 248
TRACKING WITH HAND, ASH IN BG
He raises the shotgun and FIRES. BLAM! The floor
next to the hand explodes.
249 CLOSE SHOT - HOLE IN THE WALL - SQUIB - EFX. HAND 249
The hand leaps into the hole as a section of wall next
to it EXPLODES. Blam!
250 CLOSE SHOT - ASH 250
Ash quickly reloads both chambers of the gun.
He tracks the SOUND of the PITTER PATTER as the hand
scampers through the sapace behind the wall like a rat.
251 OMIT 251
252 OMIT 252
253 OMIT 253
254 ASH'S POV - WALL - SQUIB 254
The blasted hole at the bottom of the wall. The hand
appears, still unhurt, waving and taunting at Ash.
255 CLOSE SHOT - ANIMATED HAND - (7 SEC.) 255
As it taunts ASH it inadvertently sidesteps into a
rusting mousetrap. SNAP! It springs shut upon the
hand. It screams furiously and shakes violently in
an effort to get free the from trap.
256 CLOSE SHOT - ASH 256
Throws back his head in a gruff bark of laughter.
ASH
Ha!
257 CLOSE SHOT - ANIMATED HAND - (7 SEC.) 257
The hand throws the trap from itself and raises its
middle finger to ASH, flipping him the bird.
258 CLOSE SHOT - ASH'S HAND 258
He raises the gun, revealing his face as the
CAMERA PANS UP with his movement.
259 ASH'S POV - OVER THE GUN BARREL 259
Pointed directly at the hand. But the hand dodges
away from the hole, disappearing again behind the
wall. The gun continues to track the evil hand's
progress through its pitter patter sound.
260 CLOSE SHOT - ASH'S EAR 260
The pitter patter ebbs and then peaks in volume.
261 ASH'S POV - OVER THE GUN BARREL - SQUIB 261
Both triggers are squeezed. BLAM! BLAM! A 2nd and
3rd hole are blown in the wall. All is silent.
261A INSERT ASH'S FINGER PULLS THE FIRST, THEN 261A
SECOND TRIGGER
261B INSERT FLAME BELCHES FROM THE GUN TWICE 261B
262 CLOSE SHOT - ASH 262
As he lowers the smoking gun. Wondering if he has hit
the hand or not.
263 CLOSE SHOT - HOLE IN WALL - 5 CAMERAS 263
All is silent for a moment, and then a slight trickle
of blood comes dripping from the hole and down the
side of the wall.
264 CLOSE SHOT - ASH 264
For the first time feeling victorious. As Ash continues
to stare at the hole, his expression changes to one of
perplexity.
265 CLOSE SHOT - HOLE IN WALL - 5 CAMERAS 265
The trickle of blood has increased to a steady flow,
then, even this volume of blood multiplies. It is
forced out of the wall with a greater and greater
pressure until blood pours from the wall like a fire
hose.
266 CLOSE SHOT - ASH 266
Horrified, he spins his glance to the sound of more
gushing liquid. He is hit in the face with a geyser
of deep red blood.
267 CLOSE SHOT - 2ND AND 3RD HOLES IN WALL - 5 CAMERAS 267
The 2nd and 3rd holes in wall also begin to spew blood
in a geyser. The CAMERA PANS over to the 4th of the
holes. This, too, is an eruption of blood. The blood
changes in color to a black fluid, then yellow, then
turquoise.
268 CLOSE SHOT - ASH - 5 CAMERAS 268
Screaming as he looks down at his wrist. CAMERA PANS
DOWN to it. The severed wrist begins dribbling blood.
Then in a burst, it too, erupts in a hellish fire hose.
It spouts blood under such great pressure that ASH is
driven against the walls of the cabin because of it.
269 MED. SHOT - ASH - 5 CAMERAS 269
We follow him as he slams from one wall into another.
270 CLOSE SHOT - ASH - 5 CAMERAS 270
In the midst of his scream, drowning in the blood, it
all suddenly stops. The cabin is again deadly quiet.
ASH, soaked in blood and shivering, waits. For what,
he's not sure.
271 MEDIUM SHOT - ASH 271
As he slowly backs away from the walls and sits upon
the three legged chair. It shatters beneath him,
dumping him on his butt.
CREAK!!!
ASH turns sharply to the low sound.
272 ASH'S POV - CLOSE SHOT 272
The mounted moose head upon the wall. It is in a
different position. It turns sharply towards ASH and
emits a hideous cackle.
273 CLOSE SHOT - ASH 273
He pulls back in fear, then turns to the sound of more
laughter.
274 ASH'S POV - CLOSE SHOT 274
The desk lamp on its steel swivel rises and falls in
synchronization with its wheezing laughter. Ah ha ha
ha ha. Ahhhh ha ha ha ha!
275 CLOSE SHOT - ASH 275
Terrified, he turns to more laughter.
276 ASH'S POV - CLOSE SHOT 276
A line of 12 old books upon the shelf flap open and
closed violently as they emit a chorus of sharp laughs.
Ash turns.
276A CLOSE SHOT 276A
Other books upon the floor laugh.
277 MEDIUM SHOT - OVER ASH'S SHOULDER 277
He turns sharply toward us and breaks into an
uproariously frightening bout of laughter.
278 WIDE SHOT - ASH 278
The wooden door behind Ash comes to life. It
stretches out as though it were elastic with each of
its own low and terrible laughs.
