ASHLY and LINDA 1 страница

 

...With good friends.

 

 

They toast, drink and react to the strong liquor. ASHLY

tries to hide his reaction to the Scotch in front of

LINDA, since SHELLY had reacted so calmly. ASHLY passes

the bottle to CHERYL who stops him with a polite "No,

thank you," then back up front to SCOTT.

 

 

LINDA

 

Hey Scotty, what's this place like

anyway?

 

 

SCOTT

 

Well, the guy that's renting it says

it's an old place, little run down,

but it's right up in the mountains-

totally secluded. (He takes a drink

from the bottle) Best part is, we

get it so cheap.

 

 

LINDA

 

Why are we getting it so cheap?

 

 

SCOTT

 

I don't know, might be in real bad

shape.

 

 

CHERYL

 

You mean nobody's seen this place

yet?

 

 

SCOTT

 

Not yet.

 

 

ASHLY

 

Might not be too bad.

 

 

LINDA

 

No...

 

 

ASHLY

 

Actually, it might be very nice.

 

 

LINDA

 

Yeah...

 

 

SHELLY

 

It's probably a real pit.

 

 

CHERYL

 

I can't believe that we're renting

a place for a week-end that nobody's

seen.

 

 

SCOTT

 

(Mumbling to himself) Jesus Christ,

not this again...

 

 

CHERYL

 

(Turning to ASHLY) You know, mom and

dad would never let us go up to a place

like this if they knew-

 

 

ASHLY

 

-Which is exactly why they don't know.

I'll tell you who I am gonna call.

The guys that fixed up this car.

 

15 ED - CAR

 

 

The car approaches an exit along the highway.

 

16 ID - CAR

 

 

ASHLY glances at the map again.

 

 

ASHLY

 

Hey, I think this is where we get

off.

 

17 ED - CAR

 

 

The car turns off the main highway and follows several

back roads until it approaches a narrow dirt lane that

winds upward along a twin set of mountains.

 

18 ID - CAR

 

 

SCOTT glances up to the peaks.

 

 

SCOTT

 

These mountains seem familiar.

 

 

LINDA

 

What do they remind you of? Some-

thing majestic? Adventure?

 

 

SCOTT

 

Yeah, more like adventure.

 

 

LINDA

 

Any adventure in particular?

 

 

SCOTT

 

Shelly's sweater.

 

 

ASHLY and SCOTT laugh out loud. LINDA laughs quietly,

and CHERYL lets out an embarassed giggle to herself.

 

 

SHELLY

 

(Teasing) Oooh, you're gonna get it

Scotty, when you least expect it,

you're gonna get it good.

 

19 ED - B

 

 

Finally, the car arrives at a wooden bridge extending

over a great chasm. Carefully, the vehicle crosses.

 

20 ED - CAB

 

 

It is late afternoon when they eventually arrive at their

destination. The small wooden cabin is surrounded by

thick dark woods. SCOTT shuts off the car but it contin-

ues to sputter and backfire.

 

21 ID - CAR

 

 

ASHLY reacts to his car.

 

 

ASHLY

 

I...I sent 'em a check for the tune-up.

but I'm just not paying for it.

 

 

LINDA

 

This place is perfect.

 

 

CHERYL

 

The woods come awfully close to the

house don't they?

 

 

SCOTT

 

So what's wrong with the woods, they

can't bite ya.

 

 

CHERYL

 

It's just a little claustrophobic

that's all.

 

 

LINDA

 

Well, I think it's beautiful.

 

 

SHELLY

 

Me too, it's gonna be a bomb week-

end.

 

22 ED - CAB

 

 

SCOTT moves to the front door of the cabin where he finds

a small ring of keys concealed on the shelf above the

door. ASHLY unloads the car to the others.

 

 

SCOTT

 

It's supposed to be one of these on

here.

 

 

After trying several keys, he is able to unlock the door.

 

23 ID - M.R.

 

 

The interior of the cabin is completely dark. SCOTT

opens the door and stands silhouetted in the doorway

for a moment, then enters to find the light switch.

The illumination reveals floors, walls, and ceilings

made of cedar. There are two small bedrooms, a kitchen,

and the main room which contains a stone fireplace set

into the wall. An old grandfather clock stands silently

in one corner, partially hidden in the shadows. A door

in the rear of the cabin leads to a small work shed

containing a work bench and an assortment of tools upon

the wall. Located centrally in the main room is a trap

door leading to the cellar. This catches SCOTT's eye.

 

 

SCOTT

 

Hey, this place has a dungeon.

 

 

CHERYL puts down a case of art supplies, and moves over

to SCOTT by the trap door. He unlocks a chain securing

the trap door with one of his keys and hands the ring

to SHELLY.

