EVIL DEAD II SCRIPT
SEVENTH DRAFT - May 5, 1986
DE LAURENTIIS ENTERTAINMENT GROUP LOGO
RENAISSANCE PICTURES LOGO
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:
Then beneath it, the Roman Numeral "II."
A SLOW ZOOM brings it toward us. And as the screams reach their sharp
crescendo the title zooms through us.
1 ANGLE - STOP MOTION ANIMATION
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
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
2 A SPINNING VORTEX - (3 PAINTINGS ON AN ANIMATION STAND) - 12 SEC.
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.
When the seas ran red with blood.
DISSOLVE THRU TO:
2P PLATE FOR PREVIOUS SCENE - ROD PUPPET GHOSTS
3 STOCK FOOTAGE - (OPTICALLY COLOR SEPARATED)
A raging ocean of blood. Great waves rise and swell as if before a
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 STAND - BLUE SCREEN
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.
The Book of the Dead was last seen
in 1300 A.D.
DISSOLVE THRU TO:
4P STOCK FOOTAGE - THE RIFT
5 EXT. KANDAR CASTLE - DUSK - 4 WARRIORS - 4 HORSES
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.
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 - 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 long sword. 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.
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
DISSOLVE THRU TO:
6 EXT. CASTLE OF KAN DAR - DAY - RUINS
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
A four wheel drive vehicle roars PAST THE CAMERA and toward the
7 INT. CASTLE OF KAN DAR - DAY - (STUDIO) - 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 "Hero from the Sky"
holding his unusual jagged edged weapon.
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 - MED. SHOT - FOG
Billowing past the camera in front of a black drape.
DISSOLVE THRU TO:
9 EXT. CABIN - NIGHT - LONG SHOT
An old log cabin, built in the valley of a dark forest. A great wind
billows fog about the place.
Professor Raymond Knowby and his
wife, HENRIETTA, brought the book to
a small cabin where they could study
10 INT. CABIN MAIN ROOM - NIGHT
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
He speaks the phonetic pronunciation of completed sentences into the
microphone of a tape recorder.
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 - MED. SHOT - FOG
Blowing past the camera in front of black drape.
DISSOLVE THRU TO:
13 INT. CABIN CELLAR - NIGHT (STUDIO)
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.
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.
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
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
As the microphone falls atop it. High pitched feed-back screams from
13A CLOSE SHOT - RAYMOND
Screaming in terror.
13B CLOSER - RAYMOND
His fearful eyes fill the screen as the scream continues.
13C EXTREME C.U. - RAYMOND'S EYE
Darting about wildly and the scream continues.
DISSOLVE THRU TO:
14 INT. DARK TUNNEL - DAY - 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.
It was one week later that a group
of college students came to the
14A EXT. CABIN - NIGHT - TRACKING SHOT
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 - ASH AND LINDA
LINDA, an attractive college student, is waltzing in the semi darkness
of the bedroom. She wears a "Michigan State University" 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
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.
Ash, what's that you're playing?
Ash begins to play faster.
14D MEDIUM SHOT - ASH AND LINDA
As she picks up the tempo, spinning and laughing, until finally Ash
moves to her, halting her in mid spin.
14E CLOSE SHOT - LINDA
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
He returns her stare, lost in her beauty. He pulls her close.
14G SHE PULLS AWAY SUDDENLY
And looks down to the tiny silver necklace that she wears about her
14H CLOSE SHOT - NECKLACE
In its center is a magnifying glass.
14I MEDIUM SHOT - LINDA AND ASH - TULIP CRANE
She looks from the necklace to Ash.
I really love it. I'll never take it
They kiss and now begin to dance together, to the haunting waltz
melody that sweeps up upon the soundtrack.
DISSOLVE THRU TO:
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
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
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
...the shattered photograph of Annie Knowby and the Book of the Dead.
17 LONG SHOT - INT. CABIN MAIN ROOM
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.
Kan Da, Es-trata ta-toon hazan sobar
18 MEDIUM SHOT
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
20 EXT. CABIN - NIGHT
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.
One by one, they fell to the
possession of the dark spirits.
22 EXT. HILLSIDE - GRAVEYARD - NIGHT - CLOSE SHOT - LINDA
Her eyes pop open. They are bone white. She has fallen to the
22A EXT. HILLSIDE - GRAVEYARD - NIGHT - ASH AND LINDA
Possessed Linda is coming after Ash. Ash back peddles, stumbles and
22B ANGLE - ASH ON GROUND
As the Shadow of approaching Linda envelops Ash, he picks up a shovel
from the ground.
22C LINDA LEAPS OVER THE CAMERA, TOWARD HIM.
22D LINDA DUMMY
Ash swings the shovel, slicing off Linda's head.
22D1 LINDA'S DUMMY HEAD - ON WIRE
Linda's head rolls down the hillside and disappears into the darkness.
22F EXT. HILLSIDE GRAVEYARD - NIGHT - 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
As he runs from the grave site and toward the cabin.
26 INT. CABIN - MAIN ROOM - NIGHT - CLOSE SHOT - ASH
One man, Ash, destroyed the Book.
Ash enters the cabin. He sees The Book of the Dead and tosses it onto
27 CLOSE SHOT - MELTDOWN - MAIN ROOM (STUDIO) - STOP MOTION ANIMATION
A possessed demon begins to wither and melt. Flesh shrinks away from
its skull and dissolves to nothing.
But the evil that had been
resurrected from it, lives on.
28 CLOSE SHOT - BOOK IN FIREPLACE - STOP MOTION ANIMATION
The Book of the Dead is burned to cinders. The face upon the Book
screams as it burns.
29A INT. CABIN MAIN ROOM - NIGHT - HIGH SHOT
Ash picks himself up from the floor.
29B INT. CABIN MAIN ROOM
Ash stands and clutches the necklace of Linda, in sorrow for his loss
29C EXT. CABIN - DAWN - LONG SHOT
Ash staggers from the cabin.
31 EXT. CABIN - DAWN - RECREATION OF THE 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 - 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. "G" 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
As he falls from the tree branch and plummets towards the earth.
34 ASH'S POV - (CRANING DOWNWARD) - UNDERCRANKED - DAWN
A puddle of mud below, which rushes up upon us quickly.
35 MED. SHOT - MUD PUDDLE - ASH
As his head splashes down into the muddy water.
36 CLOSE SHOT - ASH - DAWN
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 - LONG SHOT - THE SUN
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
Closer on the sun as it looms larger and brighter.
39 CLOSE SHOT - THE SUN - MATTE PAINTING - MINIATURE
The frame is filled with the rising sun.
40 EXT. WOODS - DAWN - CLOSE SHOT - ASH - MUD PUDDLE
The bright edge of morning sunlight spreading across his face, he lets
loose a demonic death shriek.
41 EXT. WOODS - DAY - (STUDIO) - 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
Ash, no longer possessed, collapses into the mud puddle, unconscious.
41B EXT. WOODS - DAY - REVERSE ACTION - FOG - 3 ANGLES
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 - WIDE SHOT - ASH
As he lies unconscious. Time passes.
43 CLOSE SHOT - ASH - CRANE - UNDERCRANKED
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
44 MEDIUM SHOT - ASH
He sits up slowly into frame, looking fearfully about.
45 ASH'S POV
Panning the battered cabin And sections of the woods. All is peaceful.
The sound of birds tweeting.
46 CLOSE SHOT - ASH
He looks up to the sky.
47 EXT. RIDGE - DAY - (STUDIO) - MATTE PAINTING - LONG SHOT - THE SUN -
Just Above the horizon.
Sun's driven it away...for now.
Gotta get the hell out of here...
before night falls.
51 CLOSE SHOT - ASH
As he nods to himself, then suddenly glances up beyond the CAMERA.
52 EXT. CABIN - DAY - MITCHELL CAMERA - 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) - 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 - 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
54 EXT. CABIN - DAY - ASH'S POV - THE DELTA 88 OLDSMOBILE
Parked in front of the cabin.
55 EXT. WOODS -DAY - CLOSE SHOT - ASH
He shifts his glance from the car to the road.
56 EXT. ROAD - DRIVEWAY TO CABIN - DAY
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 - (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
58 EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) - 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 - MEDIUM SHOT - DELTA 88 - PARTIAL BRIDGE SET
As it pulls to a halt. Ash steps quietly from the car. He looks at the
60 EXT. BRIDGE - DAY (STUDIO MINIATURE W/BACKDROP) - ASH'S POV - BRIDGE
A sign hangs from the twisted girders. It reads: "DANGEROUS BRIDGE - 2
TON WEIGHT LIMIT - CROSS AT OWN RISK." Beyond this we see the twisted
remnants of the former bridge and the rock cliffs far away on the
60A EXT. BRIDGE SIDE I - DAY - MITCHELL CAMERA - FROM RAVINE, LOOKING
UPWARD AT ASH AND DELTA (5 FRAMINGS)
Ash gapes at the uncrossable chasm.
60AP TWO CLIFF EDGES - (STUDIO) - MINIATURE
61 EXT. BRIDGE - DAY - 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 - ASH'S POV - LONG SHOT - MOUNTAIN RIDGE -
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) - MEDIUM SHOT - ASH - PULLING BACK
To reveal Ash as he looks from the surlset, to the ruined bridge, to
the road behind him. He moves in halting steps, not knowing which way
Ash opens his mouth, draws in his breath, and just as he begins to
scream, we CUT TO:
63 EXT. BRIDGE - TWILIGHT - POV OF EVIL FORCE - 3 CAMERAS - BREAKAWAY
As it rises up from what appears to be the mountain chasm and reveals
the opposite side of the twisted girders which form the "Giant Hand."
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 - CLOSE SHOT - ASH - CAR MOUNT
As the broken bits of tree slam against his windshield.
65 CLOSE SHOT - CAR RADIO/TAPE DECK
As the channel switches suddenly to the hard rock song "Journey to the
Center of Your Mind" which blazes within the car throughout the chase
66 EXT. BRIDGE - NIGHT - POV - EVIL FORCE - UNDERCRANKED
As it gives chase to the Delta.
67 TRACKING SHOT - DELTA - DRAGWAY - UNDERCRANKED - ATV
Alongside the car as it barrels along the wooded road.
68 EXT. DRAGWAY - NIGHT - TRACKING SHOT - DELTA - UNDERCRANKED - ATV
As he drives this wild course.
69 POV - EVIL FORCE - UNDERCRANKED
As it begins to gain on the speeding automobile.
70 INT. DELTA 88 - NIGHT - UNDERCRANKED - OVER ASH'S SHOULDER
Looking through the windshield, as branches beat and smash themselves
against the windshield, obscuring our vision of the "Road" ahead. Our
view suddenly clears, revealing a large tree that looms directly
71 CLOSE SHOT - ASH
Swerving the wheel.
72 EXT. CABIN - NIGHT - ANGLE - DELTA - UNDERCRANKED
It swerves and slams into a rotted tree, stopping it dead.
73 INT. DELTA 88 - NIGHT - CLOSE SHOT - ASH - UNDERCRANKED
As he is rocketed forward from his seat.
74 EXT. CABIN - NIGHT - ANGLE - FRONT OF DELTA - DUMMY OF ASH
As Ash comes ripping through the windshield and past the CAMERA.
74A ASH'S POV
As he approaches the ground with a great velocity.
