Evil Dead 2 Script - Screenplay

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EVIL DEAD II SCRIPT

By

Sam Raimi
Scott Spiegel








SEVENTH DRAFT - May 5, 1986





	 FADE IN:

			   DE LAURENTIIS ENTERTAINMENT GROUP LOGO

										    FADE OUT.

	 FADE IN:

				    RENAISSANCE PICTURES LOGO

										    FADE OUT.

0	BLACKNESS

	 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:

						"EVIL DEAD"

	 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.

	 FADE IN:

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
	 Dead.

						NARRATOR
			   Legend has it, that it was written
			   by the dark ones: NECRONOMICON EX
			   MORTES; Roughly translated...The
			   Book of the Dead.

	 The face on the cover of the book pulls away from its skin binding and
	 leans toward the camera. EYES on the book blink open and peer at us.
	 It's mouth opens and emits a hideous scream. The CAMERA races into the
	 blackness of the screaming mouth.

										    DISSOLVE THRU TO:

1P    PLATE FOR PREVIOUS SCENE - SMOKE

2	A SPINNING VORTEX - (3 PAINTINGS ON AN ANIMATION STAND) - 12 SEC.
	 PLATE

	 Spiraling downward.

						NARRATOR
			   To trace the origin of the Book, we
			   must go back...back...to a day when
			   spirits ruled the earth.

	 Wispy shapes of animated ghosts move through this vortex, coming
	 toward the CAMERA with WAILING and MOANING and then are gone.

						NARRATOR
			   When the seas ran red with blood.

										    DISSOLVE THRU TO:

2P    PLATE FOR PREVIOUS SCENE - ROD PUPPET GHOSTS

3	STOCK FOOTAGE - (OPTICALLY COLOR SEPARATED)

	 A raging ocean of blood. Great waves rise and swell as if before a
	 storm.

						NARRATOR (V.O.)
			   It was this blood that was used to
			   ink the book.

										    DISSOLVE THRU TO:

4	AN OPEN COPY OF THE BOOK OF THE DEAD - ANIMATION STAND - BLUE SCREEN
	 IN BG

	 Through animation, the blank pages of the Book are scripted in a
	 strange hieroglyphic by an invisible hand.

	 Faster and faster the pages turn on the Book as the blood red ink is
	 scrawled across them. The pages flip furiously until the Book snaps
	 shut, reveal ing its gruesome face on the cover.

	 The book flaps violently away from camera.

						NARRATOR (V.O.)
			   The Book of the Dead was last seen
			   in 1300 A.D.

										    DISSOLVE THRU TO:

4A    OMIT

4AP   OMIT

4B
 -    OMIT
4D

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.

						NARRATOR (V.O.)
			   It was then that the dark spirits
			   again rose up to battle the living.

	 The ground in front of the castle begins to split apart. A red glow
	 and smoke pour from the growing crevice. Something evil is being
	 unleashed. A strong wind kicks up blowing sand in a furious rage.

5A    EXT. KANDAR CASTLE - DUSK - 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.

						NARRATOR (V.O.)
			   It is said that a hero came from the
			   sky. A man who defeated this evi and
			   buried the Book in the Castle of
			   Kandar. And there it lay for 700
			   years...

										    DISSOLVE THRU TO:

6	EXT. CASTLE OF KAN DAR - DAY - RUINS

	 As the raging dust storm clears to reveal the same castle which we saw
	 earlier, but now, in a ruined state. It has aged 700 years. The ox is
	 gone. Now only its petrified skeletal remains stand in a weathered
	 heap.

						NARRATOR (V.O.)
			   ...Waiting.

	 A four wheel drive vehicle roars PAST THE CAMERA and toward the
	 castle.

7	INT. CASTLE OF KAN DAR - DAY - (STUDIO) - 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.

						NARRATOR (V.O.)
			   And then...

	 The grinding of rock scraping against rock is heard, and a large stone
	 is swung open on a secret hinge in the wall behind the book. Wind
	 sweeps in through the tomb, along with the blinding light from
	 outside. A sharply silhouetted figure steps in the newly created
	 doorway. The figure lights a torch that he holds, illuminating his
	 face. This is PROFESSOR RAYMOND KNOWBY. An intelligent, grey bearded
	 man in his late fifties. He lowers the cloth around his face that had
	 been protecting him from the sand. He stares at the Book, awestruck.

	 Behind him, two other figures appear in the entrance of the tomb. The
	 first is a large school-marmish woman, the wife of Raymond Knowby,
	 HENRIETTA. She moves to Raymond's side and takes his hand. Immediately
	 behind her is their daughter, ANNIE KNOWBY; twenty-four years old,
	 strong stance and beautiful. Behind her a handsome looking man, ED
	 GETLY, enters the tomb. He moves to Annie's side. They exchange
	 excited glances. The CAMERA PANS down to the Book.

										    DISSOLVE THRU TO:

8	INT. STUDIO - BLACK - 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.

						NARRATOR (V.O.)
			   Professor Raymond Knowby and his
			   wife, HENRIETTA, brought the book to
			   a small cabin where they could study
			   it undisturbed.

10    INT. CABIN MAIN ROOM - NIGHT

	 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.

						RAYMOND
			   Kanda...Es-trata...Ta-toon...Hazan
			   sobar...Ear-Grets, Gat...Nos-feratos
			   ...Amantos...Kanda!

	 The sound of RAYMOND reciting the passages is faded down AS THE CAMERA
	 SLOWLY TRACKS away from RAYMOND and over to HENRIETTA as she rocks
	 back into the darkness and forward into the light. As she rocks
	 forward into the light, she comes into FULL CLOSEUP revealing that her
	 eyes have changed to a milky white. She continues to knit.