 

 

SCOTT

 

Put these back will you?

 

 

SHELLY leaves with the keys, and SCOTT tries to open the

hatch but cannot.

 

 

SCOTT

 

They nailed it shut.

 

 

CHERYL

 

Good, I don't like cellars. Probably

just some garbage down there anyways.

 

 

SCOTT

 

Cheryl, they don't nail garbage in

cellars. I mean it's not going to

try and get out or anything.

 

 

CHERYL

 

Well, what's down there?

 

 

SCOTT

 

Well, could be any number of things.

Old baseball cards, mushrooms, dead

bodies-

 

 

LINDA

 

Hey, look at this!

 

 

LINDA is standing in the corner next to the old grand-

father clock. She repositions a balance weight, and it

begins to tick.

 

 

LINDA

 

Ta daaaaaa!

 

 

The others applaud and whistle. LINDA smiles.

 

24 ET - CAB

 

 

The cabin is seen from the outside. Twilight has come.

 

25 IT - M.R.

 

 

CHERYL sits alone in the living room near the window. She

is drawing sketches of the old clock. As she works, the

ticking stops unexpectedly. CHERYL puts down her pencil

and looks up to the clock. It stands silently in the cor-

ner with its hands frozen in position. There is a rust-

ling from the woods. CHERYL looks out the window but can

see only the trees. Something is moving outside, yet re-

mains hidden within the forest. A gust of wind fills the

room. CHERYL glances down at her hand. It turns a pale

white and begins to shake and jerk about uncontrollably.

She stares on incredulously as her hand, guided by some

unseen force picks up the pencil and begins to sketch

a figure upon her pad. The wind gales through the open

window but dies down slowly as her hand completes the

drawing. Whatever was at the edge of the woods has now

retreated further into them. Her hand loses the pale

cast and is now under control once more. CHERYL picks

up her pad of paper. The likeness of a book with some

form of ancient writing on its cover has been sketched.

She looks to the woods which are now silent. A snapping

of wood is heard from the cellar. CHERYL quickly turns

to the trap door still nailed shut in the floor. Pos-

sibly just a mouse, but she fixes her gaze upon it.

Another sound, almost like faint breathing comes from

the cellar.

 

26 IT - K/M.R.

 

 

ASHLY and LINDA enter from the kitchen. ASHLY is drink-

ing a beer and moves over to CHERYL. He stands between

her and the trap door.

 

 

ASHLY

 

What're you drawing Cheryl?

 

 

He picks up the piece of paper. LINDA looks over his

shoulder to glance at it.

 

 

CHERYL

 

I...I don't know.

 

 

ASHLY

 

Is it a bible?

 

 

CHERYL

 

No, no it's no bible. (She glances

again at the cellar, knowing some-

thing is down there) I don't know

what it is.

 

 

LINDA

 

Well, this one of the clock's not

bad.

 

 

LINDA picks up the sketch and walks over to the clock

with it a few steps away. She stands comparing it to

the real thing with her back to CHERYL and ASHLY. She

is only a few inches from the trap door, and CHERYL

wants to call out in warning when ASHLY kneels in front

of her to speak secretly.

 

 

ASHLY

 

(In a whisper) I got it right here.

 

 

He taps something in his shirt pocket. CHERYL is looking

past him paying no attention. She watches only LINDA's

feet, waiting for whatever is in the cellar to grab them.

LINDA looks at the drawing in comparison.

 

 

LINDA

 

Cheryl, this is really good. I like

how you did the numbers in that wood-

ish style.

 

 

ASHLY produces a small box from his shirt and opens it

quickly to show CHERYL. It contains a gold pendant on

a necklace. LINDA takes a step closer to the clock. She

is now standing almost upon the trap door. Although

nailed shut, it opens slightly, pulling the nails with

it. CHERYL gasps. ASHLY is pleased with her response.

 

 

ASHLY

 

(Still in a whisper) I knew you'd

like it.

 

 

Quickly, he places it back in his shirt and touches his

lips with a finger to indicate the secrecy of his sup-

rise. LINDA returns with the sketch and places it back

on CHERYL's small drawing table.

 

 

LINDA

 

It's really good Cheryl. Very close

to the origional.

 

 

CHERYL

 

(In a relieved whisper) Yes, very

close.

 

 

LINDA

 

I'm gonna check dinner.

 

 

LINDA returns to the kitchen and ASHLY turns to CHERYL.

 

 

ASHLY

 

You better get washed up. I'll see

ya in there.