74B MEDIUM SHOT - ASH
As he slams into the earth with a rain of glass. He moans and gets to
75 EXT. WOODS/CABIN - NIGHT - 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 - CLOSE SHOT - ASH
As he runs. His face is cut and bleeding.
76A ANGLE - OVER ASH'S SHOULDER
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 - IMO CAMERA MOUNTED ON LONG POLE AND TRUCK - 3
DELTAS - "RAM-O-CAM"
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
As he runs toward the cabin not making much progress as though caught
running in a nightmare. He shakes his head "No."
78A CLOSE SHOT - ASH'S FEET AS THEY RUN
79 ANGLE - OVER ASH'S SHOULDER
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
Now quickly gaining its lost ground. Just a few feet behind Ash.
81 EXT. CABIN - LOCATION - SIDE SHOT - ASH
As he runs up the porch steps to the cabin.
82 EXT./INT. CABIN - LOCATION - 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 - "MAZE SHOT" - FORCE POV
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
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
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
A static shot of a closet with it's doof 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
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
The cabin in the distance. Fog rolls past.
149K EXT. AIRSTRIP - NIGHT - LONGSHOT - ED
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
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.
(smiling at sight of
They embrace and kiss.
How'd everything go on the
Terrific. I found the additional
pages from the Book of the Dead.
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
Inside are 12 pages from the Book of the Dead.
149N AIRSTRIP - NIGHT - TRACKING SHOT - ED AND ANNIE - THEY CONTINUE
Haven't aged a day in three thousand
When do we begin the translations?
Tonight. Is everything all set with
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
They arrive at the parking lot. Two new, sharp looking cheverolets and
Ed's old style cheverolet.
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
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?
Maybe nothing. But just possibly...
the doorway to another world?
Annie slams the car trunk.
151 EXT. WOODS/CABIN - W/ ASH - NIGHT - 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
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 - MEDIUM SHOT - ASH
As he stands and moves cautiously towards the rear bedroom.
154 ASH'S POV - MIDDLE ROOM AND REAR BEDROOM
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 - 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
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
As steam spouts from the radiator pipes. As the piano keys depress and
release themselves. The melody grows louder.
152 CLOSE SHOT - ASH
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.
161 INT. CABIN MAIN ROOM - NIGHT - 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
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 - ASH'S POV - THE GRAVEYARD
A stark wooden cross marks Linda's lonely grave.
166 EXT. HILLSIDE GRAVEYARD - NIGHT - LONG SHOT - CABIN IN DISTANCE - STOP
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 - ASH IN WINDOW -
167 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - THROUGH THE WINDOW - ASH
His eyes, illuminated by a shaft of light, widen in amazement and
168 EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) - (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 - EXT. HILLSIDE
GRAVEYARD - NIGHT - FOG/WIND FAN
169 INT. CABIN MAIN ROOM - NIGHT - 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) - ASH'S POV
Linda's DECAPITATED HEAD rolls across the ground and up the hillside
171 EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) - (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 - EXT. HILLSIDE
GRAVEYARD - NIGHT - FOG W/WIND
172 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - THRU WINDOW - ASH
His eyes dart about, trying to catch another glimpse of Linda through
173 EXT. CABIN MAIN ROOM - NIGHT - 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.
DANCE WITH ME!
Linda extends her dead arms towards Ash.
174 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ASH
He screams as...
175 EXT. HILLSIDE - GRAVEYARD - NIGHT - CLOSE SHOT - LINDA'S CORPSE
Linda's head rolls off of her neck and tumbles through space.
176 INT. BLACK STUDIO - NIGHT - LINDA'S HEAD - ON WIRE
As it tumbles through a void of blackness, falling.
177 INT. CABIN MAIN ROOM - NIGHT - 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
Still boarded as though it had never been opened.
179 CLOSE SHOT - 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
It opens its eyes and looks to Ash.
Hello lover, I came from the other
side of your dream to dance with
181 CLOSER SHOT - LINDA'S HEAD (BACKWARD MOTION)
A four foot long blackened tongue emerges from her mouth like a
182 MEDIUM SHOT - ASH - (BACKWARD MOTION)
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
As it bites deeply into Ash's right hand, drawing blood.
183A MED SHOT - ASH AND LINDA'S DUMMV HEAD
Ash stands and rushes across the room screaming, as he tries to rid
himself of the head.
186 EXT. CABIN - NIGHT - ASH AND DUMMY HEAD - LONG SHOT
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
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
As he places Linda's head within the vice and tightens it around her,
then withdraws his hand.
Even now we have your darling
Linda's soul! She suffers in
187B CLOSE SHOT - ASH'S HAND
As it rips away an old tarp revealing the chalk outline of where a
chainsaw once was.
187C CLOSE SHOT - ASH - HEADLESS LINDA BODY
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
Ash grabs a large crowbar and swings it toward the approaching blade.
187E CLOSE SHOT
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
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
187G MEDIUM SHOT - ASH
As he is splattered with black bile. He reaches down.
187H MEDIUM SHOT - HEADLESS LINDA
As Ash dislodges the spinning chainsaw from her.
187I MEDIUM SHOT - ASH
As he swings the chainsaw around and poises it above Linda's head.
187J WIDE SHOT - ASH AND LINDA'S HEAD IN VICE
From the chainsaw, fumes of blue amoke. Ash turns to the head and
187K CLOSE SHOT - LINDA'S HEAD IN VICE
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.
Please Ash, help me. I love you,
please don't hurt me.
187L CLOSE SHOT - ASH
Trying to fight his feelings, he knows what he must do. He pumps the
throttle on the saw.
187M CLOSE SHOT - LINDA
Pleading with him.
You promised me we'd always be
together. You swore to me!
187N CLOSE SHOT - ASH
187O CLOSE SHOT - LINDA'S HEAD
Once again fully possessed, and speaking in the voice of the demon.
Her eyes again white, her flesh, rotten.
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
She opens her mouth and emits a jet stream of bile.
187Q CLOSE SHOT - ASH
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.
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
As it is splattered with blood.
187S MEDIUM SHOT - ASH
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
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
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 - 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
189B INT. CABIN MAIN ROOM - NIGHT
Ash enters from the hallway and turns his head to the sound.
189C MAIN ROOM - NIGHT - ASH'S POV - THE ROCKING CHAIR
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
He slowly approaches the chair, scared shitless.
189E MEDIUM SHOT - FROM BEHIND THE ROCKING CHAIR
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
190 MEDIUM SHOT - ASH
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
I'm fine... I'm fine...
191 INT. CABIN MAIN ROOM/MIRROR ROOM - NIGHT - 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 - MITCHELL CAMERA (ASH
AS MR. HYDE)
The reflection pulls Ash close and speaks to him in an intimate
I don't think we're "fine". 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
192P PLATE FOR PREVIOUS SCENE - INT. CABIN MAIN ROOM - NIGHT - ASH -
193 CLOSE SHOT - ASH - DOLLY
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
His reflection is as it should be.
195 CLOSE SHOT - ASH
He looks back down to his hands.
196 INT. CABIN MAIN ROOM - NIGHT (STUDIO) - 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 - 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
Ash's demon hand makes a lunge at his face which is countered by his
199 MEDIUM SHOT - ASH
He slams the hand to the cabin floor. He screams to the air:
You bastards. Give me back my hand.
200 EXT. CABIN - NIGHT
Wind and fog swirl about the place. Ash's ECHOING SCREAM is heard
above the HOWLING GALE.
Give me back my hand!!
204 INT. CABIN MAIN ROOM/KITCHEN - NIGHT
Ash rushes into the kitchen and places his hand in the sink. He turns
on the faucet.
205 INT. CABIN KITCHEN - NIGHT
Cool water runs over Ash's burned hand. Ash rests his head on the
kitchen counter and mumbles reassurances to himself.
Can't...can't be happening.
206 CLOSE SHOT - THE HAND
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
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
The hand picks up plates and begins breaking them over Ash's head.
Then a bottle.
209 MEDIUM SHOT
Ash is knocked unconscious. The hand continues breaking objects over
his head. Ash lies unmoving, but still alive.
210 CLOSE SHOT
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
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
212 CLOSE-SHOT - HAND
It digs its nails deep into the floorboards and begins to pull...
213 MEDIUM SHOT - ASH
...as he is pulled along the kitchen floor.
214 CLOSE SHOT - HAND - GELETIN HAND
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
Who's laughing now?
214A ANGLE - ASH - COMEDY KNIFE RIG
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.
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.
216 EXT. CABIN - NIGHT - LONG SHOT
We hear the BUZZING of the CHAINSAW as it slices through bone and then
217 EXT. BRIDGE - NIGHT (SIDE II) - 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
A red tow truck with its orange lights flashing is parked there.
Painted on it's side is "Jake's Gas N' Go." Jake, a toothless,
backwoods, greasemonkey is setting up flares and wooden roadblocks.
Annie and Ed approach.
Excuse me. This the road to the
Thas' right. But you ain't goin'
And why not?
219 CLOSE SHOT - JAKE
As he reaches in his truck to pull on the headlights.
220 CLOSE SHOT - TRUCK HEADLIGHTS
As they snap on.
221 MEDIUM SHOT - JAKE, ANNIE, AND ED
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) - 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: "Dangerous Bridge - Two Ton
223 EXT. BRIDGE - NIGHT - (SIDE II) - CLOSE SHOT - ED AND ANNIE
Frightened as they view the wreckage.
Lady, I ain't never seen nothin'
Terrific. Now what?
There must be another way in.
Another road or something.
224 JAKE, BOBBY JOE, ANNIE AND ED - TWO CAMERAS
Sure ain't no, road.
CAMERA pans over to reveal a brassy southern spitfire of a woman,
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
Annie steps forward. She eyes Bobby Joe.
None of your business.
224Y CLOSE SHOT - JAKE
He feigns surprise and pleasantness.
Hey! I just remembered... Yeah,
that's right... There is a trail.
You could follow Bobby Joe and me.
That sounds all right.
But, it'll cost ya.
Jake looks up suddenly at Bobby Joe who gives a sharp shake of her
224B CLOSE SHOT - ANNIE
Tell you what. You take my bags you
got a deal.
224C CLOSE SHOT - JAKE
He glances through the window of Annie's car.
224D JAKE'S POV
The tiny case containing the missing pages of the Book of the Dead,
and a small handbag.
224E CLOSE SHOT - JAKE
Looking back to Annie, a big smile on his near toothless face.
225 EXT. WOODS - NIGHT
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.
Jesus H. Christ! I thought she was
talkin' 'bout them two goddamn
227 EXT. CABIN - NIGHT
The wind rushes fog about the place with a fury. A large moon hangs in
the night sky.
228 INT. CABIN MAIN ROOM - NIGHT - 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
As he grabs the steel wastebasket, dumps out the trash lowers it
quickly over the CAMERA, trapping the hand within.
230 MEDIUM SHOT - ASH
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
"Farewell to Arms".
Ash raises a red hot fireplace shovel that had been resting upon the
coals. He grits his teeth.
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
He tosses aside the shovel and douses his smoldering stump into a vase
of fresh flowers.
234 CLOSE SHOT - ASH
Unspooling a roll of duct tape.
235 MEDIUM SHOT - ASH
He tapes the tablecloth into a makeshift bandage about his wrist.
Behind him, the wastebasket silently slides across the floor.
236 MEDIUM SHOT - ASH
"CLANG"! He turns to see.
237 CLOSE SHOT - THE WASTEBASKET
Upon its side. The Evil Hand is gone.