279 WIDE SHOT - MAIN ROOM - TRACKING SHOT 279
RIGGING FOR TRAP DOOR, CABINETS, CLOCK
Ash and everything in it are having the time of their
lives. Ash leads the bunch laughing harder and
harder.
279A MEDIUM SHOT - HAND HELD - FRONT DOOR AND ASH 279A
KNOCK! KNOCK! KNOCK!
The room's laughter suddenly stops. Ash instantly
terrified, grabs up the shotgun and fires into the
door. Blam! Blam!
PAN to the front door.
Two holes are blown into the door. We hear a short
shrill scream and then all is quiet.
280 OMIT 280
281 OMIT 281
282 OMIT 282
282A MEDIUM SHOT - ASH 282A
Ash opens the front door. It slowly swings inward
with a creak revealing the empty night.
283 MEDIUM SHOT - ASH AND JAKE 283
Ash approaches the front porch as Jake enters sharply
into his frame. Jake tackles Ash.
284 MEDIUM SHOT - SHOTGUN 284
As it slides across the floor.
285 MED. SHOT - ASH, JAKE AND ED 285
Ed enters and holds Ash down as Jake slugs him twice.
Ash's fist comes up into frame catching Jake on the
jaw. Jake pulls back his fist and rockets a piledriver
blow to Ash's face, knocking him senseless.
285A C.U. ASH 285A
285B C.U. JAKE 285B
286 MEDIUM SHOT - FRONT DOORWAY - THE GROUP 286
Annie and Bobby Joe enter. Annie is taking off Bobby
Joe's coat. Bobby Joe is wounded from the shotgun blast.
She holds her shoulder where the shell has grazed her.
JAKE
You gonna be alright, honey?
BOBBY JOE
I don't know.
JAKE
You just sit still fer a minute.
287 MEDIUM SHOT - JAKE, ED, ANNIE, AND BOBBY JOE 287
As Jake gives Ash a swift kick in the ribs. Ash moans.
Jake turns to Ed, who is badly shaken.
JAKE
You know this son of a bitch?
ED
No. We thought her -
Annie steps forward.
ANNIE
Oh my God. Where are my parents?
Annie sets down the glass case containing the pages
of the Book of the Dead.
288 CLOSE SHOT - ANNIE 288
As she looks down to the floor.
289 ANNIE'S POV - THE CHAINSAW 289
As it lies in a pool of blood.
290 CLOSE SHOT - ANNIE 290
Annie runs to Ash's semi-conscious body, grabs his
shirt and violently shakes him.
ANNIE
What the hell did you do to them?
Ed pulls Annie off of Ash. She drops Ash's moaning head
to the floor and backs away from him, sobbing.
291 MEDIUM SHOT - JAKE 291
Nursing his sore knuckles, he points with his elbow
to the trap door that leads to the cellar.
JAKE
We'll throw him in there.
292 MEDIUM SHOT - JAKE AND ASH 292
Jake picks up Ash's body and drags him quickly to
the trap door. Half conscious, Ash feebly struggles
with Jake.
JAKE
Crazy buck's gone blood simple.
293 ASH'S POV - HAND HELD 293
As he approaches the trap door almost upside down.
Ed pries it open.
294 CLOSE SHOT - ASH - HAND HELD 294
In a dazed state as he is carried to the trap door.
ASH
Wait... I made... a mistake...
JAKE
Damn right, you flat mouthed
son of a bitch.
294A MEDIUM SHOT - ASH AND JAKE 294A
Jake kicks Ash down into the open trap door.
295 INT. CABIN CELLAR - NIGHT 295
ASH DUMMY
Looking up at the open trap door as Ash's body falls
through frame.
296 INT. CABIN CELLAR - NIGHT 296
CLOSE SHOT - CELLAR STEP - ASH'S HEAD
As it slams into the wooden step. His feet tumble over
him as he begins to fall down the staircase.
297 LONG SHOT - ASH - STUNT 297
As he tumbles head over heels down the wooden steps.
298 ASH'S POV 298
Racing down the steps.
299 MEDIUM SHOT - ASH 299
As he slams to the dirt floor of the cellar. Hard.
He moans.
300 INT. CABIN MAIN ROOM - NIGHT 300
LOOKING UP TO THEM FROM CELLAR
Jake, Ed and Bobby Joe.
BOBBY JOE
I hope you rot down there!
301 INT. CABIN CELLAR - NIGHT 301
MEDIUM SHOT
Ash begins to realize where he is. Growing terror on
his battered face.
ASH
N... No.
302 INT. CABIN CELLAR - NIGHT 302
ANGLE LOOKING UP
Jake swings the trap door shut with a clanging of chains.
303 INT. CABIN CELLAR - NIGHT (STUDIO) 303
MEDIUM SHOT - ASH
The shaft of light from above disappears and he is
encased in the darkness of the cellar.
From above he hears the threading of chains through
eyeloops.
304 INT. CABIN MAIN ROOM - NIGHT 304
MED. SHOT - JAKE, ANNIE, BOBBY JOE, ED
Jake has just laid Bobby Joe down upon the couch. He
dresses her wound with a towel. Annie tosses down her coat
on the chair at the writing desk.
304A MEDIUM SHOT - ANNIE 304A
She spots the tape recorder and Kandarian Dagger. She
moves to them.