										    DISSOLVE THRU TO:

12    INT. STUDIO - BLACK - 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.

						RAYMOND
			   It has only been a few hours since
			   I've translated and spoke aloud the
			   first of the demon resurrection
			   passages from the Book of the Dead.

	 The sound of heavy footsteps. Dust drifts down INTO FRAME. Raymond
	 looks up to the ceiling of the cellar. It is also the floor to the
	 main room of the cabin. He watches in horror as Henrietta's silhouette
	 paces the floor above him. And then, the footsteps halt.

						RAYMOND
			   And now, I fear that my wife has
			   become host to a Kandarian demon.
			   May God forgive me for what I have
			   unleashed onto this earth.

13Y   REVERSE ACTION

	 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
	 the speaker.

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.

						NARRATOR (V.O.)
			   It was one week later that a group
			   of college students came to the
			   cabin.

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.

						LINDA
			   Ash, what's that you're playing?

						ASH
			   Our song.

	 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.

						LINDA
			   Ow!

14G   SHE PULLS AWAY SUDDENLY

	 And looks down to the tiny silver necklace that she wears about her
	 neck.

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.

						LINDA
			   I really love it. I'll never take it
			   off.

	 They kiss and now begin to dance together, to the haunting waltz
	 melody that sweeps up upon the soundtrack.

										    DISSOLVE THRU TO:

						NARRATOR (V.O.)
			   It was in the cabin's cellar that
			   they found the Professor's tape
			   recorder, and the Book of the Dead.

14J   INT. CABIN MAIN ROOM - NIGHT

	 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.

						PROFESSOR KNOWBY
				    (on tape)
			   Kan Da, Es-trata ta-toon hazan sobar
			   ...Ear-Grets, Gat...

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

						PROFESSOR KNOWBY
				    (on tape)
			   ...Nos-Feratos...Amantos...Kanda!

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.

						NARRATOR (V.O.)
			   One by one, they fell to the
			   possession of the dark spirits.

21    OMIT

22    EXT. HILLSIDE - GRAVEYARD - NIGHT - CLOSE SHOT - LINDA

	 Her eyes pop open. They are bone white. She has fallen to the
	 possession.

22A   EXT. HILLSIDE - GRAVEYARD - NIGHT - ASH AND LINDA

	 Possessed Linda is coming after Ash. Ash back peddles, stumbles and
	 falls.

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

22E   ANGLE

	 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.

23
 -    OMIT
25

26    INT. CABIN - MAIN ROOM - NIGHT - CLOSE SHOT - ASH

						NARRATOR (V.O)
			   One man, Ash, destroyed the Book.

	 Ash enters the cabin. He sees The Book of the Dead and tosses it onto
	 the flames.

27    CLOSE SHOT - MELTDOWN - MAIN ROOM (STUDIO) - STOP MOTION ANIMATION

	 A possessed demon begins to wither and melt. Flesh shrinks away from
	 its skull and dissolves to nothing.

						NARRATOR (V.O.)
			   But the evil that had been
			   resurrected from it, lives on.

28    CLOSE SHOT - BOOK IN FIREPLACE - STOP MOTION ANIMATION

	 The Book of the Dead is burned to cinders. The face upon the Book
	 screams as it burns.

29    OMIT

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
	 of her.

29C   EXT. CABIN - DAWN - LONG SHOT

	 Ash staggers from the cabin.

										    FADE OUT.

30    OMIT

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
	 (Miniature)

	 Rising over a mountain ridge. Sunlight streaming through a gaping hole
	 in the parting clouds, in bright shafts. It pours through the trees.

38    MED. SHOT - THE SUN - MATTE PAINTING - MINIATURE

	 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
	 Ash.

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

						ASH (V.0.)
			   It's gone.

	 He looks up to the sky.

47    EXT. RIDGE - DAY - (STUDIO) - MATTE PAINTING - LONG SHOT - THE SUN -
	 LATE AFTERNOON

	 Just Above the horizon.

						ASH
			   Sun's driven it away...for now.
			   Gotta get the hell out of here...
			   before night falls.

48
 -    OMIT
50

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
	 something.

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
	 sees:

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
	 bridge.

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
	 other side.

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 -
	 INTERVOLOMETER

	 The sun is now resting on the horizon. Lower than it was before. It is
	 BLOOD RED, and sets in the course of seven seconds.

62    INT. STUDIO (BLUE SCREEN) - 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
	 to turn.

	 Ash opens his mouth, draws in his breath, and just as he begins to
	 scream, we CUT TO:

62P2  OMIT

63    EXT. BRIDGE - TWILIGHT - POV OF EVIL FORCE - 3 CAMERAS - BREAKAWAY
	 TREES

	 As it rises up from what appears to be the mountain chasm and reveals
	 the opposite side of the twisted girders which form the "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
	 to follow.

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
	 ahead.

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
	 his feet.

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.

87
 -    OMIT
128

128A
 -    OMIT
128C

129
 -    OMIT
143

143A
 -    OMIT
143F

143FP OMIT

144
 -    OMIT
149

149A
 -    OMIT
149J

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.

						ED
			   Annie!

						ANNIE
				    (smiling at sight of
				    him)
			   Hi.

	 They embrace and kiss.

						ED
			   How'd everything go on the
			   expedition?

						ANNIE
			   Terrific. I found the additional
			   pages from the Book of the Dead.

						ED
			   So you said in the telegram. What
			   condition are they in?

	 She holds out the glass case for Ed to look at.

149M  CLOSE SHOT - GLASS CASE

	 Inside are 12 pages from the Book of the Dead.
 
149N  AIRSTRIP - NIGHT - TRACKING SHOT - ED AND ANNIE - THEY CONTINUE
	 WALKING

						ED
			   Haven't aged a day in three thousand
			   years.