237A CLOSE SHOT - ASH
He turns to a "pitter patter" sound.
245 CLOSE SHOT - HAND
It scampers across the floorboards headed for a hole in the wall.
246 INT. CABIN MAIN ROOM - NIGHT (STUDIO) - MEDIUM SHOT - ANIMATED HAND (4
Same action as above but covered now through animation.
247 INT. CABIN MAIN ROOM - NIGHT - HAND - POV
Low angle tracking shot approaching the hole in the wall.
248 CLOSE SHOT - ASH AND HAND - SQUIB - TRACKING WITH HAND, ASH IN BG
He raises the shotgun and FIRES. BLAM! The floor next to the hand
249 CLOSE SHOT - HOLE IN THE WALL - SQUIB - EFX. HAND
The hand leaps into the hole as a section of wall next to it EXPLODES.
250 CLOSE SHOT - ASH
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.
254 ASH'S POV - WALL - SQUIB
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.)
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
Throws back his head in a gruff bark of laughter.
257 CLOSE SHOT - ANIMATED HAND - (7 SEC.)
The hand throws the trap from itself and raises its middle finger to
ASH, flipping him the bird.
258 CLOSE SHOT - ASH'S HAND
He raises the gun, revealing his face as the CAMERA PANS UP with his
259 ASH'S POV - OVER THE GUN BARREL
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
The pitter patter ebbs and then peaks in volume.
261 ASH'S POV - OVER THE GUN BARREL - SQUIB
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 SECOND TRIGGER
261B INSERT FLAME BELCHES FROM THE GUN TWICE
262 CLOSE SHOT - ASH
As he lowers the smoking gun. Wondering if he has hit the hand or not.
263 CLOSE SHOT - HOLE IN WALL - 5 CAMERAS
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
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
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
266 CLOSE SHOT - ASH
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
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
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
We follow him as he slams from one wall into another.
270 CLOSE SHOT - ASH - 5 CAMERAS
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
As he slowly backs away from the walls and sits upon the three legged
chair. It shatters beneath him, dumping him on his butt.
ASH turns sharply to the low sound.
272 ASH'S POV - CLOSE SHOT
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
He pulls back in fear, then turns to the sound of more laughter.
274 ASH'S POV - CLOSE SHOT
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
Terrified, he turns to more laughter.
276 ASH'S POV - CLOSE SHOT
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
Other books upon the floor laugh.
277 MEDIUM SHOT - OVER ASH'S SHOULDER
He turns sharply toward us and breaks into an uproariously frightening
bout of laughter.
278 WIDE SHOT - ASH
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 - RIGGING FOR TRAP DOOR,
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
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.
282A MEDIUM SHOT - ASH
Ash opens the front door. It slowly swings inward with a creak
revealing the empty night.
283 MEDIUM SHOT - ASH AND JAKE
Ash approaches the front porch as Jake enters sharply into his frame.
Jake tackles Ash.
284 MEDIUM SHOT - SHOTGUN
As it slides across the floor.
285 MED. SHOT - ASH, JAKE AND ED
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
285B C.U. JAKE
286 MEDIUM SHOT - FRONT DOORWAY - THE GROUP
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.
You gonna be alright, honey?
I don't know.
You just sit still fer a minute.
287 MEDIUM SHOT - JAKE, ED, ANNIE, AND BOBBY JOE
As Jake gives Ash a swift kick in the ribs. Ash moans. Jake turns to
Ed, who is badly shaken.
You know this son of a bitch?
No. We thought her --
Annie steps forward.
Oh my God. Where are my parents?
Annie sets down the glass case containing the pages of the Book of the
288 CLOSE SHOT - ANNIE
As she looks down to the floor.
289 ANNIE'S POV - THE CHAINSAW
As it lies in a pool of blood.
290 CLOSE SHOT - ANNIE
Annie runs to Ash's semi-conscious body, grabs his shirt and violently
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
Nursing his sore knuckles, he points with his elbow to the trap door
that leads to the cellar.
We'll throw him in there.
292 MEDIUM SHOT - JAKE AND ASH
Jake picks up Ash's body and drags him quickly to the trap door. Half
conscious, Ash feebly struggles with Jake.
Crazy buck's gone blood simple.
293 ASH'S POV - HAND HELD
As he approaches the trap door almost upside down. Ed pries it open.
294 CLOSE SHOT - ASH - HAND HELD
In a dazed state as he is carried to the trap door.
Wait...I made...a mistake...
Damn right, you flat mouthed son of
294A MEDIUM SHOT - ASH AND JAKE
Jake kicks Ash down into the open trap door.
295 INT. CABIN CELLAR - NIGHT - ASH DUMMY
Looking up at the open trap door as Ash's body falls through frame.
296 INT. CABIN CELLAR - NIGHT - 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
As he tumbles head over heels down the wooden steps.
298 ASH'S POV
Racing down the steps.
299 MEDIUM SHOT - ASH
As he slams to the dirt floor of the cellar. Hard. He moans.
300 INT. CABIN MAIN ROOM - NIGHT - LOOKING UP TO THEM FROM CELLAR
Jake, Ed and Bobby Joe.
I hope you rot down there!
301 INT. CABIN CELLAR - NIGHT - MEDIUM SHOT
Ash begins to realize where he is. Growing terror on his battered
302 INT. CABIN CELLAR - NIGHT - ANGLE LOOKING UP
Jake swings the trap door shut with a clanging of chains.
303 INT. CABIN CELLAR - NIGHT (STUDIO) - 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 - 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
304A MEDIUM SHOT - ANNIE
She spots the tape recorder and Kandarian Dagger. She moves to them.
These are my father's things.
She turns on the tape recorder. High pitched feedback and the
professor's screams come from the speaker.
(Voice on Tape)
Last night Henrietta tried to kill
ANNIE PROFESSOR KNOWBY
SHHH! Listen! My father's (Voice on tape)
voice. I know now, that my wife has become host
to a kandarian demon.
305 MED. SHOT - JAKE, BOBBY JOE AND ED
As they turn their heads to the sound of:
306 CLOSE SHOT - TAPE RECORDER - TRACKING
Still playing, the tapes wind as we hear the wowing and fluttering
voice of Raymond 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
309 INT. CABIN CELLAR - NIGHT (STUDIO) - MED. SHOT - ASH - TRACKING AROUND
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.
(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
310 CLOSE SHOT - ASH - TRACKING CLOSER
As he listens intently to the tape playing in the room above.
311 INT. CABIN MAIN ROOM - NIGHT - TRACKING SHOT -TAPE RECORDER
CAMERA SLOWLY MOVING IN on the winding tape.
(Voice on tape)
I...buried her...in the cellar.
312 INT. CABIN CELLAR - NIGHT - (STUDIO) - CLOSE SHOT - ASH - TRACKING
Growing horror on his face as he realizes where he is.
(Voice on tape)
God help me, I buried her in the
earthen floor of the fruit cellar!
315 INT. CABIN CELLAR - NIGHT (STUDIO) - ASH'S POV - CLOSE SHOT - (STOP
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) - CLOSE SHOT - ASH
317 MED. SHOT - OVER ASH'S SHOULDER - MOCK UP OF CELLAR - 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.
Someone's in my fruit cellar!
Someone with a fresh soul!
318 INT. CABIN MAIN ROOM - NIGHT - MED SHOT. - THE GROUP
All eyes on the trap door.
Somebody's down there with him.
No. Can't be.
319 INT. CABIN CELLAR - NIGHT (STUDIO) - MED. SHOT - ASH
He runs up the steps to the trap door and begins pounding furiously
320 CLOSE SHOT - ASH
Let me out! Let me out!!!
321 MED. SHOT - (REVERSE ACTION) - WIND FAN
Henrietta lets out a terrible laugh and approaches the wooden
322 INT. CABIN MAIN ROOM - NIGHT - 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.
Let him out.
It's a trick. I know it.
LET HIM OUT!
323 INT. CABIN CELLAR - NIGHT (STUDIO) - 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)
Henrietta begins to climb the steps. Two at a time.
Come to me. Come to sweet Henrietta.
325 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - JAKE
As he tries one key after another.
326 CLOSE SHOT - KEYS
As they are forced into the lock.
327 INT. CABIN CELLAR - NIGHT - CLOSE SHOT - ASH
Sweating at the top of the steps, watching as Henrietta approaches.
328 CLOSE SHOT - HENRIETTA
Extending her rotted and worm infested arm toward him.
Yesssssss. You and I. We shall spend
329 CLOSE SHOT -ASH
Marie's shadow envelops him. He is petrified.
But first I'll swallow your soul!
330 INT. CABIN CELLAR - NIGHT (STUDIO) - 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 "Pee Wee" head.
330P INT. CABIN CELLAR - NIGHT - 35MM KODAKCHROME SLIDE
Plate for previous scene.
331 INT. CABIN CELLAR - NIGHT (STUDIO) - 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 - CLOSE SHOT
It is Jake who pulls Ash to safety.
333 WIDE SHOT - MAIN ROOM
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
334 CLOSE SHOT - ANNIE AND ED
SCREAMING at the sight of the beast.
For God's sake! That's my mother!
335 CLOSE SHOT - JAKE
One of Henrietta's rotted hands reach up from the cellar grabbing
336 CLOSE SHOT - ED
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
As he moves toward the trapdoor.
338 CLOSE SHOT - (STYROFOAM TRAPDOOR)
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
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
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)
As the eyeball is shot into her screaming mouth. She begins to gag on
342 WIDE SHOT
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
343 CLOSE SHOT - ASH
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. - ASH, JAKE, ANNIE AND BOBBY IN
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 - (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.
346 MED. SHOT - ANNIE, ASH, JAKE, BOBBY JOE AND ED
Ash turns to the group, Annie is placing her wet bandana atop Ed's
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.
347 CLOSE SHOT - BOBBY JOE
Jake, let's beat it the hell out
o'here, right now. I gotta get out!
Now Bobby, you ain't in no
Nobody goes out that door. Not till
347A THE GROUP
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
Remember that song Annie? I used to
sing it to you when you were a baby.
347C CLOSE SHOT - ANNIE
Uncertain of what to do, but wanting to believe.
Let me out, dear. It's so cold and
dark in here.
Unlock these chains. Quickly.
347D MEDIUM SHOT - ASH AND ANNIE
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.
No. No. I don't know what you are
but you're not my mother.
Annie begins to cry.
347E CLOSE SHOT - TRAP DOOR
Henrietta is crying also.
VOICE OF HENRIETTA
How can you say that to me Annie?
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
Confused and tearful, she screams to the others in the room.
That thing in the cellar is not my
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
349 MED. SHOT - ED POSSESSED - 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
As they clutch in fear at one another.
351 MED. SHOT - ANNIE AND ASH
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 - 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
353 CLOSE SHOT - ASH
Watching in horror.
354 MED. SHOT - POSSESSED ED - RIGGING - UP AND DOWN
The body of Ed turns sharply toward the group, not really seeing.
(In the voice of
We are the things that were.
(In the voice of
And shall be again! HA HA HA HA HA!
(In the voice of
Spirits of the book.
(In the voice of
We want what is yours! LIFE!
As he floats about, his head dips and swoons.
(In the voice of
Dead by dawn!
(In the voice of
Dead by dawn!
355 CLOSE SHOT - HENRIETTA POSSESSED
Sticking her gnarled head from the cellar.
Dead by dawn! Dead by dawn!