ANNIE
These are my father's things.
She turns on the tape recorder. High pitched feedback
and the professor's screams come from the speaker.
PROFESSOR KNOWBY
(Voice on Tape)
Last night Henrietta tried to kill me.
ANNIE PROFESSOR KNOWBY
SHHH! Listen! (Voice on tape)
My father's voice. I know now, that my wife has
become host to a kandarian demon.
305 MED. SHOT - JAKE, BOBBY JOE AND ED 305
As they turn their heads to the sound of:
306 CLOSE SHOT - TAPE RECORDER - TRACKING 306
Still playing, the tapes wind as we hear the wowing and
fluttering voice of Raymond Knowby.
PROFESSOR KNOWBY
(Voice on tape)
I cannot bring myself to dismember
my wife, yet I know that I must, to
halt the evil that lives within her.
307 CLOSE SHOT - ANNIE - TRACKING IN 307
Horrified.
ANNIE
No.
308 OMIT 308
309 INT. CABIN CELLAR - NIGHT (STUDIO) 309
MED. SHOT - ASH - TRACKING AROUND HIM
As he lays in the center of the cellar's earth floor.
He strains his ears to listen to the tape playing in
the room above.
PROFESSOR KNOWBY
(Voice on tape)
It is October 1, 4:33 p.m. Henrietta
is dead. I could not bring myself
to dismember her corpse. But I
buried her.
310 CLOSE SHOT - ASH 310
TRACKING CLOSER
As he listens intently to the tape playing in the room
above.
311 INT. CABIN MAIN ROOM - NIGHT 311
TRACKING SHOT - TAPE RECORDER
CAMERA SLOWLY MOVING IN on the winding tape.
PROFESSOR KNOWBY
(Voice on tape)
I . . . buried her . . . in the
cellar.
312 INT. CABIN CELLAR - NIGHT - (STUDIO) 312
CLOSE SHOT - ASH - TRACKING CLOSER
Growing horror on his face as he realizes where he is.
PROFESSOR KNOWBY
(Voice on tape)
God help me, I buried her in the
earthen floor of the fruit cellar!
313 OMIT 313
314 OMIT 314
315 INT. CABIN CELLAR - NIGHT (STUDIO) 315
ASH'S POV - CLOSE SHOT - (STOP MOTION ANIMATION)
Ash's legs in the foreground. Suddenly from the
earthen floor of the fruit cellar a half-rotten human
head juts up! Just the eyes are above the surface of the
dirt. They dart about wildly and halt upon Ash. Worms
crawl from the rotted forehead.
316 INT. CABIN CELLAR - NIGHT (STUDIO) 316
CLOSE SHOT - ASH
He screams.
317 MED. SHOT - OVER ASH'S SHOULDER - MOCK UP OF CELLAR 317
SET
Henrietta's arm rips through the earth and grabs Ash's
leg as he tries to back away. The corpse that was
Henrietta pulls itself from the grave and emits a wail.
She turns her twisted body to face Ash. Moths fly
about her in a flurry.
HENRIETTA
Someone's in my fruit cellar!
Someone with a fresh soul!
318 INT. CABIN MAIN ROOM - NIGHT 318
MED SHOT. - THE GROUP
All eyes on the trap door.
ED
Somebody's down there with him.
ANNIE
No. Can't be.
319 INT. CABIN CELLAR - NIGHT (STUDIO) 319
MED. SHOT - ASH
He runs up the steps to the trap door and begins
pounding furiously upon it.
320 CLOSE SHOT - ASH 320
ASH
Let me out! Let me out!!!
321 MED. SHOT - (REVERSE ACTION) - WIND FAN 321
Henrietta lets out a terrible laugh and approaches the
wooden staircase.
322 INT. CABIN MAIN ROOM - NIGHT 322
MED. SHOT - THE GROUP
All eyes are on the banging trap door. ASH'S wild
screams are coming from beneath. They look at one
another, not sure of what to do. Jake holds the ring
of keys.
ANNIE
Let him out.
JAKE
It's a trick. I know it.
ANNIE
LET HIM OUT!
323 INT. CABIN CELLAR - NIGHT (STUDIO) 323
WIDE SHOT - ASH
At the top of the steps, pounding on the trap door,
screaming to be let out. HENRIETTA ENTERS the FRAME at
the bottom of the steps. A flutter of moths about
her.
324 WIDE SHOT - (REVERSE ACTION) 324
Henrietta begins to climb the steps. Two at a time.
HENRIETTA
Come to me. Come to sweet
Henrietta.
325 INT. CABIN MAIN ROOM - NIGHT 325
MED. SHOT - JAKE
As he tries one key after another.
326 CLOSE SHOT - KEYS 326
As they are forced into the lock.
327 INT. CABIN CELLAR - NIGHT 327
CLOSE SHOT - ASH
Sweating at the top of the steps, watching as Henrietta
approaches.
ASH
No.
328 CLOSE SHOT - HENRIETTA 328
Extending her rotted and worm infested arm toward him.
HENRIETTA
Yesssssss. You and I. We
shall spend eternity together.
329 CLOSE SHOT - ASH 329
Marie's shadow envelops him. He is petrified.
HENRIETTA
But first I'll swallow your soul !