						ANNIE
			   Maybe longer.

						ED
			   When do we begin the translations?

						ANNIE
			   Tonight. Is everything all set with
			   my father?

						ED
			   Should be, but I haven't spoken to
			   him in a week, what with no phone in
			   that cabin. Take us about an hour to
			   get there.

	 They arrive at the parking lot. Two new, sharp looking cheverolets and
	 Ed's old style cheverolet.

						ED
			   We'll take my car.

	 Ed opens the car trunk. Behind him a redcap pulls up a large steamer
	 trunk on a hand dolly. Ed and the redcap hoist the steamer up into the
	 car's trunk.

						ED
			   Annie, you hinted in your telegram
			   that your father was on to something
			   with the first part of his
			   translations. What's the big
			   mystery? What has he found in The
			   Book of the Dead?

						ANNIE
			   Maybe nothing. But just possibly...
			   the doorway to another world?

	 Annie slams the car trunk.

149O  OMIT

150   OMIT

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.

159   OMIT

159P1
 -    OMIT
159P3

160   OMIT

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.

164
 -    OMIT
165

166   EXT. HILLSIDE GRAVEYARD - NIGHT - LONG SHOT - CABIN IN DISTANCE - STOP
	 MOTION ANIMATION

	 The tiny figure of Ash can be seen looking off toward this hill. In
	 the foreground is a crude burial cross and a mound of earth. The earth
	 begins to crack and splinter. The wooden cross caves in and is
	 swallowed as the headless corpse of Linda pulls itself to its feet.
	 The HAUNTING WALTZ MELODY sweeps through the night air.

166P  PLATE FOR PREVIOUS SCENE - EXT. CABIN - NIGHT - ASH IN WINDOW -
	 MITCHELL CAMERA

167   INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - THROUGH THE WINDOW - ASH

	 His eyes, illuminated by a shaft of light, widen in amazement and
	 horror as...

168   EXT. HILLSIDE GRAVEYARD - NIGHT (STUDIO) - (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
	 graveyard.

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
	 the fog.

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.

						LINDA
			   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
	 (OVERCRANKED)

	 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

	 Reassuring himself.

						ASH
			   That's all. Just a crummy dr--

	 Linda's decapitated head falls into frame and lands in Ash's hands.

180   CLOSE SHOT - LINDA'S HEAD

	 It opens its eyes and looks to Ash.

						LINDA'S HEAD
			   Hello lover, I came from the other
			   side of your dream to dance with
			   you.

181   CLOSER SHOT - LINDA'S HEAD (BACKWARD MOTION)

	 A four foot long blackened tongue emerges from her mouth like a
	 lashing serpent.

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.

183B
 -    OMIT
183L

184
 -    OMIT
185

185A  OMIT

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.

						LINDA'S HEAD
			   Even now we have your darling
			   Linda's soul! She suffers in
			   torment!

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
	 still buzzing.

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
	 falters.

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.

						LINDA
			   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.

						LINDA
			   You promised me we'd always be
			   together. You swore to me!

187N  CLOSE SHOT - ASH

	 Agonized.

						ASH
			   NO!

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.

						LINDA'S HEAD
			   YES! YOU LIED TO HER! YOU LIED TO
			   LINDA! YOUR LOVE WAS A LIE! AND NOW
			   SHE BURNS IN HELL!

187P  EXTREME CLOSE SHOT - LINDA'S DUMMY HEAD

	 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.

						ASH
			   Eat chainsaw.
 
	 He brings down the spinning blade. And moves past the CAMERA and
	 towards the head. We are left looking at the wall of the work shed
	 upon which we see the stark shadow of the ghastly deed. We hear the
	 sound of spinning steel meeting bone and the screams of a demon.

187R  CLOSE SHOT - LIGHT BULB

	 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
	 gun.

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
	 own accord.

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
	 sanity.

						ASH
			   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
	 whisper.

						REFLECTION
			   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
	 strangle him.

192P  PLATE FOR PREVIOUS SCENE - INT. CABIN MAIN ROOM - NIGHT - ASH -
	 MITCHELL CAMERA

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
	 good hand.

199   MEDIUM SHOT - ASH

	 He slams the hand to the cabin floor. He screams to the air:

						ASH
			   You bastards. Give me back my hand.

200   EXT. CABIN - NIGHT

	 Wind and fog swirl about the place. Ash's ECHOING SCREAM is heard
	 above the HOWLING GALE.

						ASH (0.S.)
			   Give me back my hand!!

201   OMIT

201A
 -    OMIT
201C

202
 -    OMIT
203

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.

						ASH
			   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
	 body.

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
	 revived Ash.

						ASH
			   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.

						ASH
			   Who's laughing now!?

	 He lowers the spinning blade of the chainsaw down out of frame and
	 toward the evil hand. Blood flies up into frame.

215   OMIT

216   EXT. CABIN - NIGHT - LONG SHOT

	 We hear the BUZZING of the CHAINSAW as it slices through bone and then
	 falls silent.

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.

						ANNIE
			   Excuse me. This the road to the
			   Knowby's cabin?

						JAKE
			   Thas' right. But you ain't goin'
			   there.

						ANNIE
			   And why not?

219   CLOSE SHOT - JAKE

	 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
	 Weight Limit".

223   EXT. BRIDGE - NIGHT - (SIDE II) - CLOSE SHOT - ED AND ANNIE

	 Frightened as they view the wreckage.

						ANNIE
			   What happened?

						JAKE
			   Lady, I ain't never seen nothin'
			   like it.

						ED
			   Terrific. Now what?

						ANNIE
			   There must be another way in.
			   Another road or something.

224   JAKE, BOBBY JOE, ANNIE AND ED - TWO CAMERAS

						BOBBY JOE
			   Sure ain't no, road.