 

 

He winks, then follows LINDA into the kitchen. CHERYL

again looks at the cellar. Slowly, from her point of

view, the camera moves in toward the trap door, wait-

ing...waiting.

 

27 IT - K

 

 

A blender screams as it mixes up a drink in the kitchen.

SHELLY shuts it off and carries it to the dining room.

 

28 IT - D.R.

 

 

She joins the others who are now seated at the dinner

table and serves the mixture. SCOTT sits between LINDA

and CHERYL. He leans over to CHERYL.

 

 

SCOTT

 

(In a whisper) Dead bodies in the

cellar, dead bodies in the cellar...

 

 

CHERYL

 

Will you stop it?

 

 

LINDA

 

Scott, leave her alone will ya?

 

 

SCOTT turns toward LINDA.

 

 

SCOTT

 

Will you relax, I'm just kidding

around. She can take a joke-

 

 

He stops talking as he hears the trickling of water. He

turns to see CHERYL finish pouring a glass of water in

his lap. The others laugh. SCOTT is silent for a moment,

then begins chuckling to himself. He turns to CHERYL.

 

 

SCOTT

 

(Jokingly) I'll get ya.

 

 

With a napkin, he blots the water from his pants.

 

 

SCOTT

 

I'll get ya for this Cheryl.

 

 

ASHLY stands with his drink and raises the glass.

 

 

ASHLY

 

I'd like to make a toast for all

here this evening. As a greek friend

of mine once said, "Nis-hat-nis-fert-

dis-ruben-tu-tar-im."

 

 

LINDA

 

Which means?

 

 

SCOTT

 

Party down!

 

 

The laughter is stifled by a loud snap and cracking of

wood heard from the main room.

 

 

SCOTT

 

What the hell...

 

 

All stand from the table and hurry to the main room.

 

29 IN - M.R.

 

 

The nails that held down the trap door have been ripped

out, and although still in tact, the hatch is wide open.

They stand silently in front of it, looking blank as to

what could have done this. CHERYL is slighly more nervous

than the others. ASHLY is the first to speak.

 

 

ASHLY

 

(Slowly) What is this?

 

 

SCOTT

 

Whatever it is, it's still down there.

 

 

CHERYL

 

I don't like cellars, let's close it

up. (She does not want to deal with

it) It's probably just some animal.

 

 

SCOTT

 

An animal?! An an...ha-ha-ha-ha-ha-

that's the stupidest thing I ever

heard in my life. Jesus Christ.

 

 

SCOTT locates a flashlight and peers into the hole. He

traces the old wooden steps into darkness with his light.

 

 

LINDA

 

Maybe it is just some animal.

 

 

SCOTT

 

Yeah, probably right. It's probably

just some animal. Uh...Cheryl, why

don't you make sure.

 

 

He hands the flashlight to CHERYL who quickly gives it

back.

 

 

CHERYL

 

Scotty, I'm not going down there!

 

 

SCOTT

 

Okay, okay you cowards, I'll go.

 

 

LINDA

 

Scotty don't. You're crazy if you

go down there. Why don't you wait

until morning.

 

 

SCOTT

 

Look, I'll be all right.

 

 

SHELLY

 

What melodrama! What courage! A kiss

my brave hero.

 

 

SCOTT kisses SHELLY and with flashlight in hand, he descends

the narrow steps into the cellars blackness.

 

 

SHELLY

 

I, your virgin queen eagerly await

the precious moment when you will

ascend.

 

 

SCOTT

 

Virgin queen?! Ha-ha-ha-ha-ha-

 

 

He disappears below the floor. SHELLY, CHERYL, LINDA and

ASHLY wait above.

 

 

ASHLY

 

(Calling down) Hey Scott, see any-

thing?

 

 

There is no answer.

 

 

ASHLY

 

Hey Scott!...Scott!

 

 

SHELLY

 

He's just kidding around.

 

 

There is silence.

 

 

SHELLY

 

Isn't he?

 

 

No sounds come from the cellar.

 

 

ASHLY

 

Linda, get me a flashlight.

 

 

LINDA

That's the only one we brought up.

 

 

ASHLY spots a lantern on the fireplace mantle.

 

 

ASHLY

 

Then get that lantern.

 

 

LINDA brings it over. ASHLY opens the kerosene valve,

lights the wick, and descends into the basement.

 

30 IN - C

 

 

Down below, ASHLY moves quietly past the old stone walls

and wooden beams which support the main floor above. In

front of him stands an old door which leads to another

section of the cellar. Cautiously, he moves toward it.