330 INT. CABIN CELLAR - NIGHT (STUDIO) 330
CLOSE SHOT - HENRIETTA - (STOP MOTION ANIMATION/REAR
SCREEN)
With a sharp recoil, then spring, Henrietta makes a
lunge at Ash. Her face contorting, her teeth
lengthening, her mouth opening impossibly wide
as though she were going to swallow his head, and all as
she lunges forward. She changes to "e;Pee Wee"e; head.
330P INT. CABIN CELLAR - NIGHT - 35MM KODAKCHROME SLIDE 330P
Plate for previous scene.
331 INT. CABIN CELLAR - NIGHT (STUDIO) 331
CLOSE SHOT - ASH
He screams as a set of bloody hands grab his face.
But they are not Henrietta's. He is pulled upward to
the main room of the cabin.
332 INT. CABIN MAIN ROOM - NIGHT 332
CLOSE SHOT
It is Jake who pulls Ash to safety.
333 WIDE SHOT - MAIN ROOM 333
Jake finishes pulling Ash up from the trapdoor and
onto the floor of the main room. The horrible face of
Pee-Wee head Henrietta pops from the cellar!
334 CLOSE SHOT - ANNIE AND ED 334
SCREAMING at the sight of the beast.
ANNIE
For God's sake! That's my mother!
335 CLOSE SHOT - JAKE 335
One of Henrietta's rotted hands reach up from the cellar
grabbing Jake.
336 CLOSE SHOT - ED 336
As he moves to help Jake, Henrietta swats at his jaw,
knocking him backward into a picture frame. He shatters it
with his head and slumps to the floor.
337 MED. SHOT - ASH 337
As he moves toward the trapdoor.
338 CLOSE SHOT - (STYROFOAM TRAPDOOR) 338
Ash's foot kicks the trapdoor shut and crushes
Henrietta's Pee-wee head between the door and the
floorboards.
339 MED. SHOT - DUMMY OF HENRIETTA - PEE WEE HEAD 339
Ash leaps down upon the trapdoor, slamming it to pin
Pee-Wee head sideways. The pressure sends her left
eyeball popping from her head, like a cork from a
champagne bottle.
340 CLOSE SHOT - EYEBALL FLYBALL 340
Henrietta's eyeball and trailing optic nerve - mounted
on glass - panning with the eyeball as it sails through
space.
341 CLOSE SHOT - BOBBY JOE (REVERSE ACTION) 341
As the eyeball is shot into her screaming mouth.
She begins to gag on it.
342 WIDE SHOT 342
Jake kicks Marie's Pee-Wee head in the face, sending
her back down into the cellar. The trap door shuts.
Ash leaps atop it. The sound of Henrietta falling down
the cellar steps is heard along with the beast's wild
ravings. Ash quickly threads the chains through the
eyeloops.
343 CLOSE SHOT - ASH 343
He snaps the lock shut. Ash is shaking. Jake slowly
moves down into his frame. He is completely terrified.
343A CLOSE SHOT - TAPE RECORDER IN F.G. 343A
ASH, JAKE, ANNIE AND BOBBY IN B.G.
The tape recorder continues to play.
RAYMOND KNOWBY (V.O.)
(Voice on tape)
I fear that whatever I have
resurrected from this book, is sure
to come calling for me.
344 EXT. WOODS/CABIN - NIGHT 344
(SHAKI-CAM)
The CAMERA takes the POV of the Evil Force as it
glides through the woods. Over a stump, around the
Oak trees, through a patch of fog, as the cabin comes
into view.
345 OMIT 345
346 MED. SHOT - ANNIE, ASH, JAKE, BOBBY JOE AND ED 346
Ash turns to the group, Annie is placing her wet
bandana atop Ed's forehead.
ASH
There's something out there. That...
witch in the cellar is only part of it.
It lives out in those woods. In the Dark.
Something that's come back from the dead.
346A OMIT 346A
346B OMIT 346B
346C OMIT 346C
346D OMIT 346D
347 CLOSE SHOT - BOBBY JOE 347
Interrupting Ash.
BOBBY JOE
Jake, let's beat it the hell out
o'here, right now. I gotta get out!
JAKE
Now Bobby, you ain't in no condition.
ASH
Nobody goes out that door. Not till
daylight.
347A THE GROUP 347A
They freeze in their tracks as they hear a gentle voice
which sings a melancholy tune. Annie turns her head
to the sound and the CAMERA PANS TO reveal HENRIETTA whose
head juts in the space between the floorboards and the
trap door. She is no longer possessed. She looks as
she did earlier in the film. She is singing a gentle
song to Annie.
347B CLOSE SHOT - HENRIETTA 347B
HENRIETTA
Remember that song Annie? I used
to sing it to you when you were a baby.
347C CLOSE SHOT - ANNIE 347C
Uncertain of what to do, but wanting to believe.
HENRIETTA
Let me out, dear. It's so cold and dark
in here.
ANNIE
Mother?
HENRIETTA
Unlock these chains. Quickly.
347D MEDIUM SHOT - ASH AND ANNIE 347D
Annie starts to follow the instructions, but Ash halts
her gently. He shakes his head. Annie snaps out of
it. She shakes her head and looks to the cellar.
ANNIE
No. No. I don't know what you
are but you're not my mother.
Annie begins to cry.
347E CLOSE SHOT - TRAP DOOR 347E
Henrietta is crying also.
VOICE OF HENRIETTA
How can you say that to me Annie?
ANNIE
No!
