DEAD EVIL----- a screenplay

FADE IN:



EXT. WOODS – DAWN

LENS FLARE in RED and YELLOW, as a ROLL-OUT with SPROCKET HOLES plays across the screen. A LOW DRONE fills our ears.

>TITLE: DEAD EVIL.

Thick, tall trees move acrossed the screen in BLACK & WHITE at about 20mph.
Music begins to pick up the pace.

A Black HONDA ACCORD drives down the sullen road.

The Song: Don’t Stand So Close To Me, by The Police plays on the radio.


INT. HONDA ACCORD – DAWN

GLEN(20’s,handsome actor) is driving and patting the wheel, as HOLLY(20’s,attractive actress) is half asleep, looking out at the trees going by.

Glen begins to sing the mellow beat with the radio.

GLEN
(sings)
Young teacher... The subject... Of
schoolgirl fantasy. She wants him...
So badly... Knows what she wants to be.

In the backseat, CINDY (20’s attractive actress),DONNA(20’s attractive actress) and DAVID (20’s, handsome actor) are trying to sleep.

DAVID
Hey man. Who sings this?

GLEN
The Police.

DAVID
Well, why don’t you let them sing it.

Glen shuts up. Holly pats Glen on the thigh and smiles. Glen smiles back, turning off the radio.

HOLLY
Hey guys, tunnel!

CINDY perks up, but the other two continue to pseudo-sleep.

DAVID
Tryin’ to sleep, here.

Up ahead is a gaping maw of a tunnel into the heart of the mountain. Glen turns on his headlights as they pass slowly into the darkness.


EXT. TUNNEL – DAWN

The Honda drives into the tunnel.



EXT. CABIN – DAWN

WE ARC across a creepy cabin in the woods at a lower than average angle.

ROGER (40, handsome director) steps out of the cabin’s front door wearing striped, cotton pajamas and big puffy Pluto slippers. (Disney’s Pluto) He stretches as we go to a WIDER ANGLE.

There is a car and a couple of trucks near the cabin. A CREW of about seven able-bodied, handsome individuals roll out cable and carry heavy camera equipment.

EXT. CRAFT SERVICE TABLE _- DAWN

CLOSE ON coffee being poured into a cup.

MURPHY
Coffee brewed, not brewing.

A hand reaches for a donut in a box.

ROGER
Excellent.

MURPHY (30’s handsome producer) hands Roger a cup of coffee. Roger takes a bite of a frosted donut.

ROGER (CONT’D)
I love the smell of donuts in
The morning.

MURPHY
Did you sleep well?

ROGER
Yeah.

MURPHY
Take your meds?

ROGER
Check.

DARYL (40, handsome cinematographer) steps up to the table.

DARYL
Morning, Sirs. Where do you want
to set up the first shot?

ROGER
Eh... Your call. Get some woodsy
stuff until Glen gets here.

DARYL
You’re not gonna wear that are you?

ROGER
Why not. We’re livin’ the dream.

DARYL
Did you take your meds?

ROGER
Have a donut, Daryl.

Daryl walks off. Roger and Murph take a seat on the porch.

MURPHY
(looks at his watch)
First day of shooting. Can you
believe where actually doing this?

ROGER
We wouldn’t be here without you, Murph.

Murphy opens the script.
MURPHY
So we’re still gonna kill ‘em off first
and work the script backwards?

ROGER
Yep.



EXT. WOODSY STUFF – DAWN

Artistic cinematography of the forest surrounding the cabin.

-OPENING CREDITS-

There is a still lake deep in the woods.

CLOSER ON THE LAKE reveals something HUMANOID crawling out of the sludge.

An Unsteady P.O.V. shot reveals the cabin and it’s crew doing their thing. The Black Honda pulls up to the cabin. The P.O.V. retreats back into the woods.



EXT. CABIN – DAY

Glen, Holly, Cindy, David and Donna pile out of the Honda.

The trunk pops open and they gather their packs and sleeping bags.


Roger and Murphy greet them at the car. David gives Roger a strange look,
admiring his slippers.

ROGER
Welcome to Hell, you slackers. Did
you have a nice drive?

HOLLY
It was beautiful.

MURPHY
Coffee’s on the table, but we want
you to get settled in before you get
settled in.

ROGER
The interior of the cabin’s been rigged
with cameras... We want to get you’re
initial reactions down on tape.

MURPHY
You guys know your lines for this?

GLEN
Yeah.

Roger holds out a key.

ROGER
Who wants to die first?

David takes the key.
DAVID
What about the exterior shot?

ROGER
Just get settled in. We’ll shoot
the exterior scene after breakfast.
We still gotta move the trucks.

CINDY
Where are you guys going to sleep?

MURPHY
Don’t you worry about us, doll. We’ve
got a couple of campers back in the woods.

ROGER
Go on now. And remember... Keep it real.

The troupe walks toward the cabin.

Murphy turns to Roger.
MURPHY
(imitating smart-ass David)
“What about the exterior shot?”
Sounds like we got ourselves a wannabe
on our hands.

ROGER
Oh, he won’t be any trouble. He’s just excited.
(pats Murphy on the ribs)
Come on, let’s get out of the shot.

The pair moves off screen.


INT. CABIN – DAY

The cabin door slowly opens. As promised, the cabin is chock full of
pin-hole spy cameras, hidden throughout; nothing to self-consciously
react to. All deftly edited in post.

As the group of actors make their way into the cabin, we see the black Honda just
outside the door.