Before he can touch it, the door swings open slowly with

a moan. ASHLY moves through the doorway and deeper into

the cellar. Condensation from water pipes above turn the

cellar into an echo chamber as drips fall into shallow

pools on the dirt floor below. As ASHLY scans with his

light, he spots a shadow move out the corner of his eye.

 

 

ASHLY

 

Scott?

 

 

ASHLY breaks into a cold sweat as he moves away from

the area where the shadow passed. He backs sqarely into

a pair of arms which grab him.

 

 

ASHLY

 

Ahhhhhhh!

 

 

It is only SCOTT behind him.

 

 

ASHLY

 

What the hell are you doing down

here, jerkin' off? How come you

didn't answer me?

 

 

SCOTT

 

When?

 

 

ASHLY

 

Just now, I mean upstairs.

 

 

SCOTT

 

I didn't hear you.

 

 

ASHLY

 

Oh well, did you find anything?

 

 

SCOTT

 

Uh-uh.

 

 

ASHLY

 

What's this?

 

 

SCOTT sweeps his light to another corner and reveals

several items atop a small table. Beneath a dusty cloth,

he finds a book which appears to be covered in some sort

of animal hide, with an ancient form of writing on the

cover. Along with this book, SCOTT and ASHLY uncover

a reel to reel tape recorder, an ancient dagger, and

other parapanalia including a box of rifle shells.

 

31 EN - CAB

 

 

It is evening as darkness surrounds the small cabin.

 

32 IN - M.R.

 

 

The group sits huddled around the fireplace talking

quietly about school. The same bottle of Scotch is passed

around. ASHLY is rewinding the tape recorder, and once

this is done, he turns it on. The voice of an old man

is heard. ASHLY turns to the others who are talking.

 

 

ASHLY

 

Shhh, listen to this.

 

 

VOICE

 

My name is Julian Knowby. I am a pro-

fessor of ancient Egyptian mythology

in Dextin university's ancient history

department...

 

 

ASHLY

 

This is the tape I found downstairs.

 

 

VOICE

 

(Continuing)...I am recording this

entry from a small cabin in the south-

ern mountains of Tennessee. Here, I am

staying with my wife for a few weeks

so that I may continue my research un-

disturbed. Since May, a group of assoc-

iate professors and myself have been

excavating the ruins of Ca'n Dar. I

believe I have made an important find

in that area, and thus the reason for

this log. With it, I can keep an ac-

curate record of translations from

my latest find; the first of six, the

others still lost, volumes of ancient

Sumarian burial practices and rites.

Basically, it is a book of do's and

don'ts dealing with the deceased en-

titled "Naturan Demanto" roughly trans-

lated "Book Of The Dead." It is bound

in human flesh, and inked with blood

of the deceased...

 

 

SCOTT

 

Jeez, I'd hate to find out what they

used for pens.

 

 

VOICE

 

(Continuing)...This particular volume

deals with demons and demon resurrect-

ion. These are of the Katardi family,

meaning those forces believed to inhab-

it the jungles and woods of man's do-

main. The first few pages that I have

translated warn that these demons are

dangerous, everpresent, and exist

primarily through this book. As legend

has it, only the sacred high priests

of the Ca'n Dar tribe could posess

these books, for they alone could

properly control the resurrected de-

mons. It is only through the act of

reciting the resurrection passage

that these demons would be able to

posess the living. For many years, it

was thought that this legend-

 

 

CHERYL turns off the machine at this point.

 

 

SCOTT

 

Hey, what'd you do that for? It was

just getting good.

 

 

CHERYL

 

I just don't want to hear any more

that's all.

 

 

SCOTT

 

(Singing) Cheryl's scared, Cheryl's

scared.

 

 

ASHLY

 

Scott, leave her alone will ya?

 

 

SCOTT

 

Jesus Christ.

 

 

He moves to the tape recorder and fast forewards it for

a bit then stops.

 

 

SCOTT

 

She's acting like a baby- it's no

big deal.

 

 

He turns the machine on. The passage continues.

 

 

VOICE

 

Tantir-ah-mis-trobeen-ha-zar-ta

 

33 EN - CAB

 

 

As the tape plays, all natural sounds from the forest

die out, and the autumn colors in the trees fade to a

gloomy grey.

 

34 IN - M.R.

 

 

VOICE

 

Tantir-man-ov-mis-hazen-sober.

 

 

All eyes except CHERYL's turn to the window.

 

35 EN - CAB

 

 

Outside, clouds roll in from the east, thunder booms in

the distance, and as the wind picks up, it begins to rain.

 

36 IN - M.R.

 

 

VOICE

 

Kanda!

 

37 EN - CAB

 

 

A section of ground deep within the woods begins to crack,

and opens. Smoke seeps out from within, as if some evil