VOICE OF HENRIETTA
You were born September 2nd, 1962. I
remember it well because it was
snowing. So strange that it would
be snowing in September.
348 CAMERA TRACKING IN ON ANNIE 348
Confused and tearful, she screams to the others in the
room.
ANNIE
That thing in the cellar is not
my mother!
Ed stands sharply into her frame. His eyes bone white,
his skin, the pale color of the dead. His mouth has
grown over large. His lips are black. He is possessed.
He shrieks. Annie screams and jumps back out of frame.
349 MED. SHOT - ED POSSESSED 349
RIGGING - REVERSE ACTION
He flies up into the air and writhes about as if he
were a human marionette. He lets out a demonic moan
and then begins to laugh.
350 MED. SHOT - BOBBY JOE AND JAKE 350
As they clutch in fear at one another.
351 MED. SHOT - ANNIE AND ASH 351
As they look on in horror. Ash steps in front of
Annie as she gapes at this monstrosity that was Ed.
352 CLOSE SHOT - ED POSSESSED 352
RIGGING
As he floats about the room. His laughter suddenly
stops and a second demonic voice comes from his body.
It is female, and wailing in lament.
353 CLOSE SHOT - ASH 353
Watching in horror.
354 MED. SHOT - POSSESSED ED
RIGGING - UP AND DOWN
The body of Ed turns sharply toward the group, not
really seeing.
ED
(In the voice of POSSESSED #1)
We are the things that were.
(In the voice of POSSESSED #2)
And shall be again! HA HA HA HA HA!
(In the voice of POSSESSED #1)
Spirits of the book.
(In the voice of POSSESSED #2)
We want what is yours! LIFE!
As he floats about, his head dips and swoons.
ED
(In the voice of POSSESSED #1)
Dead by dawn!
(In the voice of POSSESSED #2)
Dead by dawn!
355 CLOSE SHOT - HENRIETTA POSSESSED 355
Sticking her gnarled head from the cellar.
HENRIETTA
Dead by dawn! Dead by dawn!
356 WIDE SHOT - JAKE AND BOBBY JOE IN FOREGROUND 356
RIGGING - DOLLY CART
Ed floating, turns his head sharply to Bobby Joe. The
Possessed body of Ed rushes through the air towards
her. He opens his mouth wide open.
357 ED'S POV 357
As he quickly rushes upon a screaming Bobby Joe.
358 CLOSE SHOT - ED AND BOBBY JOE 358
He bites into Bobby Joe's head. With a single motion
he rips out the bulk of the hair from her head with a
terrible RIIIIIIIIP SOUND.
358A MEDIUM SHOT - ED DUMMY 358A
Stands up into frame with a clump of Bobby Joe's hair
in his mouth and swallows it.
359 WIDE SHOT - GROUP 359
Bobby Joe collapses to the ground.
360 MED. SHOT - HENRIETTA POSSESSED 360
As she calls from the cellar.
HENRIETTA
Free me! Unlock these chains!
361 MED. SHOT - POSSESSED ED 361
He turns to the trap door and moves toward it.
362 MED. SHOT - ASH AND ANNIE 362
Both horrified. Ash retreats. Annie is shocked as
she watches Ash back into the middle bedroom and
disappear.
363 CLOSE SHOT - ANNIE 363
ANNIE
Where are you going?! HELP
US!! You filthy COWARD!
364 ANGLE FROM TRAP DOOR - POSSESSED ED AND JAKE 364
Possessed Ed moves toward the trap door. Jake comes up
quickly behind Ed to grab his shoulder.
365 JAKE'S POV - DUMMY OF POSSESSED ED 365
As Jake's hand reaches for the shoulder of possessed Ed.
The head of possessed Ed spins around on its neck so that
it faces Jake.
365A CLOSE SHOT - POSSESSED ED 365A
ED
(In the voice of a woman)
We see you!
366 CLOSE SHOT - JAKE 366
Screaming as Ed's hand enters frame, and snags Jake's
face. He tosses Jake upward.
367 CLOSE SHOT - ED POSSESSED 367
As he tosses Jake upward.
368 HIGH-WIDE SHOT - POSSESSED ED AND JAKE STUNTMAN 368
REVERSE ACTION - UNDERCRANKED
Jake flies upward towards the ceiling of the cabin.
369 INT. CABIN CEILING - NIGHT (CEILING SET PIECE) 369
MED. SHOT
A prop light bulb "e;Shining"e; in its fixture. Jake's
head comes flying up into frame, shattering it, and
slamming into the wood ceiling and then falling back
down again.
370 INT. CABIN MAIN ROOM - NIGHT 370
MED. SHOT - POSSESSED ED AND JAKE STUNT MAN
As Jake slams back down to the floor of the cabin.
371 MED. SHOT - ASH 371
As he reappears in the doorway of the room. Now he
clutches an axe in his single hand.
372 MED. SHOT - POSSESSED ED 372
As he grabs the chains that secure the trap door ready
to rip them loose. He turns his head to see:
372A OVER POSSESSED ED'S SHOULDER 372A
Ash approaches with the axe.
373 MED. SHOT - ASH AND ANNIE AND OFF SCREEN 373
DUMMY OF ED
Ash exits the frame and we are left with Annie and the
stark shadow of possessed Ed which is cast upon the
wall behind her. We watch as the shadow of Ash with the
axe, slices through the top portion of possessed Ed's
head. Annie screams as she is splattered with green
bile.