	 CAMERA pans over to reveal a brassy southern spitfire of a woman,
	 Bobby Joe.

						BOBBY JOE
			   Hell you wanna go there for, anyway?

	 Bobby Joe takes a pinch of chewing tobacco and stuffs it into her
	 mouth. She doesn't like Annie and her fancy clothes. She stares at
	 Annie like a cat.

224X  MEDIUM SHOT - ANNIE AND ED

	 Annie steps forward. She eyes Bobby Joe.

						ANNIE
			   None of your business.

224Y  CLOSE SHOT - JAKE

	 He feigns surprise and pleasantness.

						JAKE
			   Hey! I just remembered... Yeah,
			   that's right... There is a trail.
			   You could follow Bobby Joe and me.

						ED
			   That sounds all right.

						JAKE
			   But, it'll cost ya.

						ANNIE
			   How much?

						JAKE
			   Forty Fi...

224A  ANGLE

	 Jake looks up suddenly at Bobby Joe who gives a sharp shake of her
	 head.

						JAKE
			   Hundred bucks.

224B  CLOSE SHOT - ANNIE

						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.

						JAKE
			   Sure!

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.

						JAKE
			   Jesus H. Christ! I thought she was
			   talkin' 'bout them two goddamn
			   little pieces!

226   OMIT

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".

231   FIREPLACE

	 Ash raises a red hot fireplace shovel that had been resting upon the
	 coals. He grits his teeth.

232   ANGLE

	 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.

238   OMIT

238P  OMIT

239
 -    OMIT
244

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
	 SEC.)

	 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
	 explodes.

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.
	 Blam!

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.

251
 -    OMIT
253

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.

						ASH
			   Ha!

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
	 movement.

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
	 fire hose.

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.

	 CREAK!!!

	 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,
	 CABINETS, CLOCK

	 Ash and everything in it are having the time of their lives. Ash leads
	 the bunch laughing harder and harder.

279A  MEDIUM SHOT - HAND HELD - FRONT DOOR AND ASH

	 KNOCK! KNOCK! KNOCK!

	 The room's laughter suddenly stops. Ash instantly terrified, grabs up
	 the shotgun and fires into the door. Blam! Blam!

	 PAN to the front door.

	 Two holes are blown into the door. We hear a short shrill scream and
	 then all is quiet.

280
 -    OMIT
282

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.

						JAKE
			   You gonna be alright, honey?

						BOBBY JOE
			   I don't know.

						JAKE
			   You just sit still fer a minute.

287   MEDIUM SHOT - JAKE, ED, ANNIE, AND BOBBY JOE

	 As Jake gives Ash a swift kick in the ribs. Ash moans. Jake turns to
	 Ed, who is badly shaken.

						JAKE
			   You know this son of a bitch?

						ED
			   No. We thought her --

	 Annie steps forward.

						ANNIE
			   Oh my God. Where are my parents?

	 Annie sets down the glass case containing the pages of the Book of the
	 Dead.

288   CLOSE SHOT - ANNIE

	 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
	 shakes him.

						ANNIE
			   What the hell did you do to them?

	 Ed pulls Annie off of Ash. She drops Ash's moaning head to the floor
	 and backs away from him, sobbing.

291   MEDIUM SHOT - JAKE

	 Nursing his sore knuckles, he points with his elbow to the trap door
	 that leads to the cellar.

						JAKE
			   We'll throw him in there.

292   MEDIUM SHOT - JAKE AND ASH

	 Jake picks up Ash's body and drags him quickly to the trap door. Half
	 conscious, Ash feebly struggles with Jake.

						JAKE
			   Crazy buck's gone blood simple.

293   ASH'S POV - HAND HELD

	 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.

						ASH
			   Wait...I made...a mistake...

						JAKE
			   Damn right, you flat mouthed son of
			   a bitch.

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.

						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
	 face.

						ASH
			   N...No.

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
	 desk.

304A  MEDIUM SHOT - ANNIE

	 She spots the tape recorder and Kandarian Dagger. She moves to them.

						ANNIE
			   These are my father's things.

	 She turns on the tape recorder. High pitched feedback and the
	 professor's screams come from the speaker.

						PROFESSOR KNOWBY
				    (Voice on Tape)
			   Last night Henrietta tried to kill
			   me.

			   ANNIE					PROFESSOR KNOWBY
	 SHHH! Listen! 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.

						PROFESSOR KNOWBY
				    (Voice on tape)
			   I cannot bring myself to dismember
			   my wife, yet I know that I must, to
			   halt the evil that lives within her.

307   CLOSE SHOT - ANNIE - TRACKING IN

	 Horrified.

						ANNIE
			   No.

308   OMIT

309   INT. CABIN CELLAR - NIGHT (STUDIO) - MED. SHOT - ASH - TRACKING AROUND
	 HIM

	 As he lays in the center of the cellar's earth floor. He strains his
	 ears to listen to the tape playing in the room above.

						PROFESSOR KNOWBY
				    (Voice on tape)
			   It is October 1, 4:33 p.m. Henrietta
			   is dead. I could not bring myself to
			   dismember her corpse. But I buried
			   her.

310   CLOSE SHOT - ASH - 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.

						PROFESSOR KNOWBY
				    (Voice on tape)
			   I...buried her...in the cellar.

312   INT. CABIN CELLAR - NIGHT - (STUDIO) - CLOSE SHOT - ASH - TRACKING
	 CLOSER

	 Growing horror on his face as he realizes where he is.

						PROFESSOR KNOWBY
				    (Voice on tape)
			   God help me, I buried her in the
			   earthen floor of the fruit cellar!