356 WIDE SHOT - JAKE AND BOBBY JOE IN FOREGROUND - 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
357 ED'S POV
As he quickly rushes upon a screaming Bobby Joe.
358 CLOSE SHOT - ED AND BOBBY JOE
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
Stands up into frame with a clump of Bobby Joe's hair in his mouth and
359 WIDE SHOT - GROUP
Bobby Joe collapses to the ground.
360 MED. SHOT - HENRIETTA POSSESSED
As she calls from the cellar.
Free me! Unlock these chains!
361 MED. SHOT - POSSESSED ED
He turns to the trap door and moves toward it.
362 MED. SHOT - ASH AND ANNIE
Both horrified. Ash retreats. Annie is shocked as she watches Ash back
into the middle bedroom and disappear.
363 CLOSE SHOT - ANNIE
Where are you going?! HELP US! You
364 ANGLE FROM TRAP DOOR - POSSESSED ED AND JAKE
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
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
(In the voice of a
We see you!
366 CLOSE SHOT - JAKE
Screaming as Ed's hand enters frarne, and snags Jake's face. He tosses
367 CLOSE SHOT - ED POSSESSED
As he tosses Jake upward.
368 HIGH-WIDE SHOT - POSSESSED ED AND JAKE STUNTMAN - REVERSE ACTION -
Jake flies upward towards the ceiling of the cabin.
369 INT. CABIN CEILING - NIGHT (CEILING SET PIECE) - MED. SHOT
A prop light bulb "Shining" 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 - MED. SHOT - POSSESSED ED AND JAKE STUNT
As Jake slams back down to the floor of the cabin.
371 MED. SHOT - ASH
As he reappears in the doorway of the room. Now he clutches an axe in
his single hand.
372 MED. SHOT - POSSESSED ED
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
Ash approaches with the axe.
373 MED. SHOT - ASH AND ANNIE AND OFF SCREEN 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
373A CLOSE SHOT - POSSESSED ED DUMMY
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
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.
376 MED. SHOT - POSSESSED ED (FRAMED WITH AND W./O HEAD)
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
377 MED. SHOT - ASH AND ANNIE - POSSESSED ED DUMMY
Ash turns to her.
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.
START IT UP!
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 - 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
As they are lifted off the floor.
377C CLOSE SHOT ASH
He pries the evil hand from his throat and falls.
377D ASH/EVIL HAND
As he slams to the floor the evil hand scurries away in the B.G.
380 MED. SHOT - POSSESSED ED DUMMY AND ANNIE
Annie is screaming in horror. Possessed Ed backhands her across the
381 MED. SHOT - WRITING DESK
Annie slams into a desk shattering it to splinters of wood. She falls
to the floor.
382 MED. SHOT - ASH
As he grabs the axe.
383 MED. SHOT - POSSESSED ED - DUMMY
As he stands sharply into frame. His mouth wide open and screaming.
384 MED. SHOT - ASH AND POSSESSED ED
Terrified, as he moves toward possessed Ed with the axe.
385 MED. SHOT - ASH AND POSSESSED ED DUMMY - 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
Screaming at the sight.
386 CLOSE SHOT - ASH
His axe blade rises and falls as black demon blood flies up into
387 CLOSE SHOT - LOW ANGLE - FLOOR LEVEL - 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
388 WIDE SHOT
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 "No." Ash slowly rises into frame, terrified. They are looking
down at the out-of-frame remains of possessed Ed.
389 EXT. CABIN - NIGHT - MITCHELL
The moon has grown larger. Fog billows past the cabin.
389P EXT. NIGHT - THE FULL MOON
390A MAIN ROOM NIGHT - ASH, JAKE, BOBBY JOE AND ANNIE
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.
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
Jake moves to the window and looks out.
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.
392 CLOSE SHOT - ANNIE AND ASH
She looks about the room, getting scared.
It's so quiet.
Ash stands slowly into frame. He knows that it can't be good.
393 WIDE SHOT - THE GROUP
As they raise their heads to a distant pounding sound. It grows
BOOM -- BOOM!
BOOM -- BOOM!
What the hell is it?
Maybe something... Something trying
to force its way into our world.
393A EYEMO CAMERA/MITCHELL CAMERA - GROUP
The cabin WALL. Bang!
393B THE FRONT DOOR - GROUP - EYEMO/MITCHELL
393C THE BOARDED WINDOW - GROUP - EYEMO/MITCHELL
393D THE CEILING BEAMS - GROUP - EYEMO/MITCHELL
393E A SECTION OF WALL - GROUP - EYEMO/MITCHELL
393F A SECTION OF THE TONGUE AND GROOVE FLOOR - EYEMO - MITCHELL - GROUP
393G ASH - C.U.
393H JAKE - C.U.
393I ANNIE - C.U.
393J BOBBY JOE - C.U.
394 MEDIUM SHOT - JAKE AND BOBBY JOE
Bobby Joe runs to Jake's arms. He clutches her tightly.
395 MEDIUM SHOT - ANNIE AND ASH
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 corning from the middle bedroom.
It's in there.
396 MEDIUM SHOT - DOOR TO MIDDLE BEDROOM
It is opened a crack.
337 MEDIUM SHOT - THE GROUP
We'll all go in together.
Hell no, you're the curious one.
398 MEDIUM SHOT - ASH AND ANNIE
He moves toward the door.
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
399 INT. MIDDLE BEDROOM - NIGHT
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
As the CAMERA PANS the shadowed corners of the room.
401 MEDIUM SHOT - ASH AND ANNIE
An eerie whistling wind is heard. It has an other worldly sound, very
401A MEDIUM SHOT - DOORWAY TO MIDDLE BEDROOM
Bobby Joe and Jake enter the room, drawn by the sound.
401B CLOSE SHOT - BOBBY JOE
She looks about, frightened.
401D MEDIUM SHOT - JAKE AND BOBBY JOE
Jake takes Bobby Joe's hand. Bobby Joe smiles, frightened.
402 MEDIUM SHOT - ASH
403 MEDIUM SHOT - PANNING THE DARK ROOM
As the eerie whistling sound grows louder. It is followed by the angry
sound of something moving violently about the room. A shattering of
405 MEDIUM SHOT - THE GROUP
WOOOOOSH! The group is hit with a tremendous blast of air. They shiver
from the cold.
406 MEDIUM SHOT - ASH
The wind in the room suddenly stops. He blows out his breath and
watches it vaporize. The steaming face of Raymond Knowby emerges from
the wall. A life like spirit made of swirling smoke and mist.
406P PLATE FOR PREVIOUS SCENE - BLACK STUDIO - RAYMOND
407 CLOSE SHOT - ASH AND ANNIE
They turn to the ghost in fear.
408 MEDIUM SHOT - JAKE AND BOBBY JOE
Awestruck. Bobby Joe crosses herself.
Holy Mother O'Mercy.
413 MEDIUM SHOT - THE GHOST OF RAYMOND
There is a dark spirit here that
wants to destroy you. Your salvation
lies in the pages from the Book of
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 - BLACK STUDIO - RAYMOND
414 CLOSE SHOT - ANNIE
415 ANGLE - THE GROUP AND THE GHOST OF RAYMOND
Recite the passages. Dispel the
evil. Save my soul... And your own
The ghost of Raymond screams and is gone.
415P PLATE FOR PREVIOUS SCENE - BLACK STUDIO - RAYMOND
416 MEDIUM SHOT - THE GROUP
Whoosh! Again they are hit with a blast of air.
416A MEDIUM SHOT - JAKE AND BOBBY JOE
Jake, you squeezing my hand too
I ain't got your hand, baby.
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.
Somebody get the light!
The sound of chairs being pushed over. The sound of a door opening and
417 CLOSE SHOT - ASH
As he lights the lantern illuminating the room. CAMERA PANS over to
reveal only Jake and Annie.
418 CLOSE SHOT - JAKE
Hey. Bobby Joe's gone!
421 EXT. CABIN - NIGHT
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 - MEDIUM SHOT - BOBBY JOE - TRACKING
As she races through the woods.
423 CLOSER - JONES' CREEK
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.
423A CLOSE SHOT - TREE FACE
424 CLOSE SHOT - BOBBY JOE - (REVERSE ACTION) - 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
425 CLOSE SHOT - BOBBY JOE'S LEGS - (REVERSE ACTION) - JONES' CREEK
Two living vines wind their way toward her legs and coil around her
426 CLOSE SHOT - BOBBY JOE - JONES' CREEK - 4 RIPS
She lets out a short shrill scream, as her shirt is torn away from
427 MED. SHOT - (REVERSE ACTION) JONES' CREEK
Living vines wind around Bobby Joe's torso and breasts in a furious
428 CLOSE SHOT - (REVERSE ACTION) JONES' CREEK
A living vine wraps around her throat.
429 CLOSE SHOT - (REVERSE ACTION) JONES' CREEK
Tiny vines wrap around Bobby Joe's hand and fingers.
429A EXT. JONES CREEK - NIGHT - SHOTS OF VINES COMING TOWARDS CAMERA
430 MED. SHOT - RIGGING - STUNT - 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 - UNDERCRANKED - JONES'
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 - STUNT -
UNDERCRANKED - REVERSE ACTION - DRAGWAY
As the vines rocket her on a speeding FAST MOTION joyride along the
433 CLOSE SHOT - BOBBY JOE'S FACE - 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
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
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 - PANNING SHOT - RIGGING EFFECT - STUNT
She hits a swamp with a giant splash, but even this does not stop her.
435 LONG SHOT - SWAMP - 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
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 - STATIC CAMERA - RIGGING
EFFECT - STUNT - UNDERCRANKED
Bobby Joe comes roaring towards us, screaming. She rips past.
438 STATIC CAMERA - RIGGING EFFECT - STUNT - UNDERCRANKED - JONES' CREEK
From BEHIND CAMERA Bobby Joe appears and goes racing into the
439 BOBBY JOE'S POV - OVER HER LEGS - DRAGWAY - 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
439A TREE STUMP'S POV - BOBBY JOE APPROACHES - UNDERCRANKED
439B BOBBY JOE'S LEGS - STUMP - DRAGWAY - STOP MOTION - REVERSE ACTION
Girl meets stump.
440 EXT. WOODS - NIGHT - OVERCRANKED - 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
441 INT. CABIN - MAIN ROOM - NIGHT - OVERCRANKED - CLOSE SHOT - GLASS CASE
CONTAINING PAGES FROM BOOK OF THE DEAD
It falls away from the CAMERA and shatters on the table beneath us.
442 MEDIUM SHOT - ASH AND ANNIE
As their hands scramble at removing the pages from the bits of broken
443 MED. SHOT - JAKE IN FG - ASH AND ANNIE IN BG
Jake is looking out the boarded window of the cabin, searching for
some sign of Bobby Joe.
444 EXT. WOODS - NIGHT - JAKE'S POV - THE DARK WOODS - WINDOW FRAME
All is silent as fog rushes in and around the woods.
Where the hell is she?
445 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - JAKE AND ASH AND ANNIE
Jake turns to Ash.
We gotta go out there and find her!
If she went out in those woods,
she's not coming back.
Jake turns back to the window. Ash turns to Annie. He glances down at
the pages that Annie is looking over.
445A ASH'S POV - CLOSE SHOT - PAGES AND ANNIE
One of the pages is a clear pictorial of Ash as the "Hero from the
445B ASH AND ANNIE
What is it?