373A CLOSE SHOT - POSSESSED ED DUMMY 373A
Missing Ed's right hand portion of his head.
His brain, shriveled like the inside of a pumpkin.
373B POSSESSED ED'S POV - ASH - EYEMO CAMERA AND MOUNT 373B
Ash stands before us, his axe dripping green bile.
Ed's arms flail wildly on either side of the camera,
groping at the air. He slowly falls over and slams
to the floor.
374 OMIT 374
375 OMIT 375
376 MED. SHOT - POSSESSED ED (FRAMED WITH AND W/O HEAD) 376
Ed's body falls to the floor. It lays quiet for a
moment and then begins to writhe and scream in its
demonic death throes. Finally, he is silent.
377 MED. SHOT - ASH AND ANNIE - POSSESSED ED DUMMY 377
Ash turns to her.
ASH
Start up that saw and hand it here!
We're gonna cut him up.
Annie looks to the chainsaw and then to the unmoving body
of Ed. She is repulsed at the thought.
ANNIE
No.
ASH
START IT UP!
ANNIE
NO!
Possessed Ed stands up quickly into frame! The evil
force having re-animated his lifeless body.
377A CLOSE SHOT ASH - OVER POSSESSED ED'S SHOULDER 377A
FLYING PLATFORM
As a hand grabs Ash's throat. Possessed Ed exits
frame, revealing it to be Ash's evil hand on his own
throat. It lifts him into the air.
377B CLOSE SHOT - ASH'S FEET 377B
As they are lifted off the floor.
377C CLOSE SHOT ASH 377C
He pries the evil hand from his throat and falls.
377D ASH/EVIL HAND 377D
As he slams to the floor the evil hand scurries away
in the B.G.
378 OMIT 378
379 OMIT 379
380 MED. SHOT - POSSESSED ED DUMMY AND ANNIE 380
Annie is screaming in horror. Possessed Ed backhands
her across the face.
381 MED. SHOT - WRITING DESK 381
Annie slams into a desk shattering it to splinters
of wood. She falls to the floor.
382 MED. SHOT - ASH 382
As he grabs the axe.
383 MED. SHOT - POSSESSED ED - DUMMY 383
As he stands sharply into frame. His mouth
wide open and screaming.
384 MED. SHOT - ASH AND POSSESSED ED 384
Terrified, as he moves toward possessed Ed with the
axe.
385 MED. SHOT - ASH AND POSSESSED ED DUMMY 385
RUBBER AXE
Ash brings the axe down upon Ed's shoulder, knocking
him to the floor. ASH swings the axe again and again.
Different colors of bile and blood fly up into frame as
Ash chops.
385A CLOSE SHOT - ANNIE 385A
Screaming at the sight.
386 CLOSE SHOT - ASH 386
His axe blade rises and falls as black demon blood
flies up into frame.
387 CLOSE SHOT - LOW ANGLE - FLOOR LEVEL 387
ASH AND ED DUMMY PARTS
Ed's missing portion of his head sits upon the floor.
His eye in extreme C.U. in the foreground. It looks
wildly about into the CAMERA. In the background, we
watch Ash bring down the axe until all is silent.
388 WIDE SHOT 388
Jake slowly stands into the empty frame. He is in shock
from what he has just seen. Annie slowly rises into
frame - shaking her head in a silent "e;No."e; Ash slowly
rises into frame, terrified. They are looking down at
the out-of-frame remains of possessed Ed.
388A OMIT 388A
389 EXT. CABIN - NIGHT - MITCHELL 389
The moon has grown larger. Fog billows past the cabin.
389P EXT. NIGHT - THE FULL MOON 389P
390 OMIT 390
390A MAIN ROOM NIGHT - ASH, JAKE, BOBBY JOE AND ANNIE 390A
Jake sprays a can of air freshener about the room.
He holds his nose. Ash tosses a bloodied sheet,
containing the remains of possessed Ed to the floor.
It lands with a sickening thud. Wiping his face with a
rag, Ash moves off in disgust. We hold on the bundled
sheet as the trap door next to it silently opens.
Henrietta's rotted hand emerges, unnoticed by the others
in the room.
BOBBY JOE
Jake, I can't take no more of this.
Henrietta's rotted hand pulls the bundle of body
parts silently down into the cellar and quietly
closes the trap.
390B MEDIUM SHOT JAKE AND BOBBY JOE 390B
Jake moves to the window and looks out.
JAKE
That's funny.
BOBBY JOE
What?
JAKE
That trail we came in here on...
well, it just ain't there no more.
Like the woods jus' swallowed it.
The room goes quiet. The sound of the wind outside
the cabin has died. Jake and Bobby Joe cock their
heads to this new silence.
391 OMIT 391
392 CLOSE SHOT - ANNIE AND ASH 392
She looks about the room, getting scared.
ANNIE
It's so quiet.
Ash stands slowly into frame. He knows that it can't
be good.
393 WIDE SHOT - THE GROUP 393
As they raise their heads to a distant pounding sound.
It grows louder.
BOOM - BOOM!
BOOM - BOOM!
JAKE
What the hell is it?
ASH
Maybe something... Something trying
to force its way into our world.
BOOM!
BOOM!
BANG!
BAM!