313
 -    OMIT
314

315   INT. CABIN CELLAR - NIGHT (STUDIO) - ASH'S POV - CLOSE SHOT - (STOP
	 MOTION ANIMATION)

	 Ash's legs in the foreground. Suddenly from the earthen floor of the
	 fruit cellar a half-rotten human head juts up! Just the eyes are above
	 the surface of the dirt. They dart about wildly and halt upon Ash.
	 Worms crawl from the rotted forehead.

316   INT. CABIN CELLAR - NIGHT (STUDIO) - CLOSE SHOT - ASH

	 He screams.

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.

						HENRIETTA
			   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.

						ED
			   Somebody's down there with him.

						ANNIE
			   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
	 upon it.

320   CLOSE SHOT - ASH

						ASH
			   Let me out! Let me out!!!

321   MED. SHOT - (REVERSE ACTION) - WIND FAN

	 Henrietta lets out a terrible laugh and approaches the wooden
	 staircase.
 
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.

						ANNIE
			   Let him out.

						JAKE
			   It's a trick. I know it.

						ANNIE
			   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.

						HENRIETTA
			   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.

						ASH
			   No.

328   CLOSE SHOT - HENRIETTA

	 Extending her rotted and worm infested arm toward him.

						HENRIETTA
			   Yesssssss. You and I. We shall spend
			   eternity together.

329   CLOSE SHOT -ASH

	 Marie's shadow envelops him. He is petrified.

						HENRIETTA
			   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
	 the cellar!

334   CLOSE SHOT - ANNIE AND ED

	 SCREAMING at the sight of the beast.

						ANNIE
			   For God's sake! That's my mother!

335   CLOSE SHOT - JAKE

	 One of Henrietta's rotted hands reach up from the cellar grabbing
	 Jake.

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
	 it.

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
	 eyeloops.

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
	 B.G.

	 The tape recorder continues to play.

						RAYMOND KNOWBY (V.O.)
				    (Voice on tape)
			   I fear that whatever I have
			   resurrected from this book, is sure
			   to come calling for me.

344   EXT. WOODS/CABIN - NIGHT - (SHAKI-CAM)

	 The CAMERA takes the POV of the Evil Force as it glides through the
	 woods. Over a stump, around the Oak trees, through a patch of fog, as
	 the cabin comes into view.

345   OMIT

346   MED. SHOT - ANNIE, ASH, JAKE, BOBBY JOE AND ED

	 Ash turns to the group, Annie is placing her wet bandana atop Ed's
	 forehead.

						ASH
			   There's something out there. That...
			   witch in the cellar is only part of
			   it. It lives out in those woods. In
			   the Dark. Something that's come back
			   from the dead.

346A
 -    OMIT
346D

347   CLOSE SHOT - BOBBY JOE

	 Interrupting Ash.

						BOBBY JOE
			   Jake, let's beat it the hell out
			   o'here, right now. I gotta get out!

						JAKE
			   Now Bobby, you ain't in no
			   condition.

						ASH
			   Nobody goes out that door. Not till
			   daylight.

347A  THE GROUP

	 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

						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.

						HENRIETTA
			   Let me out, dear. It's so cold and
			   dark in here.

						ANNIE
			   Mother?

						HENRIETTA
			   Unlock these chains. Quickly.

347D  MEDIUM SHOT - ASH AND ANNIE

	 Annie starts to follow the instructions, but Ash halts her gently. He
	 shakes his head. Annie snaps out of it. She shakes her head and looks
	 to the cellar.

						ANNIE
			   No. No. I don't know what you are
			   but you're not my mother.

	 Annie begins to cry.

347E  CLOSE SHOT - TRAP DOOR

	 Henrietta is crying also.

						VOICE OF HENRIETTA
			   How can you say that to me Annie?

						ANNIE
			   No!

						VOICE OF HENRIETTA
			   You were born September 2nd, 1962. I
			   remember it well because it was
			   snowing. So strange that it would be
			   snowing in September.

348   CAMERA TRACKING IN ON ANNIE

	 Confused and tearful, she screams to the others in the room.

						ANNIE
			   That thing in the cellar is not my
			   mother!

	 Ed stands sharply into her frame. His eyes bone white, his skin, the
	 pale color of the dead. His mouth has grown over large. His lips are
	 black. He is possessed. He shrieks. Annie screams and jumps back out
	 of frame.

349   MED. SHOT - ED POSSESSED - 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
	 lament.

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.

						ED
				    (In the voice of
				    POSSESSED #1)
			   We are the things that were.
				    (In the voice of
				    POSSESSED #2)
			   And shall be again! HA HA HA HA HA!
				    (In the voice of
				    POSSESSED #1)
			   Spirits of the book.
				    (In the voice of
				    POSSESSED #2)
			   We want what is yours! LIFE!

	 As he floats about, his head dips and swoons.

						ED
				    (In the voice of
				    POSSESSED #1)
			   Dead by dawn!
				    (In the voice of
				    POSSESSED #2)
			   Dead by dawn!

355   CLOSE SHOT - HENRIETTA POSSESSED

	 Sticking her gnarled head from the cellar.

						HENRIETTA
			   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
	 open.

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
	 swallows it.

359   WIDE SHOT - GROUP

	 Bobby Joe collapses to the ground.

360   MED. SHOT - HENRIETTA POSSESSED

	 As she calls from the cellar.

						HENRIETTA
			   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

						ANNIE
			   Where are you going?! HELP US! You
			   filthy COWARD!

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

						ED
				    (In the voice of a
				    woman)
			   We see you!

366   CLOSE SHOT - JAKE

	 Screaming as Ed's hand enters frarne, and snags Jake's face. He tosses
	 Jake upward.

367   CLOSE SHOT - ED POSSESSED

	 As he tosses Jake upward.