Felt like someone just walked over
my grave. It's that picture.
Annie looks to it.
445C CLOSE SHOT - PAGE OF THE BOOK OF THE DEAD CONTAINING ASH'S "HERO FROM
THE SKY" ILLUSTRATION
445D ANNIE AND ASH
In 1300 AD. This was the "Hero from
the Sky," who was prophesized to
destroy this Evil.
He didn't do a very good job. What
about the passages?
446 CLOSE SHOT - ANNIE
As she quickly gives the pages a cursory glance.
Here it is. Two passages.
For the first time, she smiles at Ash.
We've got it!
447 CLOSE SHOT - ASH
Finally seeing his salvation, his face shows hope.
447A MEDIUM SHOT - ASH AND ANNIE
Annie reads through the pages.
Recitation of the first passage will
make this "Dark Spirit" manifest
itself in the flesh.
Why the hell would we want to do
Annie thumbs through one or two of the other pages.
Recitation of the second passage
creates a kind of rift in time and
space, and the physical
manifestation of this spirit can be
forced back through this rift...to
an earlier time and place. At least
that's the best translation I can...
448 MEDIUM SHOT - ASH AND ANNIE
Annie and Ash look up to the source of the sound.
449 MEDIUM SHOT - JAKE
He has just snapped a shell into the firing chamber of the shotgun. He
points it at Ash and Annie.
I'm runnin' the show now.
450 MEDIUM SHOT - ASH AND ANNIE
Standing together, confused.
450A CLOSE SHOT - JAKE
We're goin' outside into those woods
to look for Bobby Joe, an' once we
find her, we're gettin' the hell
If you want to look for her, go
You two comin' with me. I ain't
goin' out there alone.
NO, YOU IDIOT. You'll kill us all.
She's dead by now. With these pages
Jake grabs the pages from Annie's hand.
Those pages don't mean shit.
Jake kicks the pages down into the cellar. Ash and Annie look on in
Sides. Now you ain't got no, choice.
Jake pushes at Ash with the barrel of the shotgun.
Move you son of a bitch!
451 EXT. WOODS/CABIN - NIGHT
Ash, Annie and Jake exit the cabin.
452 EXT. FRONT PORCH OF CABIN - NIGHT - TRACKING BACKWARD
Ash, Annie and Jake walk towards the woods. In the FG is Ash. He looks
off past the CAMERA in fear.
453 ASH'S POV - WOODS - NIGHT ROD PUPPETS - STUDIO
As he approaches a line of trees whose branches bend and sway with a
453A EXT. CABIN - NIGHT - TRACKING BACKWARD - ASH, JAKE, AND ANNIE
No trail. Which way do you intend to
453B CLOSE SHOT - JAKE
Looking confused and frightened. He calls out desperately.
453C EXT. WOODS NIGHT - POV EVIL FORCE
As it glides through the woods. We hear a muted shout from Jake.
Bobby Joe, where are you girl?
And the POV of the force suddenly swings about to reveal Jake, Ash,
and Annie not to far away.
453D EXT. CABIN - NIGHT - TRACKING SHOT - ASH
As he moves deeper into the woods.
453E EXT. CABIN - NIGHT - TRACKING SHOT - ANNIE
As she searches the woods with her eyes in fear.
453F EXT. CABIN - NIGHT - TRACKING SHOT - JAKE
As scared as the rest of them, but driven to find Bobby Joe.
453G POV EVIL FORCE - EXT. CABIN - NIGHT
As it approaches the group.
453H EXT. CABIN - NIGHT - FOAM SHOTGUN STOCK - JAKE, ASH, AND ANNIE
Bobby Joe! Bobby Joe!
Ash approaches Jake.
You'll get us all killed.
Jake slams Ash across the face with the stock of the shotgun. Ash
plummets to the ground. Annie screams! She goes after Jake. Jake slugs
her and she falls to the ground.
453I EXT. CABIN - NIGHT - JAKE, ASH, AND ANNIE - POV - EVIL FORCE
It draws closer.
453J EXT. CABIN - NIGHT - JAKE - CLOSE SHOT
Raging to the night!
453K EXT. CABIN - NIGHT
POV of Evil Force racing up to the group.
453L EXT. CABIN - NIGHT - CLOSE SHOT - JAKE
Jake halts his screaming. He listens in the silence as possessed Ash
juts up into the frame! His eyes are bone white, his flesh, the pale
color of the dead. His lips, black. He bellows to the night!
474 EXT. CABIN - NIGHT - CLOSE SHOT - ANNIE
She screams and stumbles backwards, towards the cabin.
475 EXT. CABIN - NIGHT - CRANE - MEDIUM SHOT - POSSESSED ASH - JAKE DUMMY
- FLYING RIG
Possessed Ash lifts Jake up above his head and throws him into a large
tree. It explodes in a blast of sawdust as the dummy slams into it.
476 INT. CABIN MAIN ROOM - NIGHT - MEDIUM SHOT
Annie dashes inside and turns to look out the open doorway.
477 EXT. CABIN - ANNIE'S POV - THRU THE OPEN DOORWAY
All is quiet outside, no sign of Possessed Ash or Jake, and then
Possessed Ash is there, emerging from the darkness suddenly. He raises
his finger and points to Annie. He speaks in the low garbled voice of
478 INT. CABIN - MED. SHOT - ANNIE
She rushes to the door, hoping to get there before Possessed Ash.
479 MED. SHOT - ANNIE AND POSSESSED ASH
She slams the front door shut just in time.
480 MED. SHOT - ANNIE - WRITING DESK
She picks up the Kandarian Dagger. CREAK -- SNAP! A sound coming from
somewhere in the rear of the cabin. She turns toward the door to the
487 ANNIE'S POV - THE DOOR TO THE HALLWAY
It is closed.
489 MED. SHOT - ANNIE
She moves to investigate the sound. As she approaches the rear door to
the hall and slowly opens it.
489A ANNIE'S POV
As the door to the hallway is pulled open, revealing...only the empty
489B INT. CABIN HALLWAY - NIGHT
She breathes a sigh of relief.
490 ANNIE'S POV
As she moves down the hall. It is dark. Curtains flutter on the
491 CLOSE SHOT - ANNIE
As she moves towards the rear of the cabin.
491A INT. HALLWAY/EXT. CABIN - LOCATION - ANNIE'S POV - THE WINDOW AND
We approach the window and look out into the night. Fog billows
through the trees, and in the distance the monster that is Ash
emerges. He heads toward the cabin and disappears in a bank of fog.
491B INT. HALLWAY (STUDIO)
Annie is frightened. She spins her head to a sound.
492 ANNIE'S POV - THE REAR DOOR OF THE CABIN
Creak! The doorknob is turning. Something is trying to get in.
493 ANNIE - MED. SHOT
She forces her back to the wall. She tenses with the dagger, ready to
slay whatever should enter.
494 CLOSE SHOT - ANNIE
495 CLOSE SHOT - THE KANDARIAN DAGGER
Gripped tightly in Annie's sweating hands.
496 CLOSE SHOT - DOORKNOB
Rattling violently now. And suddenly it opens.
497 CLOSE SHOT - ANNIE'S HANDS
As they swing the dagger.
498 CLOSE SHOT
As the dagger imbeds in the intruder's chest. CAMERA PANS UP quickly
to reveal a gasping Jake.
499 MEDIUM SHOT - JAKE AND ANNIE
Jake falls to the ground, half in and out of the doorway. He is still
500 CLOSE SHOT - ANNIE
As she backs away in horror, clutching at her head.
She backs to a partially boarded window.
501 MEDIUM SHOT - ANNIE
Possessed Ash juts up into frame in the window behind her. Annie
screams and runs toward the open back door. Possessed Ash spots the
open door through the window and begins to move around the side of the
502 MED. SHOT - ANNIE
As she goes to slam the door.
503 MED. SHOT - JAKE
As he lies moaning in the doorway, the door slams upon him.
504 MED. SHOT - ANNIE
As she reaches down and pulls Jake's body out of the way.
505 EXT. CABIN/REAR - NIGHT - POSSESSED ASH
As he moves around the side of the cabin, tearing apart a trellis that
stands in his path, and three hanging flowerpots as he approaches the
506 INT. CABIN BACK HALLWAY - NIGHT - MED. SHOT - ANNIE
Again she tries to slam the door.
507 MED. SHOT - JAKE'S DUMMY ANKLE
Which lies in the door's path, preventing it from closing.
508 EXT. CABIN/REAR - NIGHT - OVER POSSESSED ASH'S SHOULDER
As he approaches the back door. He grabs the screen door and tears it
loose with a single motion.
509 INT. CABIN REAR HALLWAY - NIGHT - ANNIE
As she pulls Jake's ankle from the door and slams it. All is again
509A INT. CABIN - REAR HALLWAY - NIGHT - ANNIE AND JAKE
Annie kneels down next to a moaning Jake, driving the dagger in a
little deeper by accident. He cries out in pain.
Get the axe. Kill it. Kill it.
Jake moans and dies.
509B CLOSE SHOT - ANNIE
As she turns her head to the sound of breaking glass.
509C TRACKING SHOT - ANNIE - REAR HALLWAY - NIGHT
As she cautiously approaches the main room.
509D ANNIE'S POV - REAR HALLWAY/MAIN ROOM - NIGHT
As she moves towards the main room.
509E MAIN ROOM - NIGHT - ANNIE
Annie enters the room. She shudders from the cold. CAMERA PANS with
her glance to broken glass upon the floor, and over to reveal the
bashed out window and the curtains fluttering in the wind.
509F MEDIUM SHOT - ANNIE
Petrified. Looking about. Knowing that the monster Ash may be lurking
509G WIDE SHOT - ANNIE
As she moves about the main room, picking up the axe. With her back
toward us she doesn't notice Ash's hand appear suddenly in the
foreground atop the writing desk. She turns suddenly towards camera.
509H OVER ANNIE'S SHOULDER
Ash's evil hand sits upon the table. It scampers off. Annie turns and
comes face to face with Possessed Ash! He bellows at her and grabs her
as she shrieks bloody murder!
512 INT. CABIN MAIN ROOM - NIGHT - WIDE SHOT - POSSESSED ASH AND ANNIE -
He picks her up and swings her across the room, into the wall. She
slumps to the floor unconscious.
513 MED. SHOT - POSSESSED ASH
As he lumbers toward her.
514 ASH'S POV - STAR FILTER - MIRROR NECKLACE
As he moves closer to her unmoving body. A glitter of light on the
floor, next to her, catches his eye.
515 CLOSE SHOT - POSSESSED ASH
For the first time, calm, as he looks intently down at the floor. He
516 ASH'S POV - (STAR FILTER)
The NECKLACE of Linda.
517 CLOSE SHOT - POSSESSED ASH
The sight of the necklace strikes the human cord within him. He is
confused, his evil self, battling for control of his spirit and body.
He reaches to pick it up.
518 CLOSE SHOT - ASH'S HAND
As he slowly picks up the delicate silver necklace. He raises it to
I'll never take it off.
And then it hits him. The emotion of love lost. It floods the monster
that is ASH. He clutches the necklace tightly to his bestial chest.
And as the Love/waltz theme sweeps up in volume on the sound track,
the monster begins to cry.
519 WIDE SHOT - POSSESSED ASH AND ANNIE - TULIP CRANE
Ash raises his head and lets out a low, lamenting, and pitiful wail. A
man trapped in the shell of a beast, crying for the one he has lost.