393A EYEMO CAMERA/MITCHELL CAMERA - GROUP 393A
The cabin WALL. Bang!
393B THE FRONT DOOR - GROUP - EYEMO/MITCHELL 393B
393C THE BOARDED WINDOW - GROUP - EYEMO/MITCHELL 393C
BANG!
393D THE CEILING BEAMS - GROUP - EYEMO/MITCHELL 393D
BAM!
393E A SECTION OF WALL - GROUP - EYEMO/MITCHELL 393E
393F A SECTION OF THE TONGUE AND GROOVE FLOOR 393F
EYEMO - MITCHELL - GROUP
BAM!
393G ASH - C.U. 393G
393H JAKE - C.U. 393H
393I ANNIE - C.U. 393I
393J BOBBY JOE - C.U. 393J
394 MEDIUM SHOT - JAKE AND BOBBY JOE 394
Bobby Joe runs to Jake's arms. He clutches her tightly.
395 MEDIUM SHOT - ANNIE AND ASH 395
Annie runs to Ash. He holds her. The pounding sounds
halt. Again they are left in silence. Annie awkwardly
disengages herself from Ash. They hear a sound coming
from the middle bedroom.
BOBBY JOE
It's in there.
396 MEDIUM SHOT - DOOR TO MIDDLE BEDROOM 396
It is opened a crack.
397 MEDIUM SHOT - THE GROUP 397
ASH
We'll all go in together.
JAKE
Hell no, you're the curious one.
398 MEDIUM SHOT - ASH AND ANNIE 398
He moves toward the door.
ANNIE
I'll go with you.
Ash nods to Annie in a show of thanks. He grabs the
axe, and pushes open the door to the middle bedroom.
Annie follows with the flickering oil lantern.
399 INT. MIDDLE BEDROOM - NIGHT 399
The door to the main room creaks open. Ash and Annie
cautiously enter. They look about the place.
400 ASH'S POV - MIDDLE BEDROOM - NIGHT 400
As the CAMERA PANS the shadowed corners of the room.
401 MEDIUM SHOT - ASH AND ANNIE 401
An eerie whistling wind is heard. It has an other
worldly sound, very far off.
401A MEDIUM SHOT - DOORWAY TO MIDDLE BEDROOM 401A
Bobby Joe and Jake enter the room, drawn by the sound.
401B CLOSE SHOT - BOBBY JOE 401B
She looks about, frightened.
401C OMIT 401C
401D MEDIUM SHOT - JAKE AND BOBBY JOE 401D
Jake takes Bobby Joe's hand. Bobby Joe smiles,
frightened.
402 MEDIUM SHOT - ASH 402
Waiting.
403 MEDIUM SHOT - PANNING THE DARK ROOM 403
As the eerie whistling sound grows louder. It is
followed by the angry sound of something moving violently
about the room. A shattering of glass.
404 OMIT 404
405 MEDIUM SHOT - THE GROUP 405
WOOOOOSH! The group is hit with a tremendous blast of
air. They shiver from the cold.
406 MEDIUM SHOT - ASH 406
The wind in the room suddenly stops. He blows out his
breath and watches it vaporize. The screaming face of
Raymond Knowby emerges from the wall. A life like
spirit made of swirling smoke and mist.
RAYMOND
Annie.
406P PLATE FOR PREVIOUS SCENE 406P
BLACK STUDIO - RAYMOND
407 CLOSE SHOT - ASH AND ANNIE 407
They turn to the ghost in fear.
408 MEDIUM SHOT - JAKE AND BOBBY JOE 408
Awestruck. Bobby Joe crosses herself.
JAKE
Holy Mother O'Mercy.
409 OMIT 409
410 OMIT 410
411 OMIT 411
412 OMIT 412
413 MEDIUM SHOT - THE GHOST OF RAYMOND 413
RAYMOND
There is a dark spirit here that
wants to destroy you. Your
salvation lies in the pages
from the Book of the Dead.
The ghost of Raymond points to Annie's glass case.
CAMERA PANS to it. Inside are the pages from the Book.
413P PLATE FOR PREVIOUS SCENE 413P
BLACK STUDIO - RAYMOND
414 CLOSE SHOT - ANNIE 414
Listening.
415 ANGLE - THE GROUP AND THE GHOST OF RAYMOND 415
RAYMOND
Recite the passages. Dispel the evil.
Save my soul... And your own lives.
The ghost of Raymond screams and is gone.
415P PLATE FOR PREVIOUS SCENE 415P
BLACK STUDIO - RAYMOND
416 MEDIUM SHOT - THE GROUP 416
Whoosh! Again they are hit with a blast of air.
416A MEDIUM SHOT - JAKE AND BOBBY JOE 416A
BOBBY JOE
Jake, you squeezing my hand too tight.
JAKE
I ain't got your hand, baby.
BOBBY JOE
Then who...?
Bobby Joe raises her hand into frame, to reveal Ash's
Evil Hand clutched in hers. Bobby Joe goes nuts,
screaming and flailing about trying to throw the hand
from her. She slams into the lantern, knocking it out.
We lose them in the darkness.
JAKE'S VOICE
Somebody get the light!
The sound of chairs being pushed over. The sound of
a door opening and closing.
417 CLOSE SHOT - ASH 417
As he lights the lantern illuminating the room.
CAMERA PANS over to reveal only Jake and Annie.
418 CLOSE SHOT - JAKE 418
Looking about.
JAKE
Hey. Bobby Joe's gone!
419 OMIT 419
420 OMIT 420
421 EXT. CABIN - NIGHT 421
Screaming, Bobby Joe makes a mad dash away from the
cabin. It diminishes in size behind her, she has had
enough of it.
422 EXT. WOODS - NIGHT - DRAGWAY 422
MEDIUM SHOT - BOBBY JOE - TRACKING
As she races through the woods.
423 CLOSER - JONES' CREEK 423
She runs deep into the woods, still looking behind her
as she slams into a twisted oak tree that stops her flat.
An angry face appears on the surface of the tree. Its
gnarled bark folds open to reveal very human like oversized
eyes. A large fold in its bark opens to form a gaping
mouth dripping tree sap saliva.
TREE FACE
BAHHHH!
423A CLOSE SHOT - TREE FACE 423A
424 CLOSE SHOT - BOBBY JOE - (REVERSE ACTION) 424
JONES' CREEK
Screaming as she backs away from this living tree as
a flurry of snake like vines pick themselves up off of
the ground and come to life about her.
425 CLOSE SHOT - BOBBY JOE'S LEGS - (REVERSE ACTION) 425
JONES' CREEK
Two living vines wind their way toward her legs and
coil around her ankles tightly.
426 CLOSE SHOT - BOBBY JOE - JONES' CREEK - 4 RIPS 426
She lets out a short shrill scream, as her shirt
is torn away from her.
427 MED. SHOT - (REVERSE ACTION) JONES' CREEK 427
Living vines wind around Bobby Joe's torso and breasts
in a furious wrapping motion.
428 CLOSE SHOT - (REVERSE ACTION) JONES' CREEK 428
A living vine wraps around her throat.
429 CLOSE SHOT - (REVERSE ACTION) JONES' CREEK 429
Tiny vines wrap around Bobby Joe's hand and fingers.
429A EXT. JONES CREEK - NIGHT 429A
SHOTS OF VINES COMING TOWARDS CAMERA
430 MED. SHOT - RIGGING - STUNT 430
UNDERCRANKED - JONES' CREEK
Bobby Joe, wrapped in vines, is reeled backwards and
ripped through a wall of branches.
431 MED. SHOT - PANNING - RIGGING EFFECT - STUNT 431
UNDERCRANKED - JONES' CREEK
At a great speed, Bobby Joe is pulled away from the
cabin and towards the forest by the vines.
432 BOBBY JOE'S POV - OVER HER LEGS - RIGGING EFFECT 432
STUNT - UNDERCRANKED - REVERSE ACTION - DRAGWAY
As the vines rocket her on a speeding FAST MOTION
joyride along the forest floor.
433 CLOSE SHOT - BOBBY JOE'S FACE 433
RIGGING EFX - DRAGWAY
As she drags along the forest flctor, the smaller vines
force their way into Bobby Joe's nose and mouth and
then under the first layer of her facial skin.
433A TRACKING SHOT - DRAGWAY - DUMMY AND STUNT 433A
She is pulled along the ground and down into a
foxhole (dummy). Camera continues tracking along
her original trajectory until we come to the second
foxhole where she emerges, now covered in mud, and
screaming.
433B ANGLE - DUMMY - JONES' CREEK 433B
Bobby Joe rips through spikes extending from a log
and is dragged through two mud puddles. The vines
wisk her away.
434 EXT. SWAMP - NIGHT 434
PANNING SHOT - RIGGING EFFECT - STUNT
She hits a swamp with a giant splash, but even this
does not stop her.
435 LONG SHOT - SWAMP 435
ROOSTERTAIL WATER SPRAY EFX - STUNT
She glides across the surface of the swamp with a great
roostertail spray of water, as if she were on water skis.
436 ANGLE - RIGGING EFX - STUNT - SWAMP 436
She hits the other side of the swamp and is rocketed out
of the water and across the forest floor.
437 EXT. WOODS - NIGHT - JONES' CREEK - DUMMY 437
STATIC CAMERA - RIGGING EFFECT - STUNT - UNDERCRANKED
Bobby Joe comes roaring towards us, screaming. She
rips past.
438 STATIC CAMERA - RIGGING EFFECT - STUNT 438
UNDERCRANKED - JONES' CREEK
From BEHIND CAMERA Bobby Joe appears and goes racing
into the distance.
439 BOBBY JOE'S POV - OVER HER LEGS - DRAGWAY 439
RIGGING EFFECT - UNDERCRANKED - STUNT
Darting in and around trees, a major stump is coming
right for her. Bobby Joe's legs spread wide. The
tree stump races closer. Bobby Joe SCREAMS . . . her
last.
439A TREE STUMP'S POV - BOBBY JOE APPROACHES 439A
UNDERCRANKED
439B BOBBY JOE'S LEGS - STUMP - DRAGWAY 439B
STOP MOTION - REVERSE ACTION
Girl meets stump.
440 EXT. WOODS - NIGHT - OVERCRANKED 440
LOW SHOT - LOOKING UPWARD PAST THE STUMP -
BLOOD GEYSER EFX
We hear the RIP! And watch as a geyser of blood floods
up into the night sky.
441 INT. CABIN - MAIN ROOM - NIGHT - OVERCRANKED 441
CLOSE SHOT - GLASS CASE CONTAINING 