368   HIGH-WIDE SHOT - POSSESSED ED AND JAKE STUNTMAN - REVERSE ACTION -
	 UNDERCRANKED

	 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
	 MAN

	 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
	 bile.

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.

374
 -    OMIT
375

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
	 is silent.

377   MED. SHOT - ASH AND ANNIE - POSSESSED ED DUMMY

	 Ash turns to her.

						ASH
			   Start up that saw and hand it here!
			   We're gonna cut him up.

	 Annie looks to the chainsaw and then to the unmoving body of Ed. She
	 is repulsed at the thought.

						ANNIE
			   No.

						ASH
			   START IT UP!

						ANNIE
			   NO!

	 Possessed Ed stands up quickly into frame! The evil force having re-
	 animated his lifeless body.

377A  CLOSE SHOT ASH - OVER POSSESSED ED'S SHOULDER - 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.

378
 -    OMIT
379

380   MED. SHOT - POSSESSED ED DUMMY AND ANNIE

	 Annie is screaming in horror. Possessed Ed backhands her across the
	 face.

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
	 frame.

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
	 silent.

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.

388A  OMIT

389   EXT. CABIN - NIGHT - MITCHELL

	 The moon has grown larger. Fog billows past the cabin.

389P  EXT. NIGHT - THE FULL MOON

390   OMIT

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.

						BOBBY JOE
			   Jake, I can't take no more of this.

	 Henrietta's rotted hand pulls the bundle of body parts silently down
	 into the cellar and quietly closes the trap.

390B  MEDIUM SHOT JAKE AND BOBBY JOE

	 Jake moves to the window and looks out.

						JAKE
			   That's funny.

						BOBBY JOE
			   What?

						JAKE
			   That trail we came in here on...
			   well, it just ain't there no more.
			   Like the woods jus' swallowed it.

	 The room goes quiet. The sound of the wind outside the cabin has died.
	 Jake and Bobby Joe cock their heads to this new silence.

391   OMIT

392   CLOSE SHOT - ANNIE AND ASH

	 She looks about the room, getting scared.

						ANNIE
			   It's so quiet.

	 Ash stands slowly into frame. He knows that it can't be good.

393   WIDE SHOT - THE GROUP

	 As they raise their heads to a distant pounding sound. It grows
	 louder.

	 BOOM -- BOOM!

	 BOOM -- BOOM!

						JAKE
			   What the hell is it?

						ASH
			   Maybe something... Something trying
			   to force its way into our world.

	 BOOM!

	 BOOM!

	 BANG!

	 BAM!

393A  EYEMO CAMERA/MITCHELL CAMERA - GROUP

	 The cabin WALL. Bang!

393B  THE FRONT DOOR - GROUP - EYEMO/MITCHELL

393C  THE BOARDED WINDOW - GROUP - EYEMO/MITCHELL

	 BANG!

393D  THE CEILING BEAMS - GROUP - EYEMO/MITCHELL

	 BAM!

393E  A SECTION OF WALL - GROUP - EYEMO/MITCHELL

393F  A SECTION OF THE TONGUE AND GROOVE FLOOR - EYEMO - MITCHELL - GROUP

	 BAM!

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.

						BOBBY JOE
			   It's in there.

396   MEDIUM SHOT - DOOR TO MIDDLE BEDROOM

	 It is opened a crack.

337   MEDIUM SHOT - THE GROUP

						ASH
			   We'll all go in together.

						JAKE
			   Hell no, you're the curious one.

398   MEDIUM SHOT - ASH AND ANNIE

	 He moves toward the door.

						ANNIE
			   I'll go with you.

	 Ash nods to Annie in a show of thanks. He grabs the axe, and pushes
	 open the door to the middle bedroom. Annie follows with the flickering
	 oil lantern.

399   INT. MIDDLE BEDROOM - NIGHT

	 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
	 far off.

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.

401C  OMIT

401D  MEDIUM SHOT - JAKE AND BOBBY JOE

	 Jake takes Bobby Joe's hand. Bobby Joe smiles, frightened.

402   MEDIUM SHOT - ASH

	 Waiting.

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
	 glass.

404   OMIT

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.

						RAYMOND
			   Annie.

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.

						JAKE
			   Holy Mother O'Mercy.

409
 -    OMIT
412

413   MEDIUM SHOT - THE GHOST OF RAYMOND

						RAYMOND
			   There is a dark spirit here that
			   wants to destroy you. Your salvation
			   lies in the pages from the Book of
			   the Dead.

	 The ghost of Raymond points to Annie's glass case. CAMERA PANS to it.
	 Inside are the pages from the Book.

413P  PLATE FOR PREVIOUS SCENE - BLACK STUDIO - RAYMOND

414   CLOSE SHOT - ANNIE

	 Listening.

415   ANGLE - THE GROUP AND THE GHOST OF RAYMOND

						RAYMOND
			   Recite the passages. Dispel the
			   evil. Save my soul... And your own
			   lives.

	 The ghost of Raymond screams and is gone.

415P  PLATE FOR PREVIOUS SCENE - 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

						BOBBY JOE
			   Jake, you squeezing my hand too
			   tight.

						JAKE
			   I ain't got your hand, baby.

						BOBBY JOE
			   Then who...?

	 Bobby Joe raises her hand into frame, to reveal Ash's Evil Hand
	 clutched in hers. Bobby Joe goes nuts, screaming and flailing about
	 trying to throw the hand from her. She slams into the lantern,
	 knocking it out. We lose them in the darkness.

						JAKE'S VOICE
			   Somebody get the light!

	 The sound of chairs being pushed over. The sound of a door opening and
	 closing.

417   CLOSE SHOT - ASH

	 As he lights the lantern illuminating the room. CAMERA PANS over to
	 reveal only Jake and Annie.

418   CLOSE SHOT - JAKE

	 Looking about.