520 MEDIUM CLOSE SHOT - POSSESSED ASH - 50% POSSESSED
As he raises his head. Tears stream down from his eyes, washing away
the caked on blood.
521 CLOSE SHOT - POSSESSED ASH (REVERSE ACTION) - BLADDER EFX - 50-20%
His face begins to change. His skin loses its white pallor. His
blackened, infected cuts disappear. The swollen and cracked surface of
his face begins to heal.
522 INT. CABIN MAIN ROOM - NIGHT (STUDIO) - MINIATURE - EXTREME CLOSE SHOT
- POSSESSED ASH - DUMMY HEAD W/FLUID EYE CHAMBER
Ash's eyes change from white to brown.
523 INT. CABIN MAIN ROOM - NIGHT
As the last tears roll down Ash's face, he is once again human. Ash
looks up suddenly with a start.
524 MEDIUM SHOT - ASH - WOODEN AXE HEAD - EXPLODING FLOOR
As he rolls out of the way a moment before the head of the axe buries
itself in the wooden floor. Splinters fly.
525 MEDIUM SHOT - ASH - WOODEN AXE HEAD - EXPLODING WALL EFX
Rolls to his feet and stands. He ducks as Annie enters frame, charging
him with axe, screaming.
Annie swings the axe and again Ash ducks. The head of the axe slams
into the plastered wall smashing right through.
526 CLOSER - ASH AND ANNIE
Ash grabs her tightly with his remaining hand.
Listen to me! I'm all right now.
That thing is gone.
Ash pushes her away. Annie falls to the floor. She stands.
527 CLOSE SHOT - ASH - WOODEN AXE HEAD - EXPLODING WALL EFX
Catching his wind for a moment. Then rolls to the side as the axe
again comes at him! SLAM! The head of the axe slices into the wall
only a few inches from his head.
528 MED. SHOT - ASH AND ANNIE
As he grabs Annie by the face and forces her backwards.
GOD DAMN IT! I said I was all
Annie is nearly choking.
Ash releases her gently. She again looks to Ash, cautiously.
Are you sure?
You'll be the first to know. I'm
529 CLOSE SHOT - ANNIE AND ASH
Yeah, but for how long? If we're
going to beat this thing, we need
529A CLOSE SHOT - ASH
As he turns to the trap door.
Then let's head down into that
529B CLOSE SHOT - TRAP DOOR
It lies silently against the floor. A raspirlg breath can be heard
529C CLOSE SHOT - ASH
He turns from the trap door to Annie.
...And carve ourselves a witch.
530 EXT. WORKSHED - NIGHT
Ash's hand flips open the latch on the shed door.
531 INT. WORKSHED - NIGHT
The door is kicked open, revealing the silhouette of Ash and Annie as
they stand in the doorway.
532 WORKSHED SHELF
Rats scurry for safety as the shaft of light from the door hits them.
533 HANGING BULB
ASH'S hand pulls on the cord, turning on the light.
534 WORKSHED TABLE
Ash's arm sweeping the chains and pieces of wood onto the floor.
538 THE HOSE CLAMP
Is tossed down upon the workshed table.
539 A SECOND HOSECLAMP
Is tossed down next to the first.
540 ANNIE'S HANDS
Hold down a clamp as ASH'S hand, creates screw sized holes in it with
a battery powered drill.
541 ANNIE'S HANDS
Attach the hoseclamps to a piece of red steel.
542 ANNIE'S HANDS
Attach the red piece of steel to ASH'S stump, via the clamps.
543 ANNIE'S HANDS
Attach a "V" type hook Around Ash's neck, just above his bicep.
544 ASH'S HAND
Slams down the chainsaw upon the tAble. It is missing its side panel.
ASH'S arm enters frame and we see that it is this missing side panel
that has been clamped to his stump.
545 CLOSER SHOT
The panel slides into the side of the chainsaw with a sharp "CLICK".
As he bends the chainsaw to his chest.
547 CLOSE SHOT
The "T" shaped end of the starter cord falls neatly into the "V"
shaped hook that is strapped around Ash's neck.
548 CLOSE SHOT - ASH
He looks up to Annie, the moment of truth.
549 CLOSE SHOT - ANNIE
Hair tousled over her sweating face, returns his glance, expectant.
550 WIDE SHOT
Ash extends his chainsaw arm, pulling on the starter cord. The
CHAINSAW ROARS to life. With his free arm Ash raises the shotgun. He
lowers the blade of the chainsaw down upon the barrel. Sparks fly as
the saw cuts through it. The long barrel falls to the floor. Ash is
left with a sawed off shotgun in one hand and a chainsaw strapped to
his other arm.
With a fancy style western flip to the gun Ash saddles the shotgun in
a makeshift holster, strapped to his back.
The CAMERA SLOWLY TRACKS into Ash's face.
551A EXT. CABIN/WORKSHED - NIGHT - INKY PUPPET
In the distance, the tiny figures of Ash and Annie as they move from
the workshed to the cabin. In the foreground is a large oak tree. A
gnarled human-like face can be made out on the surface of the tree. It
is lit from beneath and slolwly brought up on a dimmer. A horrible
twisted tree face. It suddenly opens its mouth and breathes in a gust
of air with a terrible wheezing sound, as though in great pain at
being brought to life. It turns sharply towards the cabin.
552 CLOSE SHOT - DINKY PUPPET
Second tree face, brought up on a dimmer, opens its mouth and loudly
draws in air, also in agony.
553 CLOSE SHOT - MOE PUPPET
A third tree's twisted face, two human eyes opened wide on its
surface. It breathes, then barks a guttural sound.
554 MED. SHOT - (STUDIO MINIATURE)
In the foreground is the base of a large oak tree. The cabin in the
distance. A rumbling is heard. Then suddenly the tree pulls one of its
massive roots from the earth. The tree sets its root down a few feet
closer to the cabin.
555 EXT. WOODS - NIGHT (STUDIO MINIATURE) - WIDE SHOT - TREE PUPPETS
An entire line of trees. All pull their roots free from the soil and
take an awkward and lumbering step towards the cabin.
565 INT. MAIN ROOM - NIGHT - CLOSE SHOT - THE BLADE OF THE CHAINSAW
Begins cutting through the wood of the trap door.
566 MED. SHOT - ANNIE
Tensing with her axe, ready for the beast to spring.
567 CLOSE SHOT - CHAINSAW BLADE
As it completes the second cut in the wood of the trap door.
568 MEDIUM SHOT - ASH
As he finishes the slicing job and kicks open the trap door.
569 LOW ANGLE - ANNIE AND ASH - FROM CELLAR LOOKING UP
The broken bits of the trap door fall past the camera, as they
cautiously peer down into the cellar.
570 INT. CABIN CELLAR - NIGHT (STUDIO) - ANNIE'S POV
Looking down into the cellar. No sign of Henrietta. The bottom of the
steps disappear into blackness.
Those pages are down there
571 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - ASH
He kicks aside the broken trapdoor and slowly descends into the
572 INT. CABIN CELLAR - NIGHT - MED. SHOT
Ash arrives at the bottom of the steps. He looks about the dark
corners of the cellar trying to find some sign of Henrietta or the
575 ASH'S POV
Panning the cobwebs and dark stone walls of the cellar. Half hidden in
the shadows we see two of the missing pages.
575A CLOSE SHOT - ASH
As he moves through the cellar and grabs the pages. He spots another
page somewhat deeper into the cellar.
575B ASH'S POV
A fourth and fifth page lay upon the earthen floor, at the base of the
cellar's rear door.
575C ASH - CLOSE SHOT
Ash moves to pages and gathers them.
Annie's voice calls down.
Did you find her?
576 CLOSE SHOT - ASH
She's playing hard to get...
He pumps the throttle on the buzzing saw.
Behind Ash, unseen by him, a shadow darts by.
577 CLOSE SHOT - ASH
He hears a sound.
577A ASH'S POV
It is coming from the door to the cellar's rear room.
577B ANGLE - ASH
He reaches for the door and opens it. Revealing darkness beyond. Ash
enters. Again he hears the slight sound, a gentle ticking.
578 INT. CELLAR - REAR ROOM - NIGHT - ASH'S POV
The ticking sound is coming from behind a hanging drape.
579 MEDIUM SHOT - ASH
He apprcoaches the drape, reaches out his hand and pulls it back
sharply. Revealing an old water heater, ticking and steaming.
579A MEDIUM SHOT - ASH
He breathes a sigh of relief as the half eaten skeleton torso of Ed
falls atop him! Ash screams and steps suddenly away.
579B ASH'S POV
Ed's skeletal carcass falls to the earthen floor still wrapped in the
579C CLOSE SHOT - ASH
Looking on in horror.
(In a whisper)
She got hungry.
Ash turns from the skeleton and quickly gathers up the remaining pages
from the Book of the Dead. Getting scared now, he backs into the
cellar's front room.
579D INT. CELLAR - NIGHT - CLOSE SHOT - ASH
As he moves towards the steps. He tosses up the bundle of pages.
579E MEDIUM SHOT - ANNIE
Peering down into the cellar, she grabs the pages.
579F MEDIUM SHOT - ANNIE - MAIN ROOM
She rushes over to the writing desk and begins translating.
580 INT. CELLAR - CLOSE SHOT - ASH
Getting scared now, decides to exit the cellar. He climbs the steps.
581 CLOSE SHOT - ASH'S FEET
As they climb. From behind the wooden steps, the horrible head of
Henrietta appears. Her two rotting hands grab at Ash's ankles.
582 CLOSE SHOT - ASH
He looks down with a scream.
583 CLOSE SHOT - HENRIETTA/ASH'S DUMMY FEET
Come to me. Come to sweet Henrietta!
Her face pulls back behind the cellar steps. Her hands pull ASH's feet
in after her.
584 MEDIUM SHOT - ASH - CAMERA RIG
As Ash falls, he slams his jaw down upon the bottom step.
585 CLOSE SHOT - CHAINSAW ARM
As the spinning blade jams into the step, stalling the engine.
586 LONG SHOT - ASH DUMMY - AND HENRIETTA'S HANDS - (UNDERCRANKED)
In an instant, his entire body is pulled beneath the steps.
587 INT. CABIN - MAIN ROOM - NIGHT - MEDIUM SHOT - ANNIE
As she sits at the writing desk, reciting the first of the passages.
She puts aside the pages and glances up suddenly at the faint sounds
of the struggle from the cellar.
588 INT. CABIN CELLAR - NIGHT - LONG SHOT - ASH - CELLAR STEPS
Ash's badly mauled body rips through the staircase with a great force.
589 MEDIUM SHOT - ASH
As he slams into the earth floor of the cellar. He moans, and looks
towards the steps.
590 ASH'S POV - THE WOODEN STAIRCASE (REVERSE ACTION)
As a cackling Henrietta appears where the bottom section of staircase
used to stand.
591 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - ANNIE
As she races from the writing desk to look down into the cellar.
592 OVER ANNIE'S SHOULDER - UNDERCRANKED
As she kneels down at the trapdoor, about to call down to Ash when the
witchlike figure of Henrietta floats quickly up into the main room
from the cellar. A flurry of moths about her.
Free! Free at last!
593 WIDE SHOT - ANNIE
As Annie attempts to move from the trap door. Henrietta is clutching
at Annie's hair and laughing with a demconic malice, as she spins
about the room in mid air.
594 CLOSE SHOT - TRAP DOOR - ANNIE'S FEET
Ash's bloodied arm slings itself over the edge of the trapdoor. He
pulls himself up into the main room.
535 MED. SHOT - OVER ASH'S SHOULDER - HENRIETTA AND ANNIE
Henrietta turns sharply to Ash with a growl.
596 MED. SHOT - ASH
He stands and jerks out his chainsaw arm sharply. The cord is pulled
and the engine roars to life!
597 MED. SHOT - HENRIETTA
As she leaps through the air toward Ash.
598 HENRIETTA'S POV - RACING AT HIM - MEDIUM SHOT - ASH
Ash swings his buzzing chainsaw.
599 CLOSE SHOT - HENRIETTA'S GNARLED HAND
As it grabs the body of the chainsaw, halting it in mid swing.
600 MEDIUM SHOT - ASH AND HENRIETTA
As she keeps the buzzing chainsaw at bay with one hand, while her
other grabs at Ash's throat, strangling him.
600A CLOSE SHOT - ASH
As he is slammed through the window.
600B ASH AND HENRIETTA
Ash kicks her in the stomach. Henrietta is furious.
600C CLOSE SHOT - POSSESSED HENRIETTA - MITCHELL CAMERA - STOP MOTION
She grits her teeth, concentrates, and her neck begins to grow. She
begins to change to Pee Wee Head.
600CP PLATE FOR PREVIOUS SCENE - MITCHELL CAMERA - INT. CABIN MAIN ROOM -
CAMERA PANS UP on "B" wall.
601 MEDIUM SHOT - HENRIETTA - MITCHELL CAMERA - STOP MOTION ANIMATION/REAR
As the pee wee Head transformation continues, Henrietta's neck grows,
like a jack in the box. It extends a solid five feet upward, so that
her head is now looking down upon Ash baring its teeth.
601P PLATE FOR PREVIOUS SCENE - ASH - MITCHELL CAMERA - INT. CABIN - MAIN
ROOM - NIGHT
602 CLOSE SHOT - ASH - TULIP CRANE - CAMERA CRANING UP ON HIM
Ash gapes in fear at this monstrosity that looms above him.
603A INT. CABIN - MAIN ROOM - NIGHT - POSSESSED HENRIETTA PUPPET - MEDIUM
Her neck undulating like a snake, she bites and snaps.
I'll swallow your soul, swallow
603B ASH - CLOSE SHOT
603C WORKING DUMMY HENRIETTA HEAD ON "FLYING HEAD RIG" - AND ASH
Henrietta swoops at Ash as he keeps her at bay with the buzzing
603 INT. CABIN MAIN ROOM - NIGHT - (STUDIO) - STOP MOTION - REAR SCREEN -
LOOKING UPWARD AT HENRIETTA'S HEAD
She opens her mouth impossibly wide, exposing those nasty rows of
jagged shark like teeth. She dive bombs him.
603P INT. CABIN - MAIN ROOM - NIGHT - BART-O-FLEX
Plate for previous scene.
604 MEDIUM SHOT - HENRIETTA'S HEAD AND ASH
As her head springs down into frame and halts suddenly inches from his
face. In the silence we hear the reason:
Annie's voice singing the same melody that her mother had sung to her
earlier from the cellar. For a moment Henrietta's face loses its evil
malice. She is confused at this sound.
Henrietta halts. She spins her head toward Annie.
605 CLOSE SHOT - ANNIE
As she finishes the melancholy song.
606 MEDIUM SHOT - HENRIETTA - MAGIC BLADE AND GUIDE TRACK RIG
Still confused, suddenly she shrieks and the chainsaw comes buzzing
through her from behind. The spinning blade juts out from Henrietta's
607 MEDIUM SHOT - ASH AND HENRIETTA - BODY PARTS ON WIRES
Body parts (2 arms) fly past the camera on wire. Ash slices and dices.
Henrietta screeches like a wild banshee.
608 CLOSE SHOT - HENRIETTA'S HEAD AND ANNIE IN B.G.
As Pee Wee Head spins toward Ash, furious.
Swallow your soul!
609 MEDIUM SHOT - ASH
Swings his chainsaw arm in a sharp arc.
609A ANGLE - HENRIETTA
Henrietta's head is sliced from her neck with a chainsaw. Steam pours
from her neck.
610 CLOSE SHOT - HENRIETTA'S HEAD - OVERCRANKED
As it flies up into frame, sliced from its neck.
As he completes the arc of the chainsaw.
611 CLOSE SHOT - DUMMY HENRIETTA PEE WEE HEAD W/ SMALL SECTION OF NECK
As it hits the floor.
612 MEDIUM SHOT - HENRIETTA'S BODY
It's neck spouts steam, wagging about like a snake. Behind her Annie
watches as the body topples to the floor.
613 CLOSE SHOT - ASH
He looks down.
614 CLOSE SHOT - HENRIETTA'S HEAD SCREAMING AT HIM:
Swallow your soul! Swallow your
Ash's foot steps down upon her head, pinning it to the floor. Her neck
615 CLOSE SHOT - ASH
He unsaddles his sawed off shotgun from the holster on his back. He
points the barrel at her head point blank.
He pulls the trigger. BLAM! Flame barks from the gun.
616 3 CAMERAS - CLOSE SHOT HENRIETTA AND GUN BARREL - (OVERCRANKED)
GELATIN HEAD - SQUIB
Her head explodes into a million pieces.
617 MEDIUM SHOT - ANNIE AND ASH
Annie is crying. Ash holsters the gun.
May she rest in pieces.
618 MEDIUM SHOT - ASH AND ANNIE
As they look at each other for a quiet moment of relief. Ash shuts off
the chainsaw. Annie moves slowly to Ash's arms. He holds her.
619 CLOSER - ASH AND ANNIE - MAIN ROOM - KITCHEN IN B.G.
They pull apart and look into each others eyes. Annie holds the pages.
Maybe they can get away after all. A LOUD BOOMING echoes throughout
the cabin! As though the outside walls of the place were being
bombarded by cannon balls. The kitchen wall behind them buckles.
620 3 CAMERAS - MEDIUM SHOT - ASH AND "D WALL" - SQUIB ON MIRROR
As the B-board of the wall behind Ash falls away revealing battered
logs. The mirror shatters.
621 3 CAMERAS - MEDIUM SHOT - ANNIE AND "A" WALL
The wall cracks beneath the terrific force of whatever is outside
hammering upon it.
622 3 CAMERAS - MEDIUM SHOT - ASH AND ANNIE - THE SOFA - "B" WALL
CAMERA TRACKS in on them as they look about in fear. Dust is falling
about them. The cabin walls are starting to break apart. There is a
tremendous "Voyage to the Bottom of the Sea" type jolt to the cabin.
Ash and Annie stagger for footing.
623 MEDIUM SHOT - ASH - BOARDED WINDOW
Ash grabs ahold of the window frame to brace himself.
623A CLOSE SHOT - VINES - INT. MAIN ROOM - NIGHT - REVERSE ACTION - VINES
Vines wrap about the planks which cover the window.
623B MEDIUM SHOT - ASH - BOARDED WINDOW
Behind him, the planks in the window are ripped away by finger-like
vines. A terrifying tree face on the surface of a giant oak is
revealed, as it peeks in through the window at them.
624 CLOSE SHOT - ANNIE
She turns toward "D Wall" at a loud wrenching sound.
625 MEDIUM SHOT - "D" WALL WINDOW
As vines reach in the cabin, tearing away the planks revealing an enen
more horrible tree face.
626 EXT. CABIN - NIGHT (STUDIO MINIATURE) - TREE PUPPET
A tree beats its branches furiously upon the EXT. wall of the cabin.
It rips apart the cabin's stone chimney.
627 ANGLE - (STUDIO MINIATURE) - TREE PUPPET
A second gnarled tree slams its trunk against the rear door of the
628 LONG SHOT - (STUDIO MINIATURE) - TREE PUPPET
The entire cabin is surrounded by a group of lumbering oaks. All
working to get in at Ash and Annie.
629 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ANNIE
Annie runs to the writing desk. She flips through the missing pages
from the Book of the Dead. Dust from the ceiling drifts down.
(shouting above the
No! I only completed the first of
the passages. And that was to make
the evil a thing of the flesh!
630 EXT. WOODS/CABIN - NIGHT (STUDIO MINIATURE) - POV EVIL FORCE
As it roars out of the woods, and towards the distant cabin faster
than we've ever seen it.
631 INT. CABIN MAIN ROOM - NIGHT - MEDIUM SHOT - ASH
As he runs over to Annie.
You didn't finish it?!
There's still the second passage.
The one to open the rift and send
the evil back.
Start reciting it. Now!
632 EXT. CABIN - NIGHT - (STUDIO MINIATURE) - POV EVIL FORCE
As it rockets towards the cabin doing 80 mph.
633 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ANNIE
Shouting to be heard as she continues reading from the passage:
Tar-tra Kanda-Estra! Hudsucker Proxy
634A EXT. CABIN - WOODS - NIGHT
The forest at night. Bubbling smoke appears, then flame. Through the
smoke, the beginnings of a winding spiral of a cloudlike material.
634AP1 PLATE FOR PREVIOUS SCENE - SMOKE AND FLAME - MINIATURE (STUDIO)
634AP2 PLATE FOR PREVIOUS SCENE
635 INT. CABIN MAIN ROOM - NIGHT - MEDIUM SHOT - ANNIE
636 EXT. WOODS - NIGHT (STUDIO MINIATURE) - POV EVIL FORCE
As it races right up to the front door of the cabin.
637 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - ANNIE - WIND FAN
Reading from the passage. Behind her, the front door rips open and in
comes a giant rotten apple head of the evil entity made flesh. A
SHRIEKING, BULBOUS BEHEMOTH!
638 INT. CABIN MAIN ROOM - NIGHT - (STUDIO) - STOP MOTION ANIMATION -
CLOSE SHOT - ASH - WIND FAN
Ash as he witnesses the most horrible sights a man can behold. Ash's
black hair streaks white before our eyes. Behind him, two flowers in
their pots wither and die in seconds.
638P INT. CABIN - MAIN ROOM - NIGHT
Plate for previous scene, with dying flowers.
639 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ANNIE - WIND FAN
Kanda! Samonda Roba Areda Gyes Indy
En-zeen, Nos-Feratos --
639A CLOSE SHOT
Annie as she gasps.
639B MED. SHOT - ANIMATED HAND - (3 SEC.)
Annie as she falls to the floor, dead. Jutting from her back is the
Kandarian dagger and hanging onto the end of the dagger is Ash's
640 MEDIUM-SHOT - ASH AND WINDOW ON "B" WALL
Behind Ash a living tree branch rips through the cabin window!
641 MED. SHOT - ASH - WIND FAN - WRAPPING EFX BRANCH
Ash turns suddenly to get away. Too, late. The living branch wraps
about ASH'S waist and lifts him, screaming, OUT OF FRAME.
642 MED. SHOT - ASH IN GRIP OF TREE BRANCH - WIND FAN
Ash is being lifted toward the gaping mouth of rotten apple head. Ash
is frantically jerking out his arm in an attempt to start the chainsaw
strapped to his wrist.
PUTT, PUTT, PUTT.
It won't start. As the face of rotten apple head looms close, it opens
its terrible mouth, ready to consume him.
643 CLOSE SHOT - ASH IN GRIP OF GIANT TREE BRANCH
From inside the creature's mouth looking out. Ash is screaming as he
is brought towards its gnashing teeth. PUTT, PUTT, PUTT. His chainsaw
still won't start.
643A CLOSE SHOT - ANNIE
Half dead as she crawls to the pages on the floor and gasps out the
Nos-feratos -- Amen-non. Ak-adeem!
643B EXT. CABIN - NIGHT - WIDE SHOT - REVERSE ACTION
The rift grows more powerful.
643BP PLATE FOR PREVIOUS SCENE
644 INT. CABIN - MAIN ROOM - CLOSE SHOT - ASH
Sweating and terrified. He draws closer.
645 ASH'S POV
The CAMERA tracks in toward the mouth of rotten apple head. It's
massive jaw jutts from the head, biting and snapping. Sap-like saliva
drips from the orifice. Ash's feet kick at the mouth of rotten apple
head, trying to keep it away. Its jaws snap at his shoes.
645A C.U. - ASH'S FEET - PUSHING AT THE GUMS OF RAH'S MOUTH.
SNAP! The massive teeth snap together biting Ash's foot in half.
645B C.U. ASH
He screams, then looks down to his foot.
645C C.U. ASH'S FOOT - (OVERLARGE SHOE)
Missing the leather toe section, he reveals that he still has his toes
646 CLOSE SHOT -ASH
As he sharply jerks his arm outward! The CHAINSAW ROARS to life! He
raises it high above his head and plunges it forward.
647 WIDE SHOT - ASH AND ROTTEN APPLE HEAD
Ash thrusts the spinning chainsaw blade into the single eye of the
648 INT. CABIN MAIN ROOM - NIGHT (STUDIO) - CLOSE SHOT - CHAINSAW
As it punctures the giant eyeball and then pulls free. Green sauce
spouts from the creature's wound.
649 INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ASH
As he is doused in the green bile. SPLAT!
650 CLOSE SHOT - ROTTEN APPLE HEAD
Eyeless, it screams in anger.
650A CLOSE SHOT - ANNIE
With her last gasp.
651 EXT. CABIN - NIGHT (STUDIO MINIATURE) - WIDE SHOT - (REVERSE ACTION)
As the rift pulls in fog and trees that surround the house.
651P1 PLATE FOR PREVIOUS SCENE - SMOKE AND FLAME - MINIATURE (STUDIO)
651P2 PLATE FOR PREVIOUS SCENE
652 INT. CABIN MAIN ROOM - NIGHT - WIDE SHOT
As rotten apple head is sucked out the doorway of the cabin. The door
slarns shut behind it. Its scream echoes off into the distance.
654 INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - ASH
Slices through the bracch.
654A MEDIUM SHOT - ASH
Ash and cut branch fall to the floor.
655 MED. SHOT
The cabin becomes much more quiet. The sounds of the trees are gone.
Ash looks to Annie. She is dead. Ash moves to her, strokes her hair
and begins to cry.
You did it. By God you did it.
He lowers his head and begins to heave in sharp convulsive breaths of
662 INT. STUDIO - (BLUE SCREEN) - MEDIUM SHOT - ASH - WIND FAN
Behind Ash the front door RIPS open with a TREMENDOUS BLAST. The door
is sucked down into the rift. All of the objects in the room are
sucked through the open doorway and down into the rift, including the
pages of the Book of the Dead.
662P1 PLATE FOR PREVIOUS SCENE - THE RIFT
662P2 SECOND PLATE FOR PREVIOUS SCENE - INT. CABIN MAIN ROOM - (STUDIO
662P3 EXT. PLATE/WOODS
663 INT. CABIN MAIN ROOM - NIGHT - WIND FAN
Ash grabs ahold of the kitchen window ledge so as not to be swept
outside by the force of the vacuum of the rift. Objects and papers fly
664 CLOSE SHOT - ASH'S HAND
Upon the kitchen window ledge. The ledge tears free.
665 CLOSE SHOT - ASH
As he screams, flying backward, towards the open door.
666 INT. CABIN MAIN ROOM - NIGHT (STUDIO/PARTIAL SET/ BLUE SCREEN) -
MEDIUM SHOT - WIND FAN - SAM-O-CAM
The open doorway to the cabin. Ash flies towards it and is snagged
from going through by the section of ledge that he holds.
666P PLATE FOR PREVIOUS SCENE - THE RIFT
666P1 EXT. WOODS - PLATE FOR PREVIOUS SCENE
667 EXT. CABIN FRONT PORCH - NIGHT (STUDIO) - MEDlUM SHOT - ASH - WIRE
RIGGING FOR FLYING
His body is horizontal, his feet dangling in air, in the direction of
Ash as he hangs on for dear life. Objects continue to fly past on
For God's sake, how do you stop it?
669 INT. CABIN MAIN ROOM - NIGHT (STUDIO) - BLUE SCREEN - CLOSE SHOT -
The nails in the section of ledge that Ash holds TEAR loose and the
ledge SNAPS in two. He spins wildly away from us and towards the rift.
669P PLATE FOR PREVIOUS SCENE - THE RIFT
669P1 EXT. WOODS - PLATE
670 EXT. WOODS - NIGHT (STUNT) WIRE RIGGING
Ash is rocketed through the air, spinning somersaults.
671 INT. STUDIO - (BLUE SCREEN) - ASH ON FLYING RIG
Ash is sucked down into the swirling rift. Like a particle that is
swallowed by a deep funnel of draining water. The rift closed behind
671P1 PLATE FOR PREVIOUS SCENE - THE RIFT
671P2 EXT. WOODS - NIGHT
Plate for previous scerle.
672 INT. STUDIO - (BLUE SCREEN) - ASH ON FLYING RIG
We are now within the vortex. A swirling mass of colors and clouds.
And nightmarish sound effects.
Objects come AT US from the distance and roar past, an uprooted tree,
the grandfather clock with its hands winding backwards at an
incredible rate, Ash spinning AT US, hand over foot, screaming. The
chainsaw still mounted to his wrist.
672P PLATE FOR PREVIOUS SCENE - THE VORTEX
673 INT. STUDIO - (STOP MOTION/BLUE SCREEN) - ASH
The vortex is distorting Ash's features as he is rocketed back through
the dark void of time.
673P2 PLATE FOR PREVIOUS SCENE (STOCK FOOTAGE)
A wild and rapid pictorial collage of human history winding back from
the present through the centuries lasting seven seconds.
674 INT. STUDIO - (BLUE SCREEN) - WIDE SHOT
A hole opens in the air with a sharp CRACKLING SOUND. Ash is spat from
this hole and falls downward through frame.
674P PLATE FOR PREVIOUS SCENE - MITCHELL CAMERA - EXT. SKY - DAY
674P2 PLATE FOR PREVIOUS SCENE - MINIATURE - SMOKE AND FLAME
675 EXT. CASTLE OF KAN DAR - DAY - MED. SHOT - GROUND - ASH - CAR CRANE -
Punged to the dust. Debris from the demolished cabin rains down around
him; his shotgun, the 1973 Delta 88 Oldsmobile and the old grandfather
676 ASH'S POV. - THE RIFT IN THE SKY - MITCHELL
As it seals shut, leaving only the blue sky and the sound of tweeting
birds. Ash's view of the serene sky changes abruptly as five steel
helmets jut into his line of sight. Five armor-clad medieval WARRIORS
stand directly over him.
676P1 PLATE FOR PREVIOUS SCENE - THE RIFT
676P2 PLATE FOR PREVIOUS SCENE - MINIATURE - SMOKE AND FLAME
678 CLOSE SHOT - ASH AND WARRIORS
As he looks to the warriors above him.
The first warrior raises a bloodstained longsword and poises it above
Slay the beast!
'Tis a deadite!
All raise their swords ready for the kill.
679 MED. SHOT - THE WARRIORS
Halt as they hear a piercing, high-pitched SCREECH. They turn their
680 CLOSE SHOT - ASH
Follows the Warriors' gaze.
681 EXT. CASTLE OF KAN DAR - DAY - (STOP MOTION/REAR SCREEN) - MED. SHOT
A "WINGED DEADITE," a female harpy like creature with the tail of a
sea horse and man-sized bat wings, enabling it to fly. The screaming
beast swoops down towards the warriors and horses. High above, the
distant shapes of other Winged Deadites circle.
681P PLATE FOR PREVIOUS SCENE - EXT. CASTLE OF KAN DAR - WARRIORS AND
HORSES FOR SWOOP SHOT
682 EXT. CASTLE OF KAN DAR - DAY - (STOP MOTION ANIMATION/REAR SCREEN) -
CLOSE SHOT - WINGED DEADITE
She lets out a screaming banshee laugh, while swooping down.
682P PLATE FOR PREVIOUS SCENE - EXT. KANDAR CASTLE - DAY
683 WINGED DEADITE'S POV - (UNDERCRANKED) - CRANE - WIND FAN
As we swoop down toward the warriors and Ash.
685 EXT. CASTLE OF KAN DAR - DAY - MED. SHOT - ASH AND WARRIORS
As he springs to his feet. With a lightning thrust he reaches behind
686 CLOSE SHOT - ASH'S HAND
As he grabs at the gun from its holster. He swings it around front and
pulls the trigger.
687 CLOSE SHOT - GUN BARREL - UNDERCRANKED
It discharges flame.
688 CLOSE SHOT - DUMMY HEAD OF DEADITE - BLOOD SQUIB - OVERCRANKED - STOP
MOTION ANIMATION/REAR SCREEN
688P PLATE FOR PREVIOUS SCENE - MITCHELL - EXT. KANDAR SKY
689 EXT. CASTLE OF KAN DAR - DAY - (MINIATURE/STOP MOTION/REAR SCREEN) -
WIDE SHOT - WINGED DEADITE
The beast continues to flap its wings and fly about a moment before
falling to a heap in the dust.
689P PLATE FOR PREVIOUS SCENE - EXT. CASTLE OF KAN DAR - WARRIORS
690 EXT. CASTLE OF KAN DAR - CLOSE SHOT - WARRIOR #1
As he looks to Ash.
691 MED. SHOT - WARRIORS
They follow his gaze. The CAMERA PANS TO Ash. He stands alone on a
small pile of rubble clutching his smoldering shotgun. He looks about
dazedly. He tries to get his bearings.
692 WIDE SHOT - WARRIORS
They falter. Unsure of how to react to this strange man, who a moment
before was pronounced a Deadite. From the crowd, the Warrior #1 calls
Hail he, who has come from the sky,
to deliver us from the terrors of
The cry is taken up by all. A line of medieval warriors bow. Then
twenty. Then fifty. All remove their helmets and kneel silently in the
Somewhere in the distance a DRUM SOUNDS. Ash stands frozen. Terrified,
unsure of where or when he is. Knowing only for the present, he is
As the wind kicks up blowing dust, Ash strikes a familiar pose. It is
the same image of the "Hero from the Sky" that we saw earlier in the
film. The strange "jagged edged long sword" is Ash's chainsaw.
The CAMERA PULLS BACK from him as a great medieval castle rears up
INTO FRAME. It is seen to be the castle of Kandar. The same castle we
saw in the begining of the film. Now, however, the castle is not a
ruin, but brand new. As the CAMERA continues to pull back from Ash,
the title "EVIL DEAD" appears on the screen acompanied by the distant
ROAR of some dying animal: The SCREEN cuts to BLACK WITH A THUNDEROUS