						JAKE
			   Hey. Bobby Joe's gone!

419
 -    OMIT
420

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.

						TREE FACE
			   BAHHHH!

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
	 her.

425   CLOSE SHOT - BOBBY JOE'S LEGS - (REVERSE ACTION) - JONES' CREEK

	 Two living vines wind their way toward her legs and coil around her
	 ankles tightly.

426   CLOSE SHOT - BOBBY JOE - JONES' CREEK - 4 RIPS

	 She lets out a short shrill scream, as her shirt is torn away from
	 her.

427   MED. SHOT - (REVERSE ACTION) JONES' CREEK

	 Living vines wind around Bobby Joe's torso and breasts in a furious
	 wrapping motion.

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'
	 CREEK

	 At a great speed, Bobby Joe is pulled away from the cabin and towards
	 the forest by the vines.

432   BOBBY JOE'S POV - OVER HER LEGS - RIGGING EFFECT - STUNT -
	 UNDERCRANKED - REVERSE ACTION - DRAGWAY

	 As the vines rocket her on a speeding FAST MOTION joyride along the
	 forest floor.

433   CLOSE SHOT - BOBBY JOE'S FACE - 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
	 distance.

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
	 SCREAMS...her last.

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
	 night sky.

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
	 glass.

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.

						JAKE
			   Where the hell is she?

445   INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - JAKE AND ASH AND ANNIE

	 Jake turns to Ash.

						JAKE
			   We gotta go out there and find her!

						ASH
			   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
	 Sky."

445B  ASH AND ANNIE

	 Ash shudders.

						ANNIE
			   What is it?

						ASH
			   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

						ANNIE
			   In 1300 AD. This was the "Hero from
			   the Sky," who was prophesized to
			   destroy this Evil.

						ASH
			   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.

						ANNIE
			   Here it is. Two passages.

	 For the first time, she smiles at Ash.

						ANNIE
			   We've got it!

446A
 -    OMIT
446H

447   CLOSE SHOT - ASH

	 Finally seeing his salvation, his face shows hope.

447A  MEDIUM SHOT - ASH AND ANNIE

	 Annie reads through the pages.

						ANNIE
			   Recitation of the first passage will
			   make this "Dark Spirit" manifest
			   itself in the flesh.

						ASH
			   Why the hell would we want to do
			   that?

	 Annie thumbs through one or two of the other pages.

						ANNIE
			   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...

	 CLICKITY CLICK

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.

						JAKE
			   I'm runnin' the show now.

450   MEDIUM SHOT - ASH AND ANNIE

	 Standing together, confused.

450A  CLOSE SHOT - JAKE

						JAKE
			   We're goin' outside into those woods
			   to look for Bobby Joe, an' once we
			   find her, we're gettin' the hell
			   outta here.

						ASH
			   If you want to look for her, go
			   ahead.

						JAKE
			   You two comin' with me. I ain't
			   goin' out there alone.

						ASH
			   NO, YOU IDIOT. You'll kill us all.
			   She's dead by now. With these pages
			   we can...

	 Jake grabs the pages from Annie's hand.

						JAKE
			   Those pages don't mean shit.

	 Jake kicks the pages down into the cellar. Ash and Annie look on in
	 horror.

						JAKE
			   Sides. Now you ain't got no, choice.

	 Jake pushes at Ash with the barrel of the shotgun.

						JAKE
			   Now move!

	 Ash hesitates.

						JAKE
			   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
	 threatening motion.

453A  EXT. CABIN - NIGHT - TRACKING BACKWARD - ASH, JAKE, AND ANNIE

						ASH
			   No trail. Which way do you intend to
			   go?

453B  CLOSE SHOT - JAKE

	 Looking confused and frightened. He calls out desperately.

						JAKE
			   Bobby Joe!

453C  EXT. WOODS NIGHT - POV EVIL FORCE

	 As it glides through the woods. We hear a muted shout from Jake.

						JAKE (O.S.)
			   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

						JAKE
			   Bobby Joe! Bobby Joe!

	 Ash approaches Jake.

						ASH
			   You'll get us all killed.

						JAKE
			   Shaddup!

	 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!

						JAKE
			   Bobby Joe!

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!

454
 -    OMIT
473

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
	 a demon:

						POSSESSED ASH
			   JOIN US!

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
	 hallway.

481
 -    OMIT
486

487   ANNIE'S POV - THE DOOR TO THE HALLWAY

	 It is closed.

488   OMIT

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
	 hallway.

489B  INT. CABIN HALLWAY - NIGHT

						ANNIE
			   She breathes a sigh of relief.

490   ANNIE'S POV

	 As she moves down the hall. It is dark. Curtains flutter on the
	 boarded windows.

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
	 WOODS BEYOND

	 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

	 She waits.

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
	 alive.

500   CLOSE SHOT - ANNIE

	 As she backs away in horror, clutching at her head.

						ANNIE
			   No!

	 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
	 house.

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
	 open door.

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
	 silent.

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.

						JAKE
			   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
	 close.

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!

510
 -    OMIT
511

512   INT. CABIN MAIN ROOM - NIGHT - WIDE SHOT - POSSESSED ASH AND ANNIE -
	 DUMMY

	 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
	 kneels closer.

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
	 his face;

						LINDA (V.O.)
			   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%
	 POSSESSED

	 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.

						ASH
			   No. WAIT!

	 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.

						ASH
			   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.

						ASH
			   GOD DAMN IT! I said I was all
			   right!!

	 Annie is nearly choking.

						ANNIE
			   Okay.

	 Ash releases her gently. She again looks to Ash, cautiously.

						ANNIE
			   Are you sure?

						ASH
			   You'll be the first to know. I'm
			   fine.

529   CLOSE SHOT - ANNIE AND ASH

						ANNIE
			   Yeah, but for how long? If we're
			   going to beat this thing, we need
			   those pages.

529A  CLOSE SHOT - ASH

	 As he turns to the trap door.

						ASH
			   Then let's head down into that
			   cellar...

529B  CLOSE SHOT - TRAP DOOR

	 It lies silently against the floor. A raspirlg breath can be heard
	 from below.

529C  CLOSE SHOT - ASH

	 He turns from the trap door to Annie.

						ASH
			   ...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.

535
 -    OMIT
537

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".

546   ASH

	 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.

						ASH
			   Groovy.

551   OMIT

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.

556
 -    OMIT
564

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.

						ASH
			   Those pages are down there
			   somewhere.

571   INT. CABIN MAIN ROOM - NIGHT - MED. SHOT - ASH

	 He kicks aside the broken trapdoor and slowly descends into the
	 darkness.

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
	 pages.

573
 -    OMIT
574

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.

						ANNIE (O.S.)
			   Did you find her?

576   CLOSE SHOT - ASH

						ASH
			   She's playing hard to get...

	 He pumps the throttle on the buzzing saw.

						ASH
			   ...rid of.

	 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
	 bloody sheet.

579C  CLOSE SHOT - ASH

	 Looking on in horror.

						ASH
				    (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

						HENRIETTA
			   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.

						ANNIE
			   Nos-feratos-allo-memnon-kanda!

	 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
	 (UNDERCRANKED)

	 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.

						HENRIETTA
			   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
	 ANIMATION/REAR SCREEN

	 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 -
	 NIGHT

	 CAMERA PANS UP on "B" wall.

601   MEDIUM SHOT - HENRIETTA - MITCHELL CAMERA - STOP MOTION ANIMATION/REAR
	 SCREEN

	 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.

603   OMIT

603A  INT. CABIN - MAIN ROOM - NIGHT - POSSESSED HENRIETTA PUPPET - MEDIUM
	 SHOT

	 Her neck undulating like a snake, she bites and snaps.

						HENRIETTA
			   I'll swallow your soul, swallow
			   your soul!

603B  ASH - CLOSE SHOT

	 He reacts.

603C  WORKING DUMMY HENRIETTA HEAD ON "FLYING HEAD RIG" - AND ASH

	 Henrietta swoops at Ash as he keeps her at bay with the buzzing
	 chainsaw.

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
	 midsection.

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.

						HENRIETTA
			   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.

610A  ASH

	 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:

						HENRIETTA'S HEAD
			   Swallow your soul! Swallow your
soul!

	 Ash's foot steps down upon her head, pinning it to the floor. Her neck
	 still writhing.

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.

						ASH
			   Swallow this.

	 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.

						ASH
			   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.

	 BOOM!
	 BOOM!
	 BOOM!

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 screams.

	 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
	 cabin.

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.

						ANNIE
				    (shouting above the
				    noise)
			   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.

						ASH
			   You didn't finish it?!

						ANNIE
			   There's still the second passage.
			   The one to open the rift and send
			   the evil back.

						ASH
			   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:

						ANNIE
			   Tar-tra Kanda-Estra! Hudsucker Proxy
			   -- Kanda!

634   OMIT

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

	 The rift.

635   INT. CABIN MAIN ROOM - NIGHT - MEDIUM SHOT - ANNIE

						ANNIE
			   Aton-Neran-Ofas!

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.

						ASH
			   Finish it!

638P  INT. CABIN - MAIN ROOM - NIGHT

	 Plate for previous scene, with dying flowers.

639   INT. CABIN MAIN ROOM - NIGHT - CLOSE SHOT - ANNIE - WIND FAN

						ANNIE
			   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
	 demon hand.

639C
 -    OMIT
639E

640   MEDIUM-SHOT - ASH AND WINDOW ON "B" WALL

						ASH
			   No!

	 CRASH!

	 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
	 final sentences.

						ANNIE
			   Nos-feratos -- Amen-non. Ak-adeem!
			   Razin-Arozonia!

643B  EXT. CABIN - NIGHT - WIDE SHOT - REVERSE ACTION

	 The rift grows more powerful.

643BP PLATE FOR PREVIOUS SCENE

	 The rift.

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
	 intact.

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
	 beast.

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.

						ANNIE
			   ...Kanda!

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

	 The Rift.

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.

653   OMIT

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.

						ASH
			   You did it. By God you did it.

	 He lowers his head and begins to heave in sharp convulsive breaths of
	 despair.

656
 -    OMIT
661

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
	 MINIATURE)

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
	 past him.

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
	 the rift.

668   CLOSER

	 Ash as he hangs on for dear life. Objects continue to fly past on
	 wires.

						ASH
			   For God's sake, how do you stop it?

669   INT. CABIN MAIN ROOM - NIGHT (STUDIO) - BLUE SCREEN - CLOSE SHOT -
	 FLYING RIG

	 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
	 him.

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.

673P1 OMIT

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 -
	 DELTA SHELLS

	 Punged to the dust. Debris from the demolished cabin rains down around
	 him; his shotgun, the 1973 Delta 88 Oldsmobile and the old grandfather
	 clock.

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

677   OMIT

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
	 Ash's head.

						WARRIOR #1
			   Slay the beast!

						WARRIOR #2
			   '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
	 heads skyward.

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.

683A  OMIT

683AP OMIT

684   OMIT

684P  OMIT

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
	 him.

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

	 It explodes.

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
	 out:

						WARRIOR #1
			   Hail he, who has come from the sky,
			   to deliver us from the terrors of
			   the deadites!

						WARRIOR #4
			   Hail!

						WARRIOR #5
			   Hail!

	 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
	 dust.

	 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
	 alive.

	 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
	 BOOM.

						